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Message: <blockquote data-quote="barsoomcore" data-source="post: 1503244" data-attributes="member: 812">She decided on a new course of action -- but she wasn't willing to face the consequences of that (as Bill literally says -- "There are consequences for breaking the heart of a killer"). Characters make decisions without TRANSFORMING (just to get my all-caps quota in early <img src="https://cdn.jsdelivr.net/joypixels/assets/8.0/png/unicode/64/1f609.png" class="smilie smilie--emoji" loading="lazy" width="64" height="64" alt=";)" title="Wink    ;)"  data-smilie="2"data-shortname=";)" />  ) all the time -- but transformation must cost. We read stories in order to see transformation (when we're not just wanting to see our self-images peddled back to us) -- if there's been no cost to the character then who cares if she transforms?That scene (where she discovers she's pregnant), is the start of the story. It is the beginning of the Bride's transformation. The transformation is, and must be, a process. The longer and more costly this process is (all other things being equal), the more powerful and exciting the story is.Kill Bill is the story of Beatrix Kiddo's transformation, a transformation that begins when she discovers she is pregnant and that ends when she at last destroys all that identified her in her previous life. Initially she attempts to just ignore the facts of her life, with tragic results, but in the end she confronts and destroys that which is closest to her and is most preventing her from moving on with her life.There's a poem by D.H. Lawrence, one of my favourite bits of writing ever, that discusses the necessary death of transformation. The Ship of Death. The poet insists that it is vitally important to build one's "Ship of Death", to stock it with the necessities of the soul in advance of the coming and inevitable flood that will sink everything, consume all that you care about, and the soul alone will survive in the Ship until:The idea is common in Buddhist and Hindu thought, but this is one of my favourite expressions of it in Western writing. You can read the whole poem <a href="http://www.kalliope.org/digt.pl?longdid=lawrence2001061776" target="_blank">here</a>, if you're so inclined.I think it's interesting, KL, that you keep coming up with "alternate" versions of the movie that you say would be better. It's like you have these patterns that stories must follow if they are to win your approval. Rather than deal with what the movie DOES say, you keep comparing it to some non-existent film, with a different message, and pointing out how it fails to accord with that. I'm not sure what I think about that, but I thought I should point it out.Thanee: Five-Point Palm Exploding Heart TechniquePants: indeed it did, which is interesting in and of itself, but it is nonetheless AFTER she's been buried alive.</blockquote>

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