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Music

Gwen Stacy isn't dead
She's only sleeping
And Elektra isn't evil or insane
And those bastards in the Pentagon can't really kill kill Sue Dibny
No more than they could kill off Lois Lane
Four-Color Love Story by the Metasciences

Web Original

HEARTSTRING #79: *does not tug*
SCREENWRITERS: What?
AUDIENCE: Oh, whatever. Like you were going to kill off The Littlest Cancer Patient.
The Day After Tomorrow review in Movies in 15 Minutes, by Cleolinda Jones

Compare that cliffhanger to Star Trek: The Next Generation's “The Best Of Both Worlds”: sure, Picard had been Borgerized, and it sucked, but I never believed for one minute that the writers would let him stay that way, because it would shake up the series too much. Babylon 5, on the other hand, had already had so many they’re-not-allowed-to-do-that-are-they? moments that Sheridan’s untimely death seemed like a very real possibility, whereas we never thought Picard was really in jeopardy.

Sora: Oh no! Goofy is dead.
Donald: Quack. (*sniff* *sniff* This is the saddest moment ever.)
Goofy: ES LEBE DEUTSCHLAND! (I am completely fine now.)
Sora: Well that was unnecessary.

"Even among those who watched this episode as it came out, did anyone really think Kirk is going to die? The opening credits right after 'Star Trek' says, 'Starring William Shatner'. We know he is not going anywhere."
Jerry Perron on the Star Trek: The Original Series episode "The Doomsday Machine"

"But it may not just be the optics of the reveal at play here, when the idea of Marvel Comics permanently killing Kamala Khan is so absurd on the face of it. Now, resurrection is a given for pretty much every superhero death, and you can still tell great stories despite the traditional impermanence of the genre. But when it's the death of a rather popular character who has her first blockbuster film coming out this fall — it breaks the kayfabe, so to speak."

Web Video

"So, as the Plot Hole gets bigger — both literally and metaphorically — the critics watch as their doom comes closer." (clip of the critics reminiscing about their first reviews) "Oh yeah, I'm totally convinced they're not gonna make it. Channel Awesome will fire all of them in one swoop just for shits and giggles, and yet they still show up to shoot their finales at the same time. Onward, poorly-deceiving soldiers."
The Nostalgia Critic reviews his own film, To Boldly Flee

"Well, the media really went for it, they really bid on it, they reeeeeeally thought that DC Comics was gonna kill off its biggest moneymaker. Yeah, sure, and I also believe in the tooth fairy; and I also believe that if you're in a 747 at thirty thousand feet, you're gonna hit a pig..."

(Reki Kawahara) introduces the threat of real death as a consequence for virtual failure, which adds a layer of inherent meaning to each character's in-game actions, as long as you don't realise that he'll never actually kill off anyone of real importance.
'Mother's Basement, "[[url=https://youtu.be/b38sVVw6TK4?si=XgcFfGMILPRfsSLK SAO, But the Writing Isn't Garbage: SAO Alternative: GGO]]"

Western Animation

"But you can't replace me; the whole show is called '*Martha* Speaks'!"
Martha, Martha Speaks

Real Life

The audience of today knows in advance, and absolutely, that the hero is not going to be killed by the villain, that the heroine is going to marry no one other than the hero, and that the United States Marines are certain to arrive on the scene before the bomb goes off.
George Jean Nathan

I mean, you didn't really think we'd kill off Brian, did you? Jesus, we'd have to be fucking high.
Seth MacFarlane tweet following the airing of "Christmas Guy"

We've all seen the movies where the hero is in trouble; he's surrounded by 20 people, but you know he's gonna get away 'cause he's the hero. You don't really feel any fear for him.

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