One critical element of the Classic Hero and AntiHero is making explicit of his or her nature. The Hero often has a good nature, good enough to forgive the antagonism (who is merely a shadow of his/her own self). On the other hand, the AntiHero often demonstrates why s/he is worth destroying. This is notable in many of the most successful stories of our time:
a) In 12 Angry Men (1957), Peter Fonda hands Lee J. CObb his coat in the penultimate scene.
b) In Lethal Weapon (1987), Riggs does not shoot Joshua. But Joshua is determined to kill Riggs.
c) In Gladiator (2000), Commodus' deception does not allow us to forgive him.
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