I agree with Brin on that point.
I've found a few stories where the menace is ended by the authorities stepping in.. Here are the two I remember, plus a spare: Jura Jr Jrer Erny ol Jvyyvnz Onegba (ynobe ynjf ner vzcebirq) naq Qnex Ybeq bs Qrexubyz ol Qvnan Jlaar Wbarf (gur rivy gbhevfz ohfvarff vf fuhg qbja). Cbr'f "Gur Cvg naq gur Craqhyhz" vf va n eryngrq pngrtbel-- gur engvbanyvfg ureb whfg oneryl fgnlf nyvir hagvy uvf sevraqf fnir uvz.
Offhand, I think the premise that everything is corrupt (at least locally) came in with noir.
Me too.
The climax of Shaun of the Dead ends with the surviving main characters rescued by the British Army.
The film version of The Mist has the U.S. Army fighting back the monsters that arrived with the titular mist... but they're too late to save the main characters. Similarly, the monster in Cloverfield is indeed eventually taken down by the U.S. military as well - offscreen, after the fate of the main characters has already been determined.
And Lord of the Flies, of all things, also ends with the children being found and rescued just as things are at their worst... by, ironically enough, a military pilot who soon goes back to fighting a war.
I recently published Mortal, a novella-length My Little Pony fanfiction meant to introduce anti-death concepts to an unfamiliar audience. Short description:
This is a character-driven melodrama. It's not particularly rationalist, but it's very, very transhumanist. Unlike, say, Friendship is Optimal, I wouldn't necessarily recommend this one to people who don't already know the source. It assumes familiarity with the characters and the world.
I am going to talk about how I put together the story and how people reacted to it. This will contain spoilers.
This line exists so you can break out of the automatic "read everything on the page" mode if you want to avoid the spoilers.
This story was structured as something of a bait-and-switch. I watched the reaction to a previous transhumanist horsefic (yes, there's more than one), and I was struck by how easily readers matched the explicitly anti-death narrative to the "immortality is a curse" trope. Rather than fight against this trend, I decided to work with it. The first act is meant to look like a story about learning to accept the inevitability of death. Starting in chapter 3, I break further and further away from that mold until the protagonists finally rebel against the status quo.
The first chapters got a lot of people invested who I suspect would've been turned off by a less familiar opening. Once I was into the third act, I stopped being subtle and used every trick in the book to make the pro-death characters look like the unreasonable ones. Judging by the comments, there's no shortage of readers who were angry at having their expectations flouted, but quite a few seem thoughtful, and some explicitly changed their mind on the subject.