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Source: https://writers.stackexchange.com/a/27003
License name: CC BY-SA 3.0
License URL: https://creativecommons.org/licenses/by-sa/3.0/

Source: https://writers.stackexchange.com/a/27003
License name: CC BY-SA 3.0
License URL: https://creativecommons.org/licenses/by-sa/3.0/

I don't know if I'd call that fourth-wall breaking as much as _meta._ Meta subtly acknowledges realities outside the text without explicitly addressing the reader.

Tolkien's unnamed narrator using _I_ and _you_ in _The Hobbit_ is "breaking the fourth wall." The trope is that the story is being told to the reader by the narrator, although the narrator is not a character in the story.

Meta is more like on the BBC's _Sherlock_ at the beginning of S03E01 "The Empty Hearse," where a group of fans meet to speculate about how Sherlock might have survived his plunge from the roof of St. Bart's hospital — including crashing through a plate-glass window to kiss Molly à la James Bond and throwing a dummy off the roof and kissing Moriarty. The _Sherlock_ fandom spent two years volubly wondering and theorizing how he did it, and there are of course many different shipping communities, so the on-screen (textual) theories were a meta wink to the off-screen, real-life ones.

So you could, strictly speaking, have your line about "where did you get all these shoddy cultural references?" as an authorial nod to the reader: _Yes, I understand that these are silly, and I did it on purpose._ The only caveat is that your entire story has to be told that way, with multiple nods and winks and meta lines. You can certainly do it, but it will take some finesse to pull it off. Whether it adds value is up to the reader, and the kind of story you want to tell.

Crossovers can be meta too — Diane Duane's Young Wizards series has a cameo by Doctor Who in _High Wizardry._

Original score: 4