You’ve gotta be tough to sell one helluva story. That’s just one thing that Coppola’s The Godfather Trilogy and Pro-Wrestling have in common.
Rather than write about death and the world unfolding in the throes of the Black Plague, Giovanni Boccaccio instead wrote about the utopian potential of storytelling.
In both The Avengers: Endgame and Game of Thrones, the key conflicts are not between good and evil, as one might think, but between the beginnings and endings of their stories.
The End of Endings: How ‘Harry Potter and the Cursed Child’ and Don DeLillo’s ‘Zero K’ Explain the Current State of Storytelling
Somehow, without realizing it, for both DeLillo and Rowling, death, the end of the world, and endings themselves are best emblematized by a dysfunctional father/son relationship.
What does it mean, ontologically and narratively, when the seeming finality of death disappears from our stories? What does it mean when our stories and our characters, unlike our lives, refuse to come to an end?