In a 7.25 piece called “Tarantino Spoiler Policy”, I wrote that “I don’t know when it will be fair to start discussing the final 20 to 25 minutes” of Once Upon A Time in Hollywood “but I would think that an ‘olly olly in come free’ policy could be instituted as of…what, Monday morning? Is it realistic to expect that people will keep their yaps shut any longer than that?”
Owen basically says two things — that he doesn’t care for the ending at all, but that he also realizes that Quentin Tarantino had pretty much painted himself into an impossible corner when he decided to make this Hollywood-in-the-late-’60s, Manson-shaded film, and therefore understands why he did what he did. Because everyone would have been sickened by a recreation of what actually happened to Sharon Tate and her housemates on that horrible night, and that an alternative fantasy was necessary to make the film palatable.
I began predicting this narrative approach in early ’18, and in fact said the following in a 4.24.18 piece titled “Tarantino’s Not-Manson Flick Will Deal Escapist Cards“: