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The Story Is Far From Over

@seaglassdinosaur / seaglassdinosaur.tumblr.com

AroAce
Living my life and rolling with the punches. Trying to be the best version of myself.
Onward.

no one asked. but i simply don’t think that the version of the long walk/the major/society presented to us in the film would ever allow for a ‘two winners’ scenario. 1) it goes against the whole premise of the thing - all the speeches we hear from the major are focused on the idea of it being a meritocracy, “anyone can win” through determination and Hard Work, an inspiration to combat an “epidemic of laziness”, the themes of pitting the working class against each other to keep them weak and divided - anything that allows there to be more than one winner, especially in a context where it’s for the purposes of letting ray live, deeply undermines the whole institution, which leads to 2) i don’t see the major (and the state he represents) allowing themselves to be undermined that way i think it goes against the Themes of the thing (thinking specifically of the scene before stebbins dies where ray yells at him and the major is like that’s the spirit boy!! like you may think you’re being subversive but you Lost the moment you agreed to walk. you’re playing the major’s game he has All the power and he is not going to give you capacity to change that. you cannot dismantle the system by playing by its rules)

all that to say. i do think you can do a “ray is pete’s wish” scenario but i think 1) he needs to very explicitly Not be a winner 2) it should be a bit of a monkey’s paw situation. i think often of the scene at the very beginning of the film where ray hands over his ID and doesn’t get it back. give me perhaps a scenario where ray can Live but (because the walk needs to retain his power) he is essentially Unpersoned and (in the eyes of the state) reduced to Pete’s Wish. let’s get crunchy with it

Something I love in Sinners is how they play with the idea of ancestors and descendants. There's this impression I got from the Juke scene that the spirits aren't literally related to those they dance and play with. How could they be, when nearly the entire Juke is wiped out come morning?

Instead it suggests that our descendants are not just those related by blood, but also those who we're connected to culturally. Those who share something with us, and perhaps without knowledge of each other, have been impacted by one another. Those we have influenced directly and indirectly.

It's this beautifully expensive idea of family that white supremacy culture isn't fond of recognizing (in fact, it runs counter to the exclusively biological bonds promoted by white supremacy culture) but it is so valuable and healing. It contributes to a perspective of interconnectedness, and communal responsibility.

This requires us to ask: Who is a part of our circle? Who do we consider to be our family, our relatives, our community? How do we contribute to them, and how did the people before us do that for us? It creates a greater appreciation for what it took to bring us to where we are, and instills us with the desire, the duty, to make things better for those who come after.

My biggest gripe about people comparing the 28 Years Later to The Last of Us or The Walking Dead, is that 28 Days Later was literally the blue print. You can literally see how it inspired the other two franchises, and people wanna pretended like 28 Years Later is copying them when this franchise was one of the first.

Hank clinging on to Art and not wanting to die alone. Not out of any selfishness, he's not in the right frame of mind for that kind of thought, but simply because he doesn't want to be alone in his most vulnerable moment. He wants someone to hold him, the small comfort of human contact at his end. And the Walk denies him that.

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