I remember positing what I called the Nancy Drew rule growing up--who is always around but never suspected? After that, certain mysteries became almost boring because I could call the twist villains so early. 🤣
There's an awesome plot twist in the denouement of the 1987 film NO WAY OUT, starring Kevin Costner. It's satisfying because multiple, subtle clues are scattered throughout the film.
Yes, it is an excellent film. If you haven't seen the 1948 film THE BIG CLOCK, I recommend that as well. THE BIG CLOCK and NO WAY OUT are both adaptations of the same novel.
My biggest gripe with modern “plot twists” is that they aren’t really twists and more like reasons to go “tehee, he/she was really GAY the whole time!”
There was a trope in the 2010s were the straightest of straight characters, bedding 1000 of the opposite sex wouldn’t be safe. All it’d take was the half a second lingering gaze of someone of the same sex and in five episodes, they’d be sodomizing in bed. None of that ever progressed the plot or added value. It was just to check off a box for the woke overlords.
Real plot twists should be a genuine surprise but a believable one. I think about how people point to Commander Rourke from the film Atlantis as a surprise twist villain. Gave no signs at all during the movie, but it was easy to establish his motives and nothing about the big reveal was unrealistic.
I remember positing what I called the Nancy Drew rule growing up--who is always around but never suspected? After that, certain mysteries became almost boring because I could call the twist villains so early. 🤣
Honestly at this point it might be a more shocking twist if the obvious suspect turns out to be guilty after all.
Right?!? 😂
There's an awesome plot twist in the denouement of the 1987 film NO WAY OUT, starring Kevin Costner. It's satisfying because multiple, subtle clues are scattered throughout the film.
One of my favorite film mysteries--and very well acted, I think!
Yes, it is an excellent film. If you haven't seen the 1948 film THE BIG CLOCK, I recommend that as well. THE BIG CLOCK and NO WAY OUT are both adaptations of the same novel.
"The best writers hide their plot twists’ importance, not their existence."
Useful for understanding clownworld mass-media, as well.
In short: the twist doesn't happen at the end. The twist happens at some critical early point, and thereafter the story is colored and shaped by it.
"Then in the last chapter, the gardener who to that point served as window dressing confesses out of the blue."
My Node of Perversity: No, no, no. The gardener kills the investigator and absconds into the blue.
My biggest gripe with modern “plot twists” is that they aren’t really twists and more like reasons to go “tehee, he/she was really GAY the whole time!”
There was a trope in the 2010s were the straightest of straight characters, bedding 1000 of the opposite sex wouldn’t be safe. All it’d take was the half a second lingering gaze of someone of the same sex and in five episodes, they’d be sodomizing in bed. None of that ever progressed the plot or added value. It was just to check off a box for the woke overlords.
Real plot twists should be a genuine surprise but a believable one. I think about how people point to Commander Rourke from the film Atlantis as a surprise twist villain. Gave no signs at all during the movie, but it was easy to establish his motives and nothing about the big reveal was unrealistic.