gotcha. Sorry for the lack of clarity. I shouldn't use melodrama as short hand for referring to black and white good vs evil narratives. I was using it to save space because I assumed the context of the OP pointed to those elements which are so commonly found in melodrama.

I'm interested now. What is your definition?

I don't believe I said anything about the Wick films? Here is my definition of melodrama "a dramatic piece with exaggerated characters such as sinister villains and virtuous heroes and exciting events intended to appeal to the emotions. "

For example, compare the narrative of a tragic young man who gets mixed up with the wrong people vs. a comparison of people who work for a crime boss who are a bunch of evil thugs. Melodrama tends to lead us to believe bad people need to be taken out. While the tragedy leads us else where.

I would agree that evokes stronger feelings of empathy for the protagonist but I think it might do the opposite for the antagonists who may have real world analogues in the world. The question is, does reducing empathy for those analogues make the world a better place on the whole?

Speaking of empathy. Does the melodramatic form help or hinder empathy?

Interesting

Indeed

How does oedipus fit in. Is Oedipus Rex a good guy or a bad guy?

Do you have examples of this? I would love to see it. Even comments that show people are living in this confusion.

Most of these are tragedies. Perhaps Americans are so steeped in melodrama (black and white, good vs evil, narratives) that they don't understand tragedy (the hero is flawed, and through them we see our flaws can also bring us down). Perhaps the answer is more tragedy not less?

In Fight Club, there is some utility in Tyler Durden singing a siren song to the audience. It allows us to go along for the ride of radicalization and understand how young men are lulled into extremist groups. It allows us to feel empathy for the disenfranchised.

The upside of Fight Club is it shows how seductive cult like groups are to purposeless, lonely, disenfranchised young men. I think Palahniuk shined a light on this way before it became a serious problem in our culture. Brazil (1985) touches on this as well.

Oedipus is a tragedy. O. Rex is a flawed hero, he is trying to do the right thing but his flaws bring him down. The character is relatable so the audience will reflect upon themselves. While in melodrama, villains are seen as separate and foreign to us. So we do not see our own potential for evil.

Here is an example: In Nov 1973 in Lancashire a gang of teenagers was reported to have been crowing "singing in the rain" -- a favorite song of Alex from a clock work orange -- as they raped a 17-year-old girl. - page 7 Our Fail In Evil: Melodrama And The Effects Of Entertainment Violence

When I was a college kid, many of my friends formed fight clubs after seeing the film. Those lasted about one or two fights when people realized there was nothing meaningful about violence. The upside of the story is it brings to light the potential for loneliness to radicalize disenfranchised men.

Meeeegan! you forgot your jacket...https://www.facebook.com/watch/?v=503959840571717

daaamn!

that is brilliant!