That's the thing with the young these days, isn't it? They watch too many happy endings. Everything has to be wrapped up, with a smile and a tear and a wave. Everyone has learned, found love, seen the error of their ways, discovered the joys of monogamy, or fatherhood, or filial duty, or life itself. In my day, people got shot at the end of films, after learning only that life is hollow, dismal, brutish, and short.
The passage reflects a critique of contemporary narratives, particularly in films, that often conclude with neatly tied-up endings where characters learn valuable lessons and find happiness. The speaker suggests that today's youth has become accustomed to these idealistic resolutions, where everyone seems to achieve personal growth and happiness by the end of the story. This sentiment raises questions about the nature of satisfaction in storytelling and the expectations placed on characters as well as audiences.
In contrast, the speaker reminisces about a different era of storytelling that embraced a harsher reality. They recall films from their past where the endings were often bleak, featuring violence and the stark truth of life's struggles. This perspective implies a belief that art should reflect the complexities of existence rather than offer simplistic conclusions, highlighting a generational divide in how stories are perceived and valued.
