[ SECRET POST #2315 ]

[case]

⌈ Secret Post #2315 ⌋

Warning: Some secrets are NOT worksafe and may contain SPOILERS.

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Notes:

Secrets Left to Post: 04 pages, 081 secrets from Secret Submission Post #331.
Secrets Not Posted: [ 0 - broken links ], [ 0 - not!secrets ], [ 0 - not!fandom ], [ 0 - too big ], [ 0 - repeat ].
Current Secret Submissions Post: here.
Suggestions, comments, and concerns should go here.

Comments

[ariakas]

Oh, I agree. That statement cuts both ways: giving a story a happy ending when the themes/actions of the characters don't really call for one is ill-fitting, but so is giving a story that does call for one a sad or "gritty" ending just because that what's in now or that's what the author thinks will make the story more mature. I can recall times I've groaned at both (for the former, your usual Hollywood "the suitable ending didn't test well in screenings, so we changed it to tralalala sparkle ponies marriage", for the latter, Joss Whedon and other "auteur" types who think sad > better simply because happy's the usual Hollywood blockbuster cop-out.)

[(Anonymous)]

All of this. Can we hold hands.

[ariakas]

Hold hands and pray that someday, Hollywood directors will realize that people are less satisfied with a bleak ending right after they walk out of a theatre, but will think about it more in the long run and it's those feelings that make a franchise (see: The Empire Strikes Back).

And that someday, Whedon will realize that killing off the "woobie" character in every single movie/show for cheap drama that serves no thematic purpose is every bit as trite and predictable as Hollywood sparkle unicorn marriage everything is okay in the end bullshit.