#sinners theory

[himbo-kronk-stan]

A fun interpretation of Remmick’s character is that while he’s not honest, he’s also not a liar. He meant what he said about the klan, he meant what he said about what he wanted, he meant what he said about believing in equality (just his equally).

This in mind, he could have made up a wife in his story for Bert and Joan to let him in, buuuuut

We know from that newspaper he came to America not that long ago and alone. So if there was a ‘wife’ she didn’t arrive with him.

In the opening monologue when talking about people who can make music so true, we hear Remmick’s voice when we’re told that in ancient Ireland they were called Filly, and we hear Sammie’s when they say that in West Africa, they're called Kriyats.

So okay a pattern, you know ware I’m going with this, when they say ‘in Choctaw land, they called them Fire Keepers’, we hear a woman’s voice. Given how much thought was put into the characters, I don’t think it’s a crazy stretch to theorize/hc that we heard the voice of the ‘wife’ he was referring to.

‘They took my wife’ could mean ‘I turned her and they killed her’ or ‘they stopped me from being with her by blowing my cover/turning her against me/ separating us etc. Fun possibilities.

The voice in that scene was provided by Jaeden Wesley, the daughter of Jay Wesley who was both an actor in the movie and department director.

[iamyourwayout]

So I finally got my hands on some deleted scenes (courtesy of the Remmick Discord🩷) and we see Bert playing a guitar and singing with Joan right before Remmick comes.

Which means they were singers and musicians already, and the instruments (that I assumed were stolen or something) actually belonged to them.

And it got me wondering about just how far Remmick's influence goes -- I assumed that via the hive-mind, his thralls would just absorb his abilities / talent just like they absorb his memories, but maybe that's not the case?

He does of course dictate what and how they sing, but do these abilities have to be there in the first place?

Later in the dancing circle, everyone knows the moves, but you can see (like with Cornbread for example), that not all of them are experienced dancers like Remmick.

It's just interesting to see that the control is mostly in the mind, and doesn't necessarily affect muscle memory and physicality in general.

[enticingmelanin]

Saw Sinners for the second time today. I must say I'm sad it's not in IMAX everywhere. There's a difference for sure, but it's still a masterpiece. I actually cried more this time around after having full understanding of the interpersonal connections and backstories.

Michael, Michael, fuckin Michael... I don't know what else to say. lol He played twins flawlessly. His chemistry with Wunmi and Hailee was perfect. I'm sure it was challenging and draining to do both, but he succeeded.

Sidenote... seeing it a second time has me FULLY believing Stack had a thing for Annie, but she was drawn to Smoke. No one can convince me otherwise!

They better do a clean SWEEP come award season. It's in my favorite films of all time list. 🥹

[altered-corp]

I keep thinking about Stack asking Smoke if he's gonna let Annie come in between them again. Because of you think about it: Stack had Mary, but not in the way that Smoke had Annie.

Which made me realize: Stack feels for Annie, the way Smoke feels for Mary. That is to say, they don't like the other. The only reason Smoke didn't drag Mary out of the juke joint after the flower conversation was because he knew Stack liked her, and wanted to give him the opportunity to handle it. And when Mary was turned, she only cared for Annie, not Smoke. She told Annie that after they kill everyone, they'll have heaven on earth. Stack was focused on Smoke, but wanted Annie to turn as well.

We see in Smoke's flashback that Stack was nice to Annie. He didn't hate her. Just didn't like that she got between him and his brother. Like he can understand wanting to be with someone else, but to go as far as (possibly marrying) them and having a child with them; well that's just taking it too far.

Stack didn't love Mary. Or if you think he did, it still doesn't change anything. He would never choose Mary over Smoke. Not like how Smoke chose Annie over him.

I wonder what it was like when Smoke and Annie got together. How Stack reacted to the baby, and her death. Do you think he was ever mean to her? Like, sutbly? Did they have to go through a period of getting used to each other before they liked each other? We know Stack loves her like family, he wouldn't have been so upset that Smoke killed her, otherwise. But that line just makes me think of all the ups and down the three of them possibly went through before they got to how they were in the movie.

