"You can't do the end of the world in a conventionally dramatic way or Boy Meets Girl way"
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Apocalypse, Terry Southern suggests, is the one plot that refuses to behave. “You can’t do the end of the world in a conventionally dramatic way or Boy Meets Girl way” isn’t just a craft note; it’s a jab at the entertainment industry’s reflex to turn catastrophe into a familiar emotional vending machine. Southern, who helped write Dr. Strangelove and specialized in skewering American self-mythology, is allergic to narratives that tidy up chaos with romance, redemption arcs, or neatly timed catharsis.
The line works because it frames “conventional drama” as a kind of denial. The Boy Meets Girl structure promises continuity: even if the city burns, the couple survives, meaning survives, the future can be imagined. Southern’s subtext is that the real end of the world would shred those comforting rhythms. There would be no satisfying third act, no moral accounting, no close-up that restores human scale. Trying to force apocalypse into the old templates isn’t just corny; it’s dishonest, a way of protecting the audience from the full implications of annihilation.
Context matters: Southern wrote in a Cold War culture where nuclear extinction was both unthinkable and obsessively imagined. Satire became the only honest tone, because straight drama risks glamorizing what it can’t represent. His point isn’t that storytelling fails, but that certain stories are propaganda for normalcy. When the stakes are total, “convention” becomes the villain.
The line works because it frames “conventional drama” as a kind of denial. The Boy Meets Girl structure promises continuity: even if the city burns, the couple survives, meaning survives, the future can be imagined. Southern’s subtext is that the real end of the world would shred those comforting rhythms. There would be no satisfying third act, no moral accounting, no close-up that restores human scale. Trying to force apocalypse into the old templates isn’t just corny; it’s dishonest, a way of protecting the audience from the full implications of annihilation.
Context matters: Southern wrote in a Cold War culture where nuclear extinction was both unthinkable and obsessively imagined. Satire became the only honest tone, because straight drama risks glamorizing what it can’t represent. His point isn’t that storytelling fails, but that certain stories are propaganda for normalcy. When the stakes are total, “convention” becomes the villain.
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| Topic | Movie |
|---|---|
| Source | Help us find the source |
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