#go watch glass onion

[its-a-show-stoppin-number]

Ethan Hawke’s character in Glass Onion when Benoit didn’t gag when he shot the treatment thing in the back of his throat:

[secondlastpsycho]

did not know seeing hugh grant as a malewife would cure my seasonal depression but here we are

[astravires]

once again, my good friend @marshmallow-sims has been indulging me

[searchingforglendowerwithleah]

I love himmmmm

I find it absolutely hilarious that after playing the popularised sexy man “James Bond” for what feels like a millennium, Daniel Craig has only now reached tumblr sexy man status by playing a funky southern gay detective with a hubby that bakes sour bread. If this is not the most on brand tumblr thing I don’t know what is

[milk-lover]

Something I love immediately about Glass Onion is that on a basic level it looks and feels So different than Knives Out. Most obviously is the setting and the colors. Both the Thrombey house and the Glass Onion are characters in their own right—Rian Johnson does an amazing job telling story through setting—but they are not at all similar. One is warm and cozy, autumnal, cramped, the home of a man obsessive murder mystery author. The other is bright, sleek, loud, summery, the ostentatious mansion of an indulgent billionaire. Browns and oranges and sepia vs white and blues and yellows. Wood accents vs glass. They feel completely different.

The easy, boring, lazy thing to do would have been to bank on the success and love for the original film, and stay in that comfortable autumnal coloring. Play on the positive associations of that feel of the first movie, and hope that it tricks the audience into loving this one too. Sooo many film makers would have done this. So many sequels do this. And it would have Ruined the film. I am So Happy Rian Johnson didn’t.

[talesfromthecrypts]

talesfromthecrypts’ Top 10 Favorite 2022 Movies

[lorephobic]

i think ppl criticizing saltburn for being a bad addition to this weird influx of self-aware class conscious movies we’ve seen in these last couple of years are so funny because that is literally not at all what this movie is going for.

its so easy to conflate aestheticism with classism, especially when saltburn plays with this kind of gauche idea of beauty, but the problem isn’t that the catton’s have an unnatural relationship with wealth and material, it’s that they have an unnatural relationship with beauty and a seemingly never ending supply of it. and of course these things go hand in hand. in a house where desire is unheard of, to be of want is a messy ordeal that’s shunned and repressed.

but this movie is never asking what you would do for material gain. it’s about obsession with a relationship and a person that is close enough to touch but still off limits. how do you tell somebody that has never wanted in their life that you want them? how badly do you want them? would you do something ugly for them? would you kill for them?

[crowslastcall]

Literally my favorite thing to do with a mystery movie is try to figure out the plot. knives out movies are the first that feels like they're not trying to punish me for that

i think one of the reasons glass onion is so fun is that it just... loves the audience back.

so many popular movies and shows these days thrive on a sort of bitter engagement with their fans - where the fans are dismissed as being stupid, annoying, and needlessly angry. we are constantly positioned as being less intelligent as the writers.

so much of "spoiler-free" movie-making relies on writers getting away with one twist in their work, regardless of if that twist was earned. the work doesn't actually have any rewatch value or interesting writing - because they think "good writing" is about "pulling one over" on the audience. they don't focus on making interesting characters or storylines or good endings - they focus on fooling you. glass onion, meanwhile, has faith that the audience has figured the ending out, and that we'll watch anyway, because we love the characters.

so many adaptions of older works... kind of seem to hate the original work. they're done without passion. they're done almost as if checking off a box. so many of them openly mock the audience for enjoying the original, almost directly telling us that we are fools for ever having loved something.

but glass onion. loves the audience. it knows that many of the people watching are mystery-lovers. it is an homage that feels love towards the original works it references. it knows we also love those works; and instead of trying to disparage those works, it allows us to celebrate them.

one of my favorite things about it - and maybe why i found it so satisfying - is that this movie isn't trying to tell you it's the smartest, bestest, most-clever detective story. instead, it asks itself what is satisfying and exciting for the audience? and actually gives us that payoff. it's bright, colorful, and fucking fun.

just... more of this please. i'm very bored of nihilism and grittiness and "shock value" writing. put the love back in. let us love unironically. have your work say i love you too. thank you for sharing this story.

