also huge fan of the fact that benoit blanc uses an old timey bathing suit. like first of all yeah that fucking rules and is very gender of him. but ALSO like.
its daniel craig. he was JAMES BOND obviously hes been shirtless in a movie before. he literally wanted to be shirtless in this but rian johnson was like, no i dont think so. and frankly THANK FUCK.
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The way in Knives Out that the entire Thrombey family constantly subjected Marta to racism for years ranging from micro aggressions to outright threats of deportation, that she knew all their fucked up dirty laundry and how they all were constantly exploiting Harlan's wealth, that they excluded her from Harlan's funeral and each blamed everyone else for it, and that they immediately dropped all pretenses of condescending civility when the will was read, yet she spent almost the entire movie sympathetic of them and wanting to gift them the fortune Harlan left her before finally standing up for herself in the last hour
Vs
The way in Glass Onion that Helen outright hated the entire "disrupters" group for at least ~10yrs before the movie even took place and made her opinion explicitly known, that her acting as her twin sister being jilted was so easy to maintain because she hated the entire group so much, that she didn't at all humor their extremely conditional "comradery" with her cause against Miles, and that in the end when everything was said and done she didn't stick around to watch them all turn on each other because it didn't matter anymore if they did or didn't
Marta's kindness got her the house.
Helen's justified fury burned Miles' down.
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There being two movies now in the Benoit Blanc world, and both movies sharing some recognizable tropes and archetypes to build its flavor, there’s a specific type of character that I’m struck by, particularly as a white woman, in both Knives Out and Glass Onion:
The Sympathetic White Woman.
In KO it’s Meg. In GO it’s Whiskey. They both bond with the (WOC, very important to emphasize) protagonist by being less crappy to her than the rest of the cast, and both signal to the audience that they’re trustworthy as far as the protagonist goes. They tell the protagonist that they’re on her side. They try to be supportive. They’re sympathetic to the audience.
Then comes the moment when the Sympathetic White Woman’s security is threatened.
(Brief added interruption to just say: please dig through the notes and replies on this baby for some additional excellent thoughts from other people, including the very important distinction that Marta is a white Latina and not a woman of color (my mistake thank you for the corrections), and more thoughts on Whiskey’s actual/additional betrayal moments!)
For Meg, it’s her mom telling her she has to drop out of school if they don’t get the inheritance money. For Whiskey, it’s Duke dying. In both cases, the protagonist reaches out—Marta tells Meg she won’t let that happen, she’ll support Meg with whatever money she needs; Helen tries to soothe a hysteric Whiskey by telling her she doesn’t need Duke and he deserved what he got (not realizing Duke is dead, of course). It’s a slightly different moment in each movie, but the basic framework is the same: the woman of color protagonist reaches back to the Sympathetic White Woman, and notably, reaches DOWN, offering the support the Sympathetic White Woman offered earlier.
Only…the Sympathetic White Woman was never intending to be the one the protagonist had to reach down to. So she snaps. Meg tells her family about Marta’s mother and they use it to threaten her. Whiskey latches onto the belief that Helen killed Duke and tries to kill her with a spear gun in what she thinks is self-defense. The Sympathetic White Woman Heel-Turn.
Meg and Whiskey both also sort of try to make amends after their Heel-Turn moments, but…the trust is already broken. The protagonist knows better now. The Sympathetic White Woman is not to be trusted.
Why this sticks out to me personally is the very obvious callout that feminists of color have been making about white feminists for literal decades: that white feminism lacks any true support or compassion for non-white people, that it’s empty promises of support and when the chips are down, white feminism upholds whiteness over feminism in an act to protect itself. And whiteness…is a damn difficult thing to even see when you’re white and raised in an overwhelmingly white community, let alone begin to pick apart and unlearn. It’s reactionary, how Meg and Whiskey turn on Marta and Helen to protect themselves.
It would make Meg incredibly vulnerable to support Marta fully, the way she promised to back when she thought she had the resources for it, but Marta is that vulnerable every day just existing as a Latina woman in America. Whiskey’s Heel-Turn moment is a little more immediate trauma based, but when looking for someone to blame, she doesn’t hesitate to blame Andi (Helen), scrapping together the few pieces of information she has—Andi hates all of the Disruptors, Andi got screwed over by them, Andi fought with Duke just minutes before he died, Andi was in their shared room tearing it apart when Whiskey came in distraught. She’s looking for an outlet. There’s Helen red-handed and in view. Boom. Whiskey grabs the spear gun instead of talking it out with the person she admitted just hours ago to feeling sympathy for.
Growing up white and steeped in whiteness causes defensive reactions when that whiteness is brought up, or, god forbid, challenged. It’s a knee-jerk thing for people who haven’t begun to deconstruct it for themselves; even for people who have, to see just how far and deep in American society that reaches is troubling. Humbling. Enraging. The Sympathetic White Woman archetype is, to me, a warning to not let whiteness overrule sense and morals. To be smart about it. And, crucially, to check myself for condescension, especially when interacting with non-white folks in any capacity.
(Also why the presence of Benoit Blanc is so important. He is also sympathetic, he also offers his own support, but crucially, he just uses his whiteness to clear a path for the WOC protagonist to take her place and do what she needs to do. He doesn’t speak over her, he doesn’t turn on her, he just listens, and presents the truth for her to do with it what she will. Or, in one case, hands her highly volatile crystal hydrogen for when she’s really ready to tear the Murderer’s crap down.)
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Of course I love how Benoit Blanc is so shamelessly, fabulously, himself. How he’s gayer than a tree full of monkeys on nitrous oxide [GNU Terry Pratchett]. How he doesn’t hide that his brain is peculiar, for better or for worse. How he picks the cases he likes.
But I also love that in Glass Onion Rian Johnson shows us that Blanc can choose to be himself because he’s protected by his privilege of rich, upper-class, white man.
Which in turn leads me to notice how in both movies Blanc uses his privilege to protect a working-class woman and a Black woman, but he always refuses to be their saviour. He just creates the conditions in which they can choose to be themselves and save themselves—and punish their oppressors.
[Edit: A couple of people pointed out that Marta is actually white, even if the Thrombeys would probably disagree. I’d add that Helen isn’t exactly working-class, she’s simply less rich than the Disruptors shitheads. Anyway: I apologise—I’ve edited the post.]
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Okay, very mild Glass Onion spoilers:
I really loved that Benoit Blanc was shown to be depressed during the pandemic. I've seen so many pandemic living jokes, and we all SAW what rich people were up to in the pandemic. Benoit's opening scene of him, depressed, in the bathtub, playing Among Us, badly, with his friends that are concerned about him, was really meaningful. And that it was his husband that told his friends that he was depressed also really felt good to me. Benoit is shown time and time again to be one of the most human characters in media today, because he's allowed to be bad at things, sing to himself when left alone, have supportive friends, and has limits.
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