Sex's battle over exposing her breasts onscreen evoked memories of the Venus of Willendorf, the small fertility cult idol from Austria typifying the Aurignacio-Perigordian period's fascination with voluptuous female figures. Fascinating as it was, this plot line was secondary to the battle between Innocence, Success and Responsibility. Responsibility seeks to retain Innocence, even if it requires acknowledging Sex, for Innocence is the ultimate excuse for Responsibility. It is all for Innocence. Responsibility reminds Innocence of its obligation, cashing in on the sense of guilt and abandonment felt by Innocence.
Furniture is a stationary element lacking motion, fluidity and growth.
As such, the Past Responsibility sought to stifle Innocence, locking him into a rigorous bond with The Past. He is still at Melrose, but not yet comfortable with the whirlwind pace and emotions sweeping over him. Past Responsibility wrestles with the Future forging the two into an incomprehensible alloy which Innocence realizes will lead him to Success. It is only through this acceptance phase that Innocence comes to grips with the Past within him and moves forward as a singular being. Before this, Innocences was torn between two worlds, existing in a temporal purgatory of his own creation.