#do you like onions?

[earththings]

[the-mad-prince-of-denmark]

Can’t decide what’s funnier- Benoit Blanc meeting his husband during a high stakes murder mystery or Benoit Blanc meeting his husband at like, the grocery store

[fritzllang]

honestly I think hugh grant lucked out with his glass onion role. a couple hours of shooting at most, no press work, no interviews, and he gets to be remembered by everyone as famous detective benoit blanc's live in sexy malewife

[cheddar-baby]

You know im all for The Fountain, i think its a masterpiece but i hope more non art people also know Duchamp for his other work. Like Nude Descending a Staircase No.2 is one of the most striking paintings ive ever seen.

[mobius-m-mobius]

ma'am he’s gay

[sarcasticmudkip]

Listen it might already have been said but the thing that makes Knives Out and Glass Onion distinct and great compared to mysteries with Sherlock Holmes or Hercule Poirot is that they are both very importantly not focused on the detective.

Benoit Blanc is an great character to be sure, but the journey is focused on the injustice towards the victim. The thing that drives the movie with the thirst and want for an answer is NOT in the pursuit of showing off how smart and intellectual our main detective is, but instead is driven with the pursuit of showing off the compassion and humanity of the main character WHICH is NOT just the detective, but also the victim.

The inherent cold, factual apathy that is present not only in many typical fictional detectives, but in the very nature of our obsession with crimes and mysteries--whether it be a TV show highlighting a detectives’ intellect by showing how little they care for emotions, or a documentary on the “insane brilliant psyche” of a real life serial killer. The FOCUS is always on the crime, on the murderer, on the unfeeling facts and sciences that “must always lead” to an eventual answer.

And that is why it is so refreshing when these movies subvert these tropes, not just on the surface level of telling you who the killer is midway through, or making a perfect crime look idiotic. No, it’s also that they change the very object of desire and that it is not just looking to see who the killer is, but to see who the victims are, and where the justice is. It’s about the victims and their pursuit of closure when the justice system fails them! It’s about the detective being a caring human being instead of a knowledge machine! It is about how there is more to the crime than just solving the crime! but also yeah the movies are good because benoit is gay with hugh grant that too

[thestalwartheart]

i know we all love benoit blanc because he's charming and hates assholes and is gay and solves crimes, but you must understand there's another side to his character that is exceptionally important to me...

he is a little bit of a bastard.

[powdermelonkeg]

Okay but given that you can make alcohol from just about any plant, a world built around Minecraft could have SUCH a liquor cabinet.

You’ve got your basics, the potato and wheat vodka, gin, whiskey, then rum from sugarcane or beet sugar if you’re feeling a little adventurous.

Then you’ve got the fancier things. Dandelion and melon wine, spike vodka, pumpkin liqueur, applejack. Zhuyeqing jiu and chocolate liquor if you REALLY want to go for the cool stuff.

You’ve got mead and all kinds of moonshine, everything from carrots to kelp to sawdust brandy if you live out in the Badlands. Sunflower and rose spirits, lilac wine, even milk liquor and advocaat if you want to deviate from plants a bit.

But then you’ve got the plants that don’t exist in our sphere.

Chorus liqueur, dripleaf absinthe, glowberry champagne and sweet berry wine, glow lichen beer and crème de spore blossom, golden apple cider, glistering cordial. For the truly danger-seeking, wither rose lanique.

[grimlykid]

No because I NEED to know what happened to Trooper Derol Wagner between these two films

[palin-tropos]

in my opinion, disco elysium writes its leftist characters to be flawed and their choices can be interpreted as wrong not as some kind of test of faith for the audience where if you say “hey that thing they did or said was wrong actually” then you failed and are a bad player who missed the point

I think it’s a game that wants to speak to the complexity and nuance of being a leftist and seeing the world that way. it wants to bare its soul. it expresses its opinions strongly but doesn’t doggedly seek to control the audience’s thoughts and morals. it seems to value emotional authenticity over brute ideological power. and that’s good

in giving the player the space to doubt, critique, get angry at, and question the beliefs and choices of leftist characters, but also giving them a world that is fundamentally structured around a leftist analysis, it’s inviting them to spontaneously engage in leftist discourse. I think it’s an intended part of the game

[starflungwaddledee]

i am probably going to regret going down this rabbit hole but.... what programs are the go-to for playing around with animation these days? just for fun.

