My phone buzzed at 5:07 a.m. Monday morning with a text from a friend who was in India with his wife and son. The text read: “As Luke Perry goes, so does the world.”
I was too groggy from the sleeping pill I’d taken to respond, but I remember registering awareness that Luke Perry was sick. Then again, I could have been dreaming. It wouldn’t have been the first time Perry had visited me in my sleep.
This weekend sees the release of M Night Shyamalan’s Glass, the long-awaited follow-up to his 2000 superhero drama Unbreakable and his 2017 thriller Split. Like Unbreakable, Glass is interested in deconstructing the figure of the comic book superhero (and supervillain), calling attention to the tropes of its own genre while placing them in a larger historical and pseudo-scientific context. But whereas this meta-narrative examination felt fresh and exciting in Unbreakable, it now proves to be an utter bore.