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"A single death is a tragedy; a million is a statistic."
—Erich Maria Remark (In reailty)
The amount of sympathy that death, cruelty or suffering is expected to evoke from the audience is often inversely proportional to the magnitude of its effects. Far more important is the degree to which the audience knows the character.
In other words, when some sort of tragedy befalls a character such as The Hero (or even the Big Bad), the audience is expected to sympathize with him or perhaps even cry for him. However, the Redshirt Army can be sacrificed with reckless abandon, and no one will so much as bat an eyelash. The death of a single plot-important character is a tragic and often pivotal point; the deaths of thousands of faceless Mooks, even if by torture, are simply background noise, so to speak.
Part of this is that the major deaths occur on stage or on camera, in detail and taking long enough to be dramatic.
Psychologically, proximity is more important than magnitude. Often ties into Offstage Villainy, since the larger atrocities can't be displayed onscreen in full magnitude. Writers who want to avert this effect must deploy such tricks as the Empathy Doll Shot, or personalizing some victims, to suggest the faces of the faceless victims.
Compare Sorting Algorithm Of Evil, which operates along the same principle. Contrast Protagonist Centered Morality, which has morality centered not on character exposure but relation to the protagonist. May be related to the Law Of Conservation Of Detail as well. See also Local Angle. Also, see But For Me It Was Tuesday when the villain ignores the countless deaths he commits.
Examples
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Anime
- Tengen Toppa Gurren Lagann. Nobody ever comments zilch about seeing entire Redshirt Armies being blown apart. But when Kamina dies, the whole cast spends three full chapters mourning his death.
- Light Yagami from Death Note. Nobody turned against him for choosing a proxy-Kira specifically for a propensity to kill innocents, though multitudes turned against him past that point.
- Most Death Note fans, whether they agree with Light or not, also tend to feel very little emotion for the thousands of people that are mercilessly slaughtered in the background.
- Also, L's death provokes great sympathy compared to other things such as the death of Ray Pembar and his girlfriend or even Light's father (among other innocents that got in the way such as Light's newer girlfriend after Misa - around episode 30 being when Light was promptly given the Idiot Ball, so as to partly explain why he actually ditched Misa).
- It should be noted that some did take Ray and Naomi's murders, particularly Naomi's to be worse.
- Somewhat justified in that the vast majority of the people he killed were criminals that Light killed to to make the world a better place, while most of the above examples were heroic characters who Light killed just to save his own ass.
- And how many of them were truly innocent, or framed, or cast in a bad light, or quietly repentant? How many purse snatchers, conmen and fraudsters deserved death as the punishment for their crimes? Sure, this wasn't raised in the manga but you'd think people would notice the total omission of the idea of a prosecutor's mistake in Light's thoughts.
- In the Anime anyways Light said he avoided those who were justified in their crime ie self-defense or wrongly accused and is said to actually research the vast majority of his victims to minimalize the possibility of error.
- Averted in an episode of New Getter Robo, in which great care is shown to portray the devastation of a Super Robot-vs-Monster Of The Week battle in the confines of a city close-up, and the effect it has on Ryoma, who had the honor of seeing a lot of it first hand.
- Averted to even greater extremes in the manga, where the first use of Shin Getter Robo blows up an entire city, and the carnage is so horrific that it puts one of the pilots in a coma.
- Much of the landmark giant robot series Zambot 3 is dedicated to the devistating effects of Super Robot-vs-Monster Of The Week fights, both physically (entire cities wiped out, leaving a flood of refugees) and psychologically (the protagonists are blamed for the attacks and quickly become unwelcome wherever they go).
- Goes back as far as Dirty Pair. Entire planets get accidentally blown up on a regular basis — and more often than not it's played for Black Comedy.
- Averted in Hunter X Hunter where a basically insignificant and pointless character's death is so utterly horrifying everyone remembers him even if not in name...
- Averted — hell, explicitly run away from — in both Super Dimension Fortress Macross and Macross: Do You Remember Love? In the former, characters at times explicitly comment and agonize over the fact that there are civilian casualties — in one later episode, the heroes stop their pursuit of the Big Bad because he's just set an entire city on fire.
