Pop culture is devouring murder mysteries like “Glass Onion.” They reflect our current doubts about justice, honesty, and a harmonious society, writes Bonnie Kristian.
’s anthological sequel, with an enthusiasm far exceeding my anticipation of just about everything else this Christmas season.
And that’s not just about this one movie. I’m taking the first movie’s success, enough to justify a sequel, as confirmation of what I’ve been hoping for several years now: The golden age of is back, and just in time to assuage a cultural moment strikingly like the context of the genre’s creation.of detective fiction arrived a century ago, spanning the 1920s and 1930s. Arthur Conan Doyle was still pumping out Sherlock Holmes stories until 1927, and Agatha Christie’s inaugural Hercule Poirot novel,, arrived in 1920. The Detection Club assembled in London in 1930, counting British mystery greats including Christie, Dorothy L. Sayers, and G.K. Chesterton among its members.
Thus: No unmentioned clues or surprise twins. No detection via accident or intuition. No killer sleuths. No supernatural explanations are allowed, nor is resort to racist stereotyping and convenient attribution of the crime to an outgroup character. Golden-age stories are derided as “cozy” murders because these boundaries push the story into familiar settings populated by ordinary characters with whom readers can sympathize. But it’s not coziness for its own sake. The rules of the game—rather than a predilection for rich and/or British people in comfortable surrounds—are what often produces a village or manor house as the scene of the crime.
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