[ctntduoarchive]

i have recently realised why we have seen so much more of blanc's pov in glass onion than the first knives out.

in the first movie, we follow marta most of the way. when blanc does appear he is mostly finding out more evidence and getting closer and closer to the end discovery.

but in the second one, we see him do less detective work and seems much more confused. why? he told us why.

he says to helen brand, that dumb things are his achille's heel. in the first movie it's an elaborate cover up by ransom (who pushes the blame onto marta once he discovers it's an option)

but in the glass onion, it is mostly just dumb decisions by miles bron or ideas stolen from someone else. we see his pov more because in the first one he knows what is going on, but in the second he cannot figure out the mystery because of just how plain stupid it is.

[daylightdreamscape]

Ransom Drysdale - Knives Out (2019)

[sadaveniren]

When it's all laid out like that I don't see how this kind of life is preferable to just...being out. Obviously being out would come with it's own set of challenges but I would imagine it would be more worth it than whatever the fuck this is. What saddens me is that it's pretty clear that Harry and Louis have been conditioned to believe certain things and have become somewhat brainwashed by the industry and the powerful people within it. During the 1d days I had faith that they didn't necessarily believe everything they were being told. I truly think the Harry and Louis from that time period would be in a lot of ways amazed at their lives and all their success but also deeply disappointed with certain things and maybe even themselves.

I get how and why you feel that way, I've been openly and loudly queer since I was fourteen during the early 00s. I have a lot of complex thoughts on the closet BUT I'll bring you back to one of the very first points I made yesterday and that's that I understand and respect queer people closeting themselves, and that includes even when it's not the choice I would make.

Louis has who and what knows going on in his life. He has parts of it that we in fandom will never and should never know about. His decision to stay closeted is his and while we can say "hey it would just be easier to be out" that's not our call to make. That's not our decision and frankly I don't think he should take us into consideration at all.

I also want to make something very clear, I don't believe Louis is closeted in his personal life. I think we have a lot of evidence to show that Louis' team, band, friends, and family all know about him being gay. Taking it one step further, I think we have a lot of evidence to show they know about him and Harry being together as well. I think the same is true for Harry too, before people come for me. I think when they are out living their personal lives away from fame they are able to "live their truth" and be "out". I think ultimately Louis (and Harry) have chosen to not come out publicly for whatever reason they might have, and it's a very, very good chance they are both making moves right now so that way their private lives are completely separate from their public personas.

I believe it was Ian McKellen who once talked about how when you're famous and gay you never stop coming out. You have to come out every single time you meet someone new. And that can be exhausting. I know even in my much smaller life - again I'm someone who has been loudly and proudly queer for twenty years at this point - I'm always coming out. But there's also a flip side to being out and being famous that I don't think a lot of queer people consider and that's... strangers know you're gay before they even meet you. I obviously can't speak for every queer person ever but if I really start to think about that reality... this idea that someone I don't know knows I'm gay, and can approach me and just say "hey I know you, you're gay" that's absolutely TERRIFYING. Why? Because the world is still INCREDIBLY homophobic and I don't know who has what motives.

You say "Obviously being out would come with it's own set of challenges but I would imagine it would be more worth it than whatever the fuck this is." but have we as a fandom ever talked about what being openly gay and famous at the level we're talking about truly means? And I don't mean purely monetary and all the brand deals or movie options Harry might miss. I'm talking about what it means to live as someone of Harry or Louis' level of fame and be openly gay.

There are some countries they just won't really be allowed to visit anymore because the countries have laws against gay people, or they might not bother to travel to anymore because it's just not safe for them. There are countries that might ban their music. Inherently anything they put out will be politicized, regardless of what it is. Anything they do will be politicized as well, probably to a level of disgusting people in fandom who aren't deep into queer history are prepared for. I'm not trying to be US or western centric here with my thoughts even though they are western artists, I'm trying to think globally, because they both enjoy being global artists.