- In Do You Remember Love?, Hikaru finally convinces Minmay to sing the Title Song to halt the Zentradi assault in its tracks by forcefully reminding her about the millions who'd died during the war, including mentioning some names of Hikaru's friends and squadmates that (at least in the movie continuity) she'd ilkely never met. Suitably chastened, she realizes it is her human duty to sing and stop the war. He never brings up the possibility of him and her being killed, instead focusing on everyone else and the lives they sacrificed.
- In Macross Plus, Isamu and Guld's final showdown takes them to the streets of Macross City. They punch, shoot, and launch missiles at each other with little concern for the buildings and roads they're demolishing in the planet's most populated city —made even worse when you remember that Macross City is under Sharon Apple's thrall, so the civilians can't even notice the destruction around them or try to flee.
- Another aversion in Macross Frontier: every Vajra attack has heavy tolls on the population, and the narrative devotes some time to this. It goes particularly far in the aftermath of the Vajra invasion of Island One, where one of the main protagonists and the civilian president are killed, and the next episode focuses on a fleet-wide memorial service for everyone who died in the massacre rather than focus on those two characters.
- The third Bleach movie has 1/3rd of seretei destroyed in the first 7 minutes . No one really cared.
- Often overlooked (since it happens before the show) in Mobile Suit Gundam, Zeon kills the majority of people living in space in the beginning stages of the war. This was once calculated as being the second-highest body count of any faction in the franchise's history (only the mass Colony Drop that preceded Gundam X outdid it). Strangely, this hasn't hurt Zeon's popularity any.
- Weirdly, the Titans have a much worse reputation than Zeon even though they only gassed one colony (Zeon did this to several, at least, and then dropped them on the Earth) and were in general only slightly more Jerk Ass-ish than Zeon was.
Comic Books
- This is why the Event of the last two chapters of Watchmen is so shocking: Care is taken to show the devastation of New York killing just about every named character who lives in the city. Rorschach at one point says it doesn't matter if Dr. Manhattan kills him as millions have already died He kills him.
- In The Film Of The Book, this is all but completely thrown out, since all but one of these characters have been cut, and his role is greatly reduced.
- Karolina Dean from Runaways actually quotes this when Xavin mentions entire worlds got destroyed while she's mourning the death of her friend Gert.
- Xavin actually comments that it's a stupid way of viewing things. Pointing out, very logically, that if person dying is tragic, a million people dying must be a million times as tragic.
- In DC's Crisis On Infinite Earths, individual characters are acknowledged according to popularity (with the Flash and Supergirl getting covers and lengthy eulogies). The entire universes destroyed by the Anti-Monitor (in infinite numbers if the title is taken literally, and several universes, some established and some new, are destroyed on-panel) pack far less emotional punch. (The destruction of Earth-3 is notable for the innumerable innocents counting for less than the handful of villains who go down trying to save it.)
Film
- On a Star Wars note, this has been an It Just Bugs Me thing in the EU lately. Luke forgave Darth Vader for his part in killing faceless billions, but Jacen Solo kills Mara Jade and he's viewed as an unforgivable, irredeemable monster? Hmmph! He was still ahead by the numbers!
- Sort of lampshaded in Charlie Chaplin's Monseiur Verdoux: "One murder makes a villain, millions a hero. Numbers sanctify, my good fellow."
- During the aerial battle sequence in Blue Thunder, the hero, flying the titular Black Helicopter, is forced to dodge a pair of heat-seeking missiles fired (over a major city, mind you) by Air Force F-16s. One hits a Chinese barbecue shop and the other hits an enormous skyscraper square on. Even if you consider that all this was occurring toward the end of a work day, the casualty count must have been considerable; but of all the characters in the film, only the pilot who fired the missile and the beleaguered police chief give so much as a nod to the disaster. In Real Life, such an event would have everyone involved pilloried, especially when it turned out that Murphy wasn't a dangerous lunatic. There's also the F-16 that Murphy shoots down, but we don't actually see it crash so it's possible it landed in the ocean or somewhere similarly innocuous.
- Parodied in "Dr. Strangelove (or, How I Learned to Stop Worrying and Love the Bomb"). George Scott assures the president that "it's not like we're not going to get our hair mussed" but if they act quickly with a decisive nuclear strike then there might be "ten...twenty million casualties. Tops!!" The president responds that he doesn't want to go down in history as the greatest mass murderer since Adolf Hitler. Scott respectfully chides him for "caring more about his image in the history books than his people."
