In 'Tár,' 'Barbarian,' and 'Glass Onion,' there’s pleasure in watching celebrities fall. alisonwillmore writes on how characters in the process of being canceled make for great material
While those comedies of affluence and awfulness provide opportunities to bask secondhand in luxury while sneering at its beneficiaries, there’s a defeatism running through them, an acknowledgment that, short of acts of God or apocalyptic violence, there’s no touching those people or toppling the structures they’re perched at the apex of. The characters inmay seem to enjoy a similar degree of privilege, but they’re not untouchable.
Chalk it up to the difference between the genuinely wealthy and merely famous: Money doesn’t care if you’re despised. These characters may be well off by normal standards, but they’re still only rich-adjacent, which turns out to be a precarious position once things start going bad. Birdie, having already gone through one downfall, is ready to trade in the remains of her reputation and take the bullet for her company’s labor violations in exchange for a payout from her biggest investor.
In each case, their crimes mostly take place offscreen, which helps these movies get away with treating their characters as the stuff of dark comedy. But guilt seeps in at the edges.
It’s natural to want to understand the everyday monsters so many of us encounter in less glamorous form, to process them into fiction. But the stickiness of movies likewhich have lingered in the cultural conversation, is also a reminder of how much easier it can be to tell stories about violators than ones about their victims.a staid drama about the breaking of the Harvey Weinstein story, languished in theaters this past fall, somehow seeming both too soon and too late.
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