Is Glass the Second Coming of M Night Shyamalan?

Pop Culture

Is Glass the Second Coming of M Night Shyamalan?

Illustration: Shruti Yatam


ut of context, the name Manoj Nelliyattu might sound like the clickety-clack of a keyboard in Silicon Valley, churning out lines of code for the next big disruptive ride-sharing app. But with the addition of the last name Shyamalan, you’re hit with a sudden jolt of realisation that feels all too similar to, shall we say, a twist ending. The Sixth Sense, Shyamalan’s debut feature film, offered a plot-warping mind enema of a finale that made “Kajol is the killer” look like an episode of Teletubbies, and hasn’t really been matched in the 20 years since.

Back in the ’90s, endings like these were de rigueur for cash-strapped directors when the X in SFX stood for expensive, and filmmakers had to rely on ingenuity and good old storytelling to make their wares stand out. At this same time, while films like Titanic, Waterworld, and Armageddon wowed us with their 150-million-plus budgets, we now look upon them as nothing but heavily censored shells of their former selves, relegated to Sunday afternoons and Christmas movie marathons, with a viewership of exactly 10 bored housewives with broken vibrators.