Molly Notkin's interrogation (pp. 791–792)
the entire perfect-entertainment-as-Liebestod myth surrounding the purportedly lethal final cartridge was nothing more than a classic illustration of the antinomically schizoid function of the post-industrial capitalist mechanism, whose logic presented commodity as the escape-from-anxieties-of-mortality-which-escape-is-itself-psychologically-fatal
Context
Notkin's academic dismissal accidentally states the theme's thesis while trying to explain it away. Citing Deleuze's posthumous Incest and the Life of Death in Capitalist Entertainment, she frames the Liebestod-cartridge as merely a "classic illustration" of the commodity that markets itself as an escape from the fear of death, "which escape is itself psychologically fatal." She means this as debunking — the lethal-entertainment myth is just capitalism's schizoid logic, nothing supernatural. But she has described the actual Entertainment exactly: a product whose promised relief from mortality is what kills you. The theme's pleasure-death is theorized from the outside here, dressed in post-Marxist jargon, and the jargon turns out to be right for the wrong reasons — the scholar names the mechanism precisely at the moment she insists it isn't real.