- Averted in Cloverfield—the entire film's emotional effectiveness comes from presenting the story from the point of view of someone experiencing the event on the ground level, thereby putting faces on the masses.
- This was a problem in Star Trek: Generations. Dr. Soran's plan to get into the Nexus involved blowing up a star, which would also destroy an inhabited pre-industrial planet. We had never heard of this planet before, knew nothing of its people, and never even saw its surface, so it may as well have been an uninhabited rock for all the audience cared.
Literature
- At the end of Dan Abnett's Gaunts Ghosts novel Only In Death, Mkoll is Mercy Killing the victims of the Blood Pact's tortures. When he comes to one, Eszrad stops him: it's Gaunt himself. Him, they take out of there to recover.
- Also, Hark finds Soric in the midst of many tortured psykers, and kills him and no others. (Admittedly, he's the one who asked for it.)
- In the background, the whole GRIMDARK milieu for Warhammer 40000 sees millions dying for anything more complex than making coffee (unless you're Chaos or Dark Eldar, where the coffee is probably made with the blood of children).
- The incident that finally caused the Emperor to finally realize that Horus was beyond redemption was when he saw Horus flay a guardsman/Space Marine/Adeptus Custodes during their climactic battle. Instead of the countless billions he was already responsible for, including his own Primarch children.
- Presumedly, the later Ret Con to make that Guardsman be a Space Marine and then later again be an Adeptus Custodes was to emphasize how much of the ridiculous power of Chaos Horus was given - meaning the reason for the Emperor's realization wasn't exactly because of how he killed someone in front of him without lifting a finger, it was because he killed someone of superhuman strength without lifting a finger.
- Discussed in Neil Gaiman's American Gods.
- The Dune books are set amid genocidal galactic wars that are said to have killed trillions, the vast majority of which die offpage with little more than a footnote. The characters, up to and including the Emperor of the known universe, are far more concerned with their own personal issues to seemingly give it much thought.
- Subverted in the last official novel, in which the Bene Gesserit realize that their Genetic Memory makes them inescapably aware of and responsible for each and every atrocity committed by the human race, however far removed it may be in time or space.
- Although it's true that the internal Atreides issues get more screen time, this is basically the Emperor's entire conflict in the second book. There's a scene where he compares himself to Hitler — "He killed more than six million. Pretty good for those days... Statistics: at a conservative estimate, I've killed sixty-one billion, sterilized ninety planets, completely demoralized five hundred others. I've wiped out the followers of forty religions..." He spends the rest of the book trying to get killed.
- Incidentally, the six million figure quoted for Hitler is a very plausible Future Imperfect; that's just the number of Jews he killed, but you don't hear much about his millions of other victims. (Before anyone escalates this to an Internet Backdraft, consider that the impact on the Jews was larger because they were both the largest single group targeted, and they were deliberately targeted for total extermination. The other millions came from a number of other groups.)
- Tad Williams understands the power of this trope. In his Memory, Sorrow and Thorn series Pryrates' first act of evil is to murder a small dog.
- In Graham Mc Neill's Warhammer 40000 Ultramarines novel The Warriors of Ultramar, Uriel explicitly thinks that the Inquisitor considers the population he is willing to sacrifice as numbers, while Uriel thinks of them as people.
- When Kyp Durron in the Jedi Academy Trilogy of the Star Wars Expanded Universe causes the destruction of a world, Carida, generally thought to have twenty-five million people on it, it causes a "disturbance in the Force" which makes the heroes more determined to stop him. But all it takes is the revelation that he was influenced by a long-dead Sith spirit and his near-sacrifice sending the superweapon into a black hole before he's welcomed back into the Jedi Academy. One of those twenty-five million was his brother and he felt bad about killing his brother, wasn't that enough? Later books subverted this. Fix Fic I, Jedi made the "disturbance in the Force" deeply disturbing and personal and brought up the issue of all the other people who'd lived there once, or trained there, or had relatives who were there, asking why the Hell Kyp hadn't been held accountable at all? The books after that make Kyp into The Atoner to varying degrees, reminded of what he'd done almost constantly.
- The latest installment of the series, "Outcast," revisits the Carida issue, when Daala threatens that if Luke Skywalker does not accept exile, she will extradite now-Master Kyp Durron to the Imperial Remnant for war crimes. Daala, the former mistress of the man who blew up Alderaan, doesn't have much of a leg to stand on. Also, in the Legacy of the Force series, for the first time, someone actually called Luke on how many ordinary people died when he blew up the Death Star.
