Mike Flanagan's Dr. Jekyll and Mr. Hyde: Mr. Hyde is snapped out of it by his daughter (who he has in this version) nobly sacrificing himself so that she and Jekyll can live happily ever after.

Mike Flanagan's The Yellow Wallpaper: the narrator gets to see her baby and is so overcome with love that she recovers and rejoins the family.

Mike Flanagan's The Woman In Black: Arthur manages to reunite Jennet and Nathaniel's ghosts, and they walk off into the sunset together holding hands.

Mike Flanagan's We Have Always Lived In The Castle: Constance and Merricat hug it out.

when considering the sexual violence against trans women, it's important to remember that "people only view us sexually" does not mean the same thing as "people only find us attractive". it means "people can only conceptualize of our existence within a sexual light" because that's how the majority of our coverage in media has been tinged in the past century. as a result of the chaste and patriarchal nature of modern capitalism, gender and sexuality are inseparable in much public discourse by virtue of propaganda, and as a result, a trans woman is seen as sexual because efforts towards projecting specifically femininity is only categorized as sexual. and when paired with the uncharitable perception of "man", that propaganda can often evolve how people view us directly into "sexual threat" anywhere, for any reason. i could be in the freezer aisle of costco looking down at the ground while i push my cart and i'd still get dirty looks for wearing a dress (this has happened).

when i say "they're either jerking off or sharpening a knife", i mean we're either viewed sexually, or as sexually threatening, in almost all scenarios.