Well, Fallout Las Vegas starts with you (the protagonist) getting shot in the head after a monologue, so we can eat our cake and have it too, so long as you can abide a deus ex machina after being shot (e.g., the hidden book or the flask taking the bullet or the cliche of the reveal that our hero was wearing a vest). If we want more plausibility, we can show the painful rehabilitation of a Hank Schrader after his brush with the twins.
Or we can find out that the hero wasn't the hero and the story goes on without him. Someone else carries the torch to the finish line. Or the hero can be left to live, because the plan has either succeeded (Ozymandias monologuing post-victory in Watchmen) or failed (Tina Turner releases the raggedy man Max after her loss, because killing him doesn't matter anymore).
Or we can just do the monologue as a "time-out" (e.g., that scene in HEAT where the goodie and baddie just have a cup of coffee in the middle of the film).
The cliche can't go away entirely. At least, the problem that drives it can't. A fundamental problem with writing: We have to get our hero into danger; we have to get our hero back out of danger. We also want emotional release (basically, we're all Karens who want to rant at the manager before getting refund) and we need exposition (What the hell is going on? What is the master plan?). The monologue offers a nice way to tie-off all these needs. The villain goes on a little too long and our hero escapes. But yes, we all wind up feeling like Scott in Austin Powers from time-to-time.
Or we can find out that the hero wasn't the hero and the story goes on without him. Someone else carries the torch to the finish line. Or the hero can be left to live, because the plan has either succeeded (Ozymandias monologuing post-victory in Watchmen) or failed (Tina Turner releases the raggedy man Max after her loss, because killing him doesn't matter anymore).
Or we can just do the monologue as a "time-out" (e.g., that scene in HEAT where the goodie and baddie just have a cup of coffee in the middle of the film).
The cliche can't go away entirely. At least, the problem that drives it can't. A fundamental problem with writing: We have to get our hero into danger; we have to get our hero back out of danger. We also want emotional release (basically, we're all Karens who want to rant at the manager before getting refund) and we need exposition (What the hell is going on? What is the master plan?). The monologue offers a nice way to tie-off all these needs. The villain goes on a little too long and our hero escapes. But yes, we all wind up feeling like Scott in Austin Powers from time-to-time.
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I hate insomnia. Oh yeah. Last year I had four cases of it, and each time it lasted three months.
I hate insomnia. Oh yeah. Last year I had four cases of it, and each time it lasted three months.