- It came up in an earlier book - one of the Thracken Sal-Solo Tries To Take Over The Galaxy ones - where he was trying to befriend an extreme pacifist who claimed to have known his mother. And by extreme, I mean extreme. Along the lines of "Violence is never, ever justified, in any circumstances!" Turns out he does know exactly how many people died, and most of the galaxy doesn't condemn him for it, since they were Imperials on the Death Star right after Alderaan, and although a book of the same name shows us that a lot of them weren't exactly evil, they weren't exactly innocent either - they were troops and support staff on a giant battle station, after all. A lot of Imperials were uncomfortable about Alderaan - the official story started off saying that the Rebels had hijacked a mining tool, but absolutely no one believed that, so they put the blame on Grand Moff Tarkin going mad with power.
- The roofer in Clerks parodies this whole theory.
Dante: My friend is trying to convince me that any contractors working on the uncompleted Death Star were innocent victims when the space station was destroyed by the rebels.
Roofer: Well, I'm a contractor myself. I'm a roofer... (digs into pocket and produces business card) Dunn and Reddy Home Improvements. And speaking as a roofer, I can say that a roofer's personal politics come heavily into play when choosing jobs.
Randal: Like when?
Roofer: Three months ago I was offered a job up in the hills. A beautiful house with tons of property. It was a simple reshingling job, but I was told that if it was finished within a day, my price would be doubled. Then I realized whose house it was.
Dante: Whose house was it?
Roofer: Dominick Bambino's.
Randal: "Babyface" Bambino? The gangster?
Roofer: The same. The money was right, but the risk was too big. I knew who he was, and based on that, I passed the job on to a friend of mine.
Dante: Based on personal politics.
Roofer: Right. And that week, the Foresci family put a hit on Babyface's house. My friend was shot and killed. He wasn't even finished shingling.
Randal: No way!
Roofer: I'm alive because I knew there were risks involved taking on that particular client. My friend wasn't so lucky. You know, any contractor willing to work on that Death Star knew the risks. If they were killed, it was their own fault. A roofer listens to this... (taps his heart) not his wallet.
- The death tally after the Yuuzhan Vong war was over 365 trillion.
- Also the Empire like to use slave labor. Often enough that Star Destroyers had slave pins designed into them.
- Averted, even after being turned Up To Eleven, in the Star Trek: Destiny trilogy. Hundreds of space stations are destroyed and at least a dozen planets depopulated, with a final death toll in the hundreds of billions. Pathos is established partly through the reactions of the Starfleet brass, Federation President, and various officers and politicians from other races; and partly by showcasing the final moments of various incidental characters (often relatives of main characters).
- Intentionally invoked for the Culture-Idiran War in Consider Phlebas. The epilogue quotes from a historical text which details the overall casualties, including over eight hundred billion lives, the destruction of over fifteen thousand planet-equivalent habitats, and six stars. The very next sentence notes that from a galactic perspective it was a minor bushfire war with low casualties and a small scope.
- The Dutch satirical writer Battus once derived a formula to determine the perceived psychological impact of an event in which people died: the logarithm of (#dead / (distance * years past)). Impact goes down with distance, as well as with time elapsed since the event. It goes up with the number of casualties, and all of this logarithmically, as 1000 versus 100 casualties give about the same increase in sense of impact as 100 versus 10. The formula, he notes, is correct also for the edge case that time = 0 and distance = 0, which is undisputably a most serious event for the individual concerned.
- The newspaper examples below are roughly similar, but as Battus is a mathematician in Real Life, this one has a scientific basis.
Live Action TV
Newspapers
- The reason the news reports massive catastrophies abroad is to mention that none of "our people" were hurt.
- Finnish satirist news blog Lehti ran an article titled "A Finn Equals 4 Alligators
 ", also giving the "official" numbers of tragedy in news. Ten thousand Africans equal 1,000 Asians or other non-whites, equal 100 non-nearby whites, equals 10 nearby whites, which equals four alligators, equals one Finnish person "if you know them". They also ran an article assuring that there were "No Finnish Casualties Among the Dead Pope".
- A similar rule applied to some British newspapers: "One Brit equals 10 frogs (Frenchmen) equals 100 wogs (non-Europeans)".
