//oh death

the-100-season-2-episode-4-anyaIt’s been ‘Kill Fan Favorite’ season in TV land, and discussions about character deaths are swirling everywhere as fans kick up a storm – frequently with good reason. If I didn’t know better, I’d say most TV showrunners have forgotten when to kill a character, and when not to. Believe it or not, there is a difference! Let me provide you a handy-dandy chart.


  • it moves the plot along. Does it thicken the plot? Is it a necessary ingredient? Character deaths are like salt – you need a little to keep things flavorful, but if you add too much, well…the story’s gonna taste bad. People get angry at unnecessary character deaths and food that’s too salty, so this is obviously an excellent metaphor.
  • the character really deserves it. Alfred in The Battle of the Five Armies, for example. Has the character been horrible with no sign of guilt? It’s okay to give them the axe. Prove there’s some justice in the world.
  • it’s symbolic to the story. Robin Hood dies at the end of most Robin Hood retellings, because he’s a catalyst. He proves that his ideology can live beyond him, that what he lived for made a difference and people will take up his banner and fight. It’s inspiring and poetic. (Another good example is Charles Vane from Black Sails.)
  • you need it for realism. Take The Great Escape, for example. Not everyone makes it out alive, but it would be unrealistic if they did. It makes us all the more relieved for those who do escape, it ups the ante. It demonstrates how harsh and dangerous conditions were, and how daring their escape plan was.


  • they’re ‘extra.’ If they’re ‘extra,’ you should probably review why they’re here in the first place. This is a mistake many rookie writers make, and I was guilty of it myself when I started out. ‘Oh, blast, I don’t actually NEED this character. That’s fine, I can just kill them and make room for someone more awesome!’ That’s lazy writing. Cut the character out, or find a way to make them necessary.
  • shock value and/or tear-tugging. George R. R. Martin, the famed author behind Game of Thrones, is infamous for this. He slaughters characters left and right for no reason other than to shock the reader/viewer. While not bad when done sparingly, using it as a fallback every time you’re stuck is sloppy and irresponsible. (Yes, life is unfair sometimes, kids, but we don’t always need to kill good characters to prove it.)


‘Fridging’ is what we call killing a character solely to motivate another character. While this works in some cases (i.e. Uncle Ben in Spiderman) there are many cases where it does nothing to further the story. For example, Gina (The 100), Bellamy’s forever girlfriend of three days, is killed after we’ve seen her for five minutes. This supposedly pushes Bellamy toward some serious character undevelopment, but instead of being poignant or subtle, it feels like a heavy-handed blow from the writers. “NOW YOU CAN TOTALLY UNDERSTAND HOW HE FEELS.” Except…a perfectly good character was killed off to further the rapid decline of some beautiful character development, which…isn’t good. [Many people go up in arms any time a female character is killed in favor of a male character, but I find this depends completely on the fictional situation. Sometimes women die. Sometimes it motivates a man. Sometimes men die. Sometimes it motivates women. Sometimes it’s done well, sometimes…it isn’t.]

In other words, fridge sparingly.


  • Anya, Gina, Lexa, Monroe, Aiden, Lincoln, The 100. Yeah…this show now has a bad reputation for unnecessarily killing characters in poor ways).
  • Tripp, Grant Ward, Agents of S.H.I.E.L.D. Trip sacrificed himself, but we didn’t know him well enough to be terribly emotional over it. Grant Ward…maybe I’m just bitter because he was my favorite, but I’m still bitter about this because he was treated unfairly, and much of his character ‘villainy’ felt very forced/constructed by the writers to make us dislike him even when he consistently attempted to redeem himself and was turned away every time.
  • Pietro Maximoff, Age of Ultron. Did he die well? Yes, he did. But he didn’t have enough buildup or reasoning behind his death, and ultimately, the death felt unnecessary.
  • Alan a’Dale, BBC’s Robin Hood. This was a good death in terms of the emotional wreckage it left behind (mostly in me), but it was a bad death in terms of storytelling, proving both unfair and useless.
  • Fili, Kili, The Battle of the Five Armies. They died in the book, yes; but the way it played out in Battle of the Five armies was rushed. Fili (not nearly as loved by the movie-makers as Kili) is killed very quickly, which spurs Kili into action, which kills Kili, so that Tauriel can be sad, so that Thranduil can rethink his life choices, so that….etc. etc.
  • Padme, The Revenge of the Sith. Let me get this straight. You’re a strong, diplomatic leader and former queen. You’ve just given birth to two children, and you…lose your will to live? Really? I’m sorry, I don’t buy it.


  • Duncan, The Last of the Mohicans (1994) The man everyone thought was a self-centered jerk? It turned out he really did love Cora, and not only that – he sacrificed his life to protect the man Cora loved. This is a beautiful example of a death well-done.
  • Darth Vader, The Return of the Jedi. This one doesn’t really need explaining. If you want to read my two-part essay on Vader, I suggest you go here. Moving on.
  • Trisha Elric, Fullmetal Alchemist. Her death is what sets the entire plot in motion – this is a good example of a character death advancing the plot (in this case, giving us the plot).
  • President Coin, Mockingjay. This is an excellent example of symbolic justice. (Whereas Finnick…well, I could put him in the aforementioned list. Unnecessary. UNNECESSARY, MADAME COLLINS.)
  • Boromir, The Lord of the Rings. Some people have cited his death as being unnecessary, but I couldn’t disagree more. His death proves the strength of men – to hobbits, elves, dwarves, and other men. In fact, his death leads to Aragorn accepting his place as Gondor’s king. Not only that, but Boromir’s death is an act of valor that redeems him of his earlier behavior.

