In these films, the disburdening power of the they presents a vulgar, attractive depiction of death that obfuscates Dasein's true relationship with this certainty.
Another pacification that these films offer in their disburdening is in regards to hope and survival.
If death is the structure for our being, it is the one that needs the most disburdening by the levelling down of the they.
I argue that masking the insuperable possibility of death as inauthentic demise for the purpose of disburdening Dasein as a they-self is the ontological structure underlying this type of apocalyptic cinema.
Anton points out a guilt in the being of Dasein as a they-self in relation to its restriction of possibility (the they levels down possibilities); the continuance of this restrictive they across generations creates a burden for Dasein that can be alleviated through the disburdening vicariousness of apocalyptic film.
I have already discussed the what-for of these films in relation to the disburdening effect of the they, but these films are also in a relevant relationship with Dasein's anxiety about being-in-the-world.