- A different version of that is, "One dead in Putney equals 10 dead in Paris equals 100 dead in Turkey equals 1,000 dead in India equals 10,000 dead in China."
Tabletop Games
- Warhammer 40000 uses this trope very effectively on both extremes of the scale-here, A Billion Is A Statistic, and the destruction of entire planets is dropped casually and without circumstance. But numerous short stories focusing on one particular individual can be surprisingly sympathetic and touching. This is, of course, a trap.
- An in-universe example is apparent with the Eldar, who view the survival of themselves and their brethren as the utmost priority and the deaths of innumerable numbers of the "lesser species" inconsequential, easily willing to engineer the destruction of anywhere between entire armies to several solar systems if any Eldar would otherwise be at risk.
- In Flying Buffalo's Nuclear War card game, players track their progress by their countries' populations. A typical play will often kill anywhere from 1 million to 100 million people.
Video Games
- On one end of the scale we have the Fire Emblem games. Each unit represents an individual character which has its own personality, skills, and motivations; as such, some people are hesitant to put even relatively unimportant characters into harm's way.
- On the other end are games like Defcon, where population is literally only a means of keeping score.
- Somewhere in the middle is the Total War series; while most conflicts are between large masses of troops, the game also tracks the statistics of individual units; players are less likely to sacrifice an experienced, well-equipped and well-armored unit as mere cannon fodder as a result. Also, it does implement individual characters in the form of faction leaders and heirs, the preservation of which is often an important consideration.
- Command & Conquer: Red Alert paraphrases the quote at the top, and has it delivered by none other than Joseph Stalin himself:
"When you kill one, it is a tragedy. When you kill ten million, it is a statistic."
- In Mega Man Zero 4, The Dragon Craft fired the Kill Sat Ragnarok at Neo Arcadia, trying to kill the Big Bad Dr. Weil. The attack, according to the manual, claimed 20,000,000 deaths of innocents. Yet the intended target ironically survives.
- Demonstrated very clearly in Half-Life 2 and it's follow-up episodes. The Combine has enslaved the earth, killing people in such numbers it's described as genocide and subjecting countless others to transformation into Stalkers. All of that, of course, gets a very negative reaction from people... but nowhere near the reaction provoked when Eli Vance is killed.
- In Ever 17 the disaster that destroys the park the first time also releases TB, which is such a nasty deadly killer that despite high communicability still only manages to kill about 10000 people. But nobody cares that it's very likely the characters rescued are just as likely to have let the plague free as the scientist who ran away or even that all the people died. Instead, the whole gambit is around saving two characters who would have died otherwise. The best you get is Lieblich finally gets uncovered, showing that at least the rest of the world cared about the plague.
- In a subversion, if you Destroy Cradle 03 in Armored Core For Answer, the other characters WILL care about your mass slaughter. And then you get the Scrappy Level as Video Game Cruelty Punishment.
- Of course, no one seems to care about the countless lives you take when you destroy Arms Forts, like Spirit of Motherwill, or the countless Line Ark citizens who die because you blew up the Megalis power plant, that provides energy for their Phlebotium-Clearing Air Purifiers....
- Valkyria Chronicles has Isara's death being a major blow to all the main characters, who mope about it until the end of the game. On the other hand, your regular soldiers don't get that treatment, apart from a single last sentence as they fade away. And that's not even taking allied and enemy soldiers into account...
- The point is moot. A REAL Valkyria Chronicles player would never allow one of their soldiers to perish, no matter how many times they may need to repeat the level in order to complete it without casualties.
- This is only the beginning. The entire Gallian army gets vaporized at one point, and no one has anything to say about the thousands of lives that were just snuffed out; the main characters' primary reaction is, "Holy shit, what a huge explosion— can Alicia do that!?"
- There's a prisoner on Manaan in Knights Of The Old Republic who channels Stalin in one of his responses to the player.
Prisoner: Kill a million people with a mighty star cruiser and you are a war hero. Kill a hundred with a thermal detonator and you are a terrorist.
- You know why we forgive Sakura in Fate Stay Night? Check her targets out. The two asshole members of her family, Saber and Berserker and about a thousand people from the town they live in. Seriously, does anyone even remember that she ate a thousand people? To be fair, in story it's actually an aversion as Sakura is struggling with guilt about the town yet is no doubt pleased about Zouken and probably even Shinji. It's demonstrated that she mentally collapses if Shirou is not around to help, and Shirou himself is trying to pick up the tattered scraps of his idealism for letting it happen. But to the players? We're only mad about Saber, if at all.