I get it, I do. BG is shitty and has sucked the joy out of fandom for a lot of people. Homophobia is the worst. But it's unfortunately very real and still very alive and so queer people have to play by those rules sometimes and if they choose not to fight that battle publicly I don't necessarily blame them. At the end of the day you don't have to come out to anyone you don't feel safe with even if you're "out" to your friends and family and living your best gay life. In the case of Harry and Louis or other closeted celebs they don't feel safe telling the world they're gay. Can't really blame someone there.

[puppyeared]

3 for ask game !!

3: 3 films you could watch for the rest of your life and not get bored of?

send me a number!! 💌

[corellianhounds]

When writing, there’s a difference between a plot twist and a reveal. A plot twist is a revelation that makes the plot go in a different direction than it was headed. A reveal MIGHT be a plot twist, or it might be something that heightens the conflict or tension but still has the story going to go the same direction it was before.

A good plot twist for me happens in the middle of a story. It’s difficult to do a twist at the end and have the story’s trajectory go an entirely different direction and still feel satisfying. If the twist takes place in the middle, there’s still room for that now new plot to play out as a result. It either happens in Act II or it’s the Act II climax, with Act III now having the characters have to adjust for and contend with the change. If you have a plot twist in or as the final climax of the story— meaning there is a genuine change in where the audience could see the plot was going— you better have a VERY good alternate ending, and it needs to have had some foundation or hints or mention somewhere in the rest of the story. You can’t take a hard left turn and have a different ending just for the sake of surprising or shocking your audience and subverting their expectations because you “Don’t want them to see the end coming,”; that’s just lying and it’s not going to feel like a cohesive or satisfying story.

Some good examples of a mid-story plot twist and an ending plot twist are both in Knives Out, the first being when we as the audience see how and why Harlan Thrombey dies and we’re shown the killer from the beginning, but then we find out the real killer in the end with the parlor scene. The movie subverts our expectations of the genre by telling us who the killer is! But we spend the entire time rooting for them because we know the truth and we like them and don’t see how there would possibly be an explanation or way out! But then we’re shown the REAL truth at the end and we’re shown how it happens! It’s a satisfying twist because it’s still within the bounds of believability not just for the world, the genre, and the tone, but for how the characters have been characterized the whole time.

On the other side, a good reveal can happen anywhere, provided it’s done right (which is the caveat for basically any storytelling choice). A good example of this would be Spiderman: Homecoming when Peter shows up at his crush’s house and realizes who her father is, because that suddenly complicates the emotional stakes for the character, now tying the physical main plot to the emotional desires of the B-plot. Now suddenly his alter ego’s conflict is at odds with what he as a person wants for himself. Will he make the choice that makes him happy but is ultimately selfish and will put people at risk because of his neglect, or will he make the selfless, responsible decision despite the fact it will come at a great personal cost?

I think a lot of movie and TV writers have relied on this idea of “spoiler culture” for too long and it’s why we’ve ended up with so many messily told stories that keep throwing out new things or relying on their “twist” endings or surprise character reveals to be what gets people to come see what they’ve made. I want to be able to follow the story’s logical plot all the way through, or I want to see you pull of an effective magic trick at the end by all the puzzle pieces suddenly falling into place and giving me the “Of course!” feeling I’d get from seeing each of the prior clues suddenly make sense.

I get that it’s hard to write those stories, but if you can’t do it well, just tell a straightforward story all the way through and satisfy our expectations with the payoff you’ve been building towards. Pulling the tablecloth out from beneath the dishes and still having them standing in the end is hard to do. I don’t need a magic trick every time, I just need a good story.

[annainnorth]

After confirming that Rian Johnson is an Agatha Cristie fan (go watch his scene break down for Glass Onion!!) I need people to stop erasing the homage Benoit Blanc is to Hercule Poirot 😭

Sherlock Holmes this, Sherlock Holmes that, yeah fine sure, great, but I need my mustache belgian to receive his attention!!

I’m loving these movies, feels the same as reading Cristie’s books when I was younger, same fun same presentation almost

[fa-la-la-la-la-la-la-la-liar]

Absolutely obsessed with how Benoit Blanc was more offended at how dumb Miles Bron's plan was than over anything else

[toonbly]

im gonna rip apart the mystery genre with my teeth (said so so lovingly)