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[–] bobroland 0 points 0 points (+0|-0) ago 

The "redemptive ending for everyone" ending dates back to Shakespeare's comedies...and in a comedy it works. The end of the work is like an episode of Oprah where everyone finds something under their seat. Everyone gets a car, cue credits. Drama is different. In a drama you need to narrow the focus to the main characters so that the resolution and the journey becomes more important, more poignant. In the example of Spider-Man, the focus has to be Peter's journey, not that of other characters. In a drama the comedic characters can have their own resolution, but the serious characters should have their redemption tied directly to the actions, or inactions of the protagonist.

Is it a hard and fast rule? Nope. No such thing. Art sometimes has to break the rules, but most of the time when it happens it's to the detriment of the art.

David Simon was a beat reporter for the Baltimore Sun before he published "Homicide: A Life on the Killing Streets". That would be turned into a TV show (highly under-rated) which would lead to some incredible HBO shows. The Corner, following the lives of drug addicts in Baltimore, The Wire, following police in criminals in Baltimore and Treme which took place in post Katrina New Orleans. Great stuff because he manages to capture the reality of all the characters. He tackles race head on, and doesn't flinch. He shows people both good and bad.

I'm insanely jealous of his skills.


[–] thoughts-from-alex [S] 0 points 1 points (+1|-0) ago 

I feel like you can still have background arcs going on? Not something you focus on, but something that are there and you notice. Arguably, in this instance, you'd see it through Peter's perspective, because it's all relevant to Peter's arc - Flash is bullying him, but stops because he's inspired by Spider-Man.

Ah, The Wire! That's something I've been meaning to get around to watching for a long time. I've heard some very, very good things about it.