Notkin spills — "Notkin’s mind that the entire perfect-entertainment-as-Liebestod…"
Notkin’s mind that 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, as detailed in perspicuous detail in M. Gilles Deleuze’s posthumous Incest and the Life of Death in Capitalist Entertainment
Context
The resident film theorist's formal position on the samizdat: it doesn't exist as a lethal object at all — "the entire perfect-entertainment-as-Liebestod myth" is capitalism's own schizoid logic projected onto a cartridge, citation supplied (a fictional posthumous Deleuze, which she offers to lend her interrogators "if they’d promise to return it and not mark it up"). The one on-record academic reading of the Entertainment is that it's a myth about entertainment — delivered to agents whose colleagues it has already killed.