EVERYTHING DIES, BABY, THAT'S A FACT
Death often shadows Wes Anderson’s characters. His films are populated with widowers, orphans, and adult children who haven’t quite figured out how to move on from a parent’s passing. Consider how the figurative ghost of his late mother’s expectations haunts Max Fischer’s over-achieving exertions in 'Rushmore' (1998). Or the way that the gruesome death of Steve Zissou’s best friends fuels his Ahab-like oceanographic obsession in 'The Life Aquatic' (2004). Or the fact that the…