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Fake death, cheap resurrections, and dealing with real grief: a heartbreaking take on the often emotionally-manipulative use of character death in popular culture.
Killing Spock at the end of Wrath Of Khan works, because the characters, and the movie itself, treat it as real. Contrast that with the cowardly handling of Kirk’s “death” in Star Trek Into Darkness, with J.J. Abrams and crew milking the moment for fake emotion while desperately foreshadowing that everything’s going to be okay. For Abrams and his writers, death is little more than a screenwriter’s tool to evoke emotion, and that cavalier attitude toward one of the universal human experiences makes everything about his film feel hollow.
Karl Mårtens's paintings
Saoirse Ronan as Agatha in The Grand Budapest Hotel (x)
Engulfed, Rafael Sottolichio
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