In short…use the right amount of salt. (Now, if you’ll excuse me, I’m off to write several strongly-worded letters to several severely-overpaid showrunners.)


//my 10 favorite screen characters (fasten your seatbelts)

I’ve been tagged – and you may be surprised that I’m actually following through. If you’ve been around my blog for any length of time, you’re probably aware that I don’t really do tags – I don’t care for them, they don’t interest me, I have better things to talk about. But lo and behold! Whimsy Writer tagged me with a certain tantalizing tag my inner (okay, outer) fangirl couldn’t resist. An opportunity to talk about my ten favorite screen characters? Really? Like I’d say no.

Choi Young, ‘Faith/The Divine Doctor.’

Yeah, I know; shocker. Choi Young is my favorite character of all time. Notice I don’t say ‘fictional’ – because Choi Young is, in fact, an actual historical figure from Korean history, and they made note of actual facts while filming this (very fictional) historical drama. General of the Royal Guards (the Woodalchi) in his twenties, Choi Young at first appears to be an odd choice. He sleeps for days straight. He isn’t enthusiastic about…well, anything. His fighting skill is undeniable, but skill and looks won’t get you through life, right? (Eh…in most cases.) As the drama deepens, Choi Young’s character does, too. Backstory and insight reveal a man serving a King he doesn’t care for, doing a job he doesn’t want, loving people he’s afraid to care about, and killing in the service of a country that has never done anything for him. I could talk about Choi Young for hours (seriously, don’t test me on this) but I have nine other characters to get to. Watch the drama.

Bellamy Blake, ‘The 100’

Another surprise! Who’da thought! Bellamy is my favorite character on American television right now. His character arc is incredible (as is his sister’s). At the start of the show he’s a selfish, ruthless anarchist and by the end of season two he’s risking his life for the kids he now refers to as ‘my people.’ He learns from what happens around him and takes things to heart, smothering a big heart with a tough exterior that quickly melts as events conspire to destroy everyone he loves.

Himura Kenshin, ‘Rurouni Kenshin’

He’s not your average action hero. Soft-spoken, gentle and sweet, he lives life as a wandering swordsman trying to make up for his actions during the war by helping wherever he can. Haunted by his past and attempting to redeem himself in the present, he gets caught up in the war he wanted to leave behind, and proves that heroes come in all varieties. (Plus he has crazy epic fighting skills.)

Bucky Barnes, ‘The Winter Soldier’

This particular love of mine is no secret. He has a grand total of six lines in the entire movie, and yet he manages to convey so much emotion, struggle, and depth with what limited space he has that he crushed hearts, mangled feelings, and created FEELS across the globe. You can’t not love Bucky Barnes – and you can’t help but appreciate his homicidal swagger-walk, too.

Ji Hoo, ‘Boys Over Flowers’

Just to clarify: I love Jun Pyo, too. But Ji Hoo has a very special place in my heart – the precious fluffy angel person that he is. He’s one of those guys too perfect to exist, and no matter how much you love Jun Pyo, you’re really rooting for Ji Hoo because…well, he’s perfect. He’s sweet, thoughtful, quiet, kind, loving, and HE REALLY DESERVED TO GET THE GIRL. The only issue is…so did Jun Pyo. Aish – kdramas!!

Ned, ‘Pushing Daisies’

Ned may be the single most lovable television character to ever grace the small screen. Gentle, awkward, clumsy, and gifted with the ability to bring things back to life (ish), he’s impossibly easy to love and root for because you JUST WANT HIM TO BE HAPPY, OKAY.

Yoon-Sung, ‘City Hunter’

A political pawn since birth, Yoon-Sung has never known his real family, his real country, or even his real name. Sent back to Korea on a mission of vengeance, he begins to deploy justice on corrupt government officials. It would be a lot easier if a) he had a harder heart b) wasn’t falling in love with a girl who works in the same building and c) was a meaner person. As it is, Yoon-Sung is an entirely good person, and when he struggles, I struggle. When he feels things, I feel things. When he gets injured, I want to wrap him in a blanket and keep him safe forever and ever – I mean, uh. Yeah.

Jareth, ‘Labyrinth’

Who doesn’t love a bedazzled David Bowie playing a childish goblin king and breaking out in catchy songs? Honestly, he speaks for himself.

Wol Ryung, ‘Gu Family Book’

He starts off as a gumiho; an immortal, paranormal guardian of mountain. Kind, generous, and too caring for his own good, the sweet Wol Ryung rescues a young woman and falls in love and marries her, while working on a 100-day trial to free him from his gumiho state and give him humanity. Things don’t go as planned when his wife is attacked and he defends her, breaking his trial and transforming him into a thousand-year demon (basically a gumiho gone to the dark side who feeds off the living essence of humans). His story only begins there – his son proves to be a turning point for him, and Wol Ryung will always be one of my favorite – and most tragic – screen characters.

Roy Mustang, ‘Full Metal Alchemist/Full Metal Alchemist: Brotherhood’

I know it’s an anime, but the tag didn’t specify, okay? He’s a character, and he’s on a screen. Roy is a rising military officer-slash-fire alchemist with a hot temper and a sense of duty the size of North Dakota. Struggling with what he knows to be right and his own personal vendetta, Roy is as deep as he is fun to watch. (Riza Hawkeye agrees.)

What about you? Who are your favorite screen characters? Shall we lament over the honorable mentions I didn’t have room for? (There are…a lot.)