- The fact that she had absolutely no idea that she was killing any of the people in the town, and was not at all in control of her actions at that point (she saw it all as a nightmare), probably has a hell of a lot to do with it as well. As soon as she realises what she has been doing, she refuses to go to sleep, and then goes to confront her grandfather the next day in order to end it all. Granted, it goes wrong, but at least she tried.... The only people she actually consciously kills are the aforementioned asshole victims, who most definitely deserved it. However, arguably Shirou can be blamed for this, because he doesn't take the opportunity to kill her even after he finds out that she has done this (although, doing so in the game is actually a bad choice, because her servant (rather predicatably) kills him if he does, and this is likely to send Sakura totally insane with no possibility of being redeemed or stopped)
- In Super Robot Wars Original Generation, whenever a named character is brainwashed into fighting for the Balmarians, everyone goes to whatever lengths to save them, or at least makes a big deal out of it. When you're faced with multiple unnamed human pilots wearing masks who are all brainwashed, someone asks if it's OK to fight them, someone just handwaves that they can't be helped (for some reason), and it's never brought up again.
- In Final Fantasy IV, Prince Edward mourns the death of his girlfriend much more than he grieves the total destruction of his kingdom.
- Final Fantasy IX sees Odin, Atomos, and Bahamut raze large parts of three major cities (if not outright destroying them, with the heroes being the sole survivors.) The only deaths the party ever grieves at are Queen Brahne and the main villain.
- Averted with a potent emotional punch in Final Fantasy X: when Auron and Jecht fade away, their deaths are given all due respect, honor, and grief by the party; Tidus' final farewell is equal parts Tear Jerker and Crowning Moment Of Heartwarming, too. But the destruction of Kilika and the mass slaughter of Al-Bhed and Crusaders at Operation Mi'ihen are the most heart-wrenching, devastating events in the game, and the characters respond to these with far, far more sorrow than even the aforementioned instances.
- Parodied in Discworld Noir: Lewton tells an NPC that the people of Ankh-Morpork don't react if you tell them a thousand people died in a pogrom in Omnia, but tell them an Ankh-Morpork citizen stubbed his toe on the Brass Bridge and you get a reaction. The other guy then replies: "A citizen stubbed his toe on the Brass Bridge?"
- In Wing Commander III, with one bomb Blair (the Player Character) destroys a planet, killing billions of Kilrathi, but except in the novelization of the sequel it's not even mentioned (and only hinted at with a brief shot of the Emperor's chambers collapsing), unlike the deaths of Jeanette "Angel" Devereaux, Mitchell "Vaquero" Lopez, Laurel "Cobra" Buckley, or the fate of Locanda IV, homeworld of Robin "Flint" Peters.
Web Comics
Western Animation
- Avatar The Last Airbender: Presumably, either the Fire Nation has the best swimmers ever, or the Avatar/Koizilla killed hundreds of Fire Nation soldiers in the Season 1 Finale, yet Aang is sternly taking a Thou Shalt Not Kill policy when it's time to face the Big Bad.
- Granted, that was in his Avatar state, over which (at least at the point in question) he has relatively little control.
- It's not even Aang in the Avatar State- Koizilla is Aang in the Avatar State possessed by the Spirit of the entire Ocean, who is more than a little upset over losing his other "half"- the Moon. Aang is just a host.
- And it's made pretty clear Aang has nightmares about the battle
- Aang is noticeably more upset when he thought the Earth kingdom general had killed Katara than he was at the prospect of Ozai commiting genocide.
- In Mulan the villain does indeed slaughter nameless masses by the hundreds (off-stage, no less), and no named characters died. Only two characters who die even have lines, but the movie nevertheless manages to convince that the slaughter was a terrible thing. (An Empathy Doll Shot is used to great effect.)
- Played horrifyingly straight in Titanic: The Legend Goes On. With the exception of Molly, (more commonly known as the "singer with the big boobs"), every single named character survives, including the Funny Animals, complete with a Where Are They Now Epilogue. In a film that takes place aboard the Titanic. Molly, who for some reason shares a name with the most famous Titanic survivor, only gets a single tear of mourning from one of her pets.
No Real Life examples, please. It got ugly.
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