Also, side note: do you think Annie had a mojo bag for Stack? Do we even know how he feels about hoodoo? We know Smoke doesn't believe in it, but still wears the bag. I wonder if Annie offered, but Stack refused. Which lead Annie to make a bag that protects the both of them. Or if she just never offered.

[modestabilaria]

SINNERS (2025) THEORY.

so i don't know if anyone touched on this before or no , but regardless i NEED to talk about it.

There’s that scene when Sammie returns to the church while his father is leading a mass (I think), and what struck me is how his father immediately knows what happened. He doesn’t ask a single question — no “What happened?” or “Are you hurt?” Even the people in the church seem shocked, but not in the way you’d expect when a boy walks in covered in blood, visibly traumatized, and with part of his face disfigured.

Instead, his father hugs him and tells him to let go of the guitar — calling it “evil.” We saw this earlier too, how strongly he opposed Sammie playing guitar or singing at all.

AND...then there’s the detail that the guitar originally belonged to the twins’ father.

So what if the twins’ father was like Sammie too? What if he used to play guitar, and summoned their ancestors, and in doing so, also awakened something darker — an evil presence. Maybe Sammie’s father and the twins’ father both went through something similar to what Sammie and the twins experienced, but survived it.

Sammie’s father turned to the church,While the twins’ father seems to have been consumed by his own trauma, his anger, and whatever psychological damage he was left with.

And maybe that’s why Sammie’s father is so determined to keep him away from music — THE EVIL.

[alethianightsong]

What if Remmick was once like Sammi? We know he can sing, dance, and play instruments so maybe he could commune with his people's ancestors and descendants too until a Christian vampire invaded and turned him, suppressing his Irish identity until his sire was killed or he killed him? It's heavily implied in the film that only the living can commune with ancestors and descendants via music, but maybe Remmick was a novice when he was turned so he never got the memo. Maybe in an AU he does turn Sammi only to realize that you have to ALIVE to be the link to the past, so while Sammi can still sing and play guitar, his performances are just like Remmick's where they're still good but lack the spiritual power to summon ancestors. That would be such a sweet irony. Remmick's been alive so long that he forgot what it's like to have your identity and ancestral connection forcibly taken from you and just repeats that trauma on the Juke Joint patrons without thinking. Sammi's playing and playing every night, trying to capture that feeling like what he had at Club Juke, but he can never transcend time again, never feel the echoes of those who came before and come after.

[thisiswasp]

The Smokestack Twins & The Clarksdale Bank Robbery.

I re-read the Clarksdale Herald article about the twins robbing the bank. I've been wondering about which twin did what. 

“Two masked men, both Black, stormed the bank—one took charge with smooth, calculated commands, while the other used violent force to control the room.”

When I read this after I first saw the movie, the words “smooth”, “calculated”, and “commanding” stood out.  At first, I assumed it was Smoke, because of his serious, practical, and no-nonsense disposition, and thought Stack was the latter, because he seemed more impulsive, and just likes to wing it, but I couldn’t really picture it. 

Upon several views, I think that it may have been Stack who smoothly commanded the room. Throughout the film Smoke inflicted most of the violence. He committed patricide, killed the snake, shot the thieves, threatened to shoot Pearline, pulled a gun on Sammie, and whacked him in the face, etc. 

Stack was a charmer, personable and charismatic. He persuaded Delta Slim and Cornbread out of their reluctance to take a job at Club Juke. It’s not that Stack is incapable of violence (he’s a WWI veteran and a gangster), it just doesn’t seem like his first resort. The most aggressive behavior we’ve seen Stack display was when he was locked in the room, under the influence of Remmick’s hivemind, and may have taken on some of his characteristics.

Basically, during the armed robberies, I just picture Stack smoothly demanding tellers to give him the money, with the implication of violence, while Smoke is watching his back, looming with the certainty of violence.

I love the little idiosyncrasies between the twins; Michael B. Jordan is fantastic. 