[finleycannotdraw]

BENOIT BLANC!!! IS FUCKING GAY!!!!!!!!!!!!

if anyone wants my take on phillip I will happily provide it

[lunarharp]

just getting to know them again

[icewindandboringhorror]

I thought that these inner sections of a pomelo peel thing kind of looked like flower petals with their coloring, so I left them out to dry for a few days, and then glued some of them together to make little "flowers" to hang in my window.

[benoits-neckerchieves]

He is the absolute cutest 😭😭❤️❤️

Daniel Craig at the “Lara Croft: Tomb Raider" premiere, Los Angeles, 11/06/2001. Source: danielovemail on X

[even-disco-baby]

YOU — “No. There is still a chance.”

DOLORES DEI — “You think so?” Her voice is weary.

EMPATHY — Everything about her is weary. She is the Innocence of weariness, of heroically borne suffering.

CONCEPTUALIZATION — That is the picture you have painted for yourself, at any rate.

YOU — “You looked back. That’s the memory, the moment, that I can’t stop returning to. You looked back. I had a chance, for just that moment…”

DOLORES DEI — She meets your eye, gaze still forever cast back over her shoulder. Time stops. The stars are stilled, the ocean silent. There is *nothing* beyond this memory. Nothing at all. All of infinity is contained in this single moment when anything and everything was possible.

“Oh, Harry…” She sighs, soft as eiderdown. “We never had any chance.”

And just like that, the wave of time collapses under its own weight, obliterating everything. This moment was six years ago. She is gone from here. Gone, gone…

PAIN THRESHOLD — You cannot leave. There was nothing outside of this moment, and now there is nothing at all. It’s all gone. There is no point. I’m sorry. I can’t do this any longer.

VOLITION — Please, don’t say that…

“Okay. Well, fuck me, then.”

“How would *you* know?! You gave up! You didn’t even try!”

“We *must* have had a chance, at some point… Doesn’t everyone get a chance, if nothing more?”

“How could you say that…?”

DOLORES DEI — “Because it’s true,” she says, matter-of-fact. “There is no moment in time that you can turn back to, no branching paths, no infinity. There is only what happened. I looked back… and then away.” She closes her eyes, turning her back to you.

“The moment ended. *We* ended. That is all.”

SHIVERS — A wave crashes against an unseen shore, ocean spray tickling the back of your neck. You shiver, but no one shivers with you. You are alone in this intersection. Why are you here?

“Why can’t *I* end?! Why can’t this all just stop? Please, make it stop…”

“Ended? I’ve barely even started! I got a chance to start completely over as somebody new! I don’t need you anymore! You’re just dead weight to me now.”

“No. That wasn’t the real ending. We’re a part of something so much bigger than this intersection, telling a story that encapsulates all of history! There’s *more* to this, it *means* something.”

“Then… What am I supposed to do now…?”

DOLORES DEI — “No, Harry.” She turns back to you again now, and she looks… sad.

“We were not metaphors. We were people. Our narrative was not intelligently designed. It simply followed the patterns of history, because those are the only patterns we *know.* We tried to create something new, but we failed. There is no narrative reward for our failure, no satisfactory ending. There is only the immutable past and the unknowable future.”

RHETORIC — There is no assurance of what is good or deserved or what may bring relief. There is no assurance of punishment, either. There is no assurance of anything. Not even of a future. I don’t know what to say to make this bearable.

VOLITION — Even so… As long as you live, *something* is promised. Can you live with that?

I can’t, I just can’t do this anymore…

I can. It’s enough.

I don’t know. I just don’t know.

I can at least try for a little longer…

VOLITION — That’s all I ask. That’s enough.