I know there's no way it'd be canon but sometimes I wish for a Bingge that did love his wives.
A Bingge that remembers then all, holds them gently, runs his hand through their hair when they spend time together and kisses them both with passion and tenderness. On their forehead, the corner or their eyes and the edge of their lips all while laughing together.
A Bingge that, while on his travels, looks at flowers, animals, fabrics or jewels and thinks of a specific wife.
A Bingge that, despite it all, isn't happy. Sure he'd love them, but the way they love him doesn't spark the happiness he knows his love for his harem sparks in them.
So that's why, when he suddenly finds himself in a world so similar but fundamentally different to his, with a man that loves him just as he'd like to be loved oh how he falls. I want to think that's the reason why this Bingge in the extra wants to take sqq back with him, so he can love him and his wives like he knows they like and be loved in return like he wants to be loved and maybe then he'd be happy.
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listen there really was just something about how in the book, snow’s 3-page descent from hesitant lover boy to deluded psychopath happens entirely in his mind. lucy gray gives him no indication whatsoever that she suspects him, that she’s going to leave or betray him. he’s just sitting quietly in the cabin waiting for her to return when that seed of calculated suspicion, which he has needed to survive the capitol, takes a hold of him and chokes the life out of any goodness left inside him. it really drives home your terror as a reader that “oh my god did he kill her? did she escape? what happened to her? why would he even think that?” in a way that when the movie had to adjust for visualization it lost some of that holy shit this guy has lost it emphasis.
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Do you guys notice how when Shawn Fain, president of the United Auto Workers union, started planning a general strike, he did it by a) targeting his messaging towards unions with the ability to safely and effectively strike in large numbers, b) laid out a clear, actionable plan for those unions to follow (setting contracts to all expire at the same time, since many unions cannot strike while under contract), c) is using union contracts to set clear, actionable demands that can be met in order to gauge success and provide an end goal, and d) started organizing FOUR YEARS before the proposed strike date to give people the chance to plan accordingly, because it takes a really freaking long time to get tens of millions of people organized?
You notice how he didn't do it by slapping a message on Twitter saying 'hey nobody go to work on Monday, that'll really show 'em'?
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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.
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TW// Abuse implication
Thinking about possible Vox and Angel's interactions and how they'd go down. Theres such a unique mix of hatred to each other and common ground with their different experiences with Valentino, has me thinking.
Also just want to clarify I love Vox's character a LOT but ofc obv don't sympathise with him or think he is any way shape or form a decent individual, cant with stupid toxic dumbass x
AND IF YOU SEE ANY MISTAKES OR TYPOS NO YOU DONT- (i was so tired when drawing it forgive me TwT)
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