The dystopia it portrays isn’t a zombie apocalypse, but a world that is run by the mega-rich. Rian Johnson’s Glass Onion mixes all three of these elements together. It’s a harsh reminder of the times, but it’s an effective one. Movies like Kimi, an action movie that used the pandemic to raise the stakes on the protagonist’s agoraphobia, used the hallmarks of the pandemic to telegraph exactly when it was happening, much like a movie set in the past would use dated technology or retro costumes. Yet for those looking for that extra element of realism, a story set in a world affected by the pandemic, not a story centered around the pandemic, suddenly became possible. HBO MaxĪs the world found a tentative - yet still irreparably changed - sense of normalcy, movies were allowed to go back to “normal” too. Kimi used the pandemic as worldbuilding, not a critical theme. But does it do so successfully? Before we examine that, let’s break down the three approaches. Glass Onion, somehow, combines all three of them. Movies took a slower approach just because of their slower production schedule, but when we got our first glimpses of how the pandemic affected the silver screen, there were three clear approaches. The ultra rich, like the Roys, could afford to flaunt regulations. Succession, one of the most present and topical dramas in production, chose to ignore it altogether - but it makes sense. ![]() Other shows, like HBO’s Gossip Girl, optimistically referred to the pandemic in the past tense, even though it was in no way over. Medical serials like The Good Doctor and New Amsterdam quickly incorporated PPE and isolation into its serial drama. The question of how the pandemic would be handled on screen was answered first by television. But how does the shockingly modern whodunit handle the pandemic - and how could it be handled better? A perfect example of this is Glass Onion, Netflix’s follow-up to Rian Johnson’s Knives Out. While before theatrical movies were pushed to streaming, we are now seeing streaming movies get a shot in theaters. Now in 2022, there’s a big push for a return to the theaters, even though Covid isn’t eradicated yet. Movies were delayed, canceled, or sent to streaming. When there’s an airborne illness ruining and ending people’s lives, audiences aren’t exactly scrambling to voluntarily sit in a communal room with strangers. He is always cast as the psycho with no endearing traits whatsoever.The Covid-19 pandemic affected every industry, but the movie business was hit especially hard. As for the bad guy, I always like the Swedish Peter Stormare ( V.I.P.) but I would really like to see him play nuanced characters soon. Apa and Sofia Carson – did a really good job. Having said that, I do feel the actors in the main story – K.J. And, honestly, this part of Songbird feels a lot like a movie from the 1990s with one-dimensional bad guys and a street-smart guy that will do anything to save his girl. ![]() The main storyline is essentially a romance story. Also, this part of the movie didn’t feel as forced or heavy-handed as other storylines. These storylines offered many relevant takes on how people from different walks of life are forced to live under a pandemic. ![]() Also, I found myself invested in the one with Alexandra Daddario ( We Summon the Darkness) and Paul Walter Hauser ( Calls on Apple TV+). ![]() Especially the one with Demi Moore and Bradley Whitford ( Get Out). Songbird features several interesting smaller storylines that I really enjoyed. Strangely familiar – but not in a good way
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