[faenguine]

am i the only one thinking about the ending when smoke kills the kkk?

like specifically, why he killed them. obviously they were kkk and those mfers deserve it, but i realised after letting stack live that stack wouldn't have had time to flee for shelter from the sun... he would have to stay in the juke joint.

smoke was legit protecting his brother from them too.

[aintnoloveintheheatofthesun]

A love letter to the brilliant, talented, lying ass, cheating heifer...Pearline 🖤

There is so much to love about this character. She is played by Jayme Lawson so jot that down.

I couldn't sleep after watching this film. Not only did she cheat, sing and kill in the space of 2 hours 18 minutes, she stole my heart, too.

Let's break this down sequentially.

Name

'Pearline' connotes something rare and beautiful. There's two elements I love about this imagery.

One - she is a shining vision in a sea of flesh. This reflects her performance on stage, where she is a sight to behold in a sea of moving bodies.

Two - she is linked to local history. For decades, African Americans found employment and even autonomy fishing oysters along the Gulf Coast. These oysters would be shipped around the nation; creating opportunity for black fishermen, chefs and entrepreneurs. Her names anchors her to the South, to black ingenuity and resilience.

Furthermore! Her solo reflects the idea that Pearline is deeply committed to her people. While Sammie wrote an original song that he had never shared before, Pearline sings a lively song where everyone could join in.

When she thumps in time with the twins' violence, I feel like that emphasises her carpe diem nature. You cannot reach the valuable part of an oyster without exerting physical force. Before we reach the climax of the song and see Jayme Lawson in all her brilliance, a sinner in the back room takes several blows to the chest. Since this takes place during the Prohibition Era we can assume that she is no stranger to violence or crime.

Look

Damn, this woman is fine. Her skin was so well lit in the film. The night scenes when she was sweating on stage (and on that table) had her looking radiant. The beat was flawless and the hair worked!

Fits

The Clarksdale train station look will always be a favourite of mine. The white fishnet gloves, the floral earrings, the dark hat with flowers at the back and the floral print dress ate down. I'm just glad Sammie saw the vision.

Her light green, silk number in the juke joint made sense. We even got a new accessories  on stage, she can be seen in her wedding ring, different dangling earrings and a shiny cuff. The matching scarf was the perfect touch and them shoes!! Lord. They took 'Pale, Pale Moon' to the next level. Speaking of that that song - I am obsessed. It went triple platinum in my house last week. Brittany Howard and Ludwig Göransson devoured.

Love interest

That introduction after Pearline first watched Sammie play did it for me. There were fireworks between them!! Only to be followed up by

"You gonna sing?" "We'll see where the night takes us"

My goodness me. This woman really said I do what I want. She walked all the way to that juke joint, got her pussy ate, and sang like never before.

Queen shit.

Character arc

We first meet Mrs Pearline in the golden light of day. She looks calm and curious; eyeing up Preacher Boy. We then learn more about her tastes (in terms of sex, music, choreography and aromatics) before seeing her in action (killing these undead motherfuckers with Annie). She starts off reserved and mysterious and later proves herself to be brave and self-assured. Her dance style is sensual, animalistic and free. Clearly, this is not her first time performing for folks in a place like this; unlike Sammie. He has only ever sung at church and on Delta Slim's territory.

Speaking of Preacher Boy! She stands side by side with him, guarding the room where they are holding Stack. She calls Smoke evil to his face when he threatens to kill her over some garlic. She shoots at vampires, stakes motherfuckers and fights to the bitter end. My girl has ice in her veins.

Background

A massive thank you to professional dancer and cultural historian Melany Centeno for her breakdown video on YouTube explaining all the ancestors in THAT scene. She found that Ahmari Vaughn played Pearline's ancestor. This dancer was dressed in Hamar cultural wear while doing traditional Nilotic dances. The Acholi people are a Nilotic ethnic group found in Sudan and Northern Uganda. They have dances like Larakaraka and Bwola; which emphasise female agility and elegance.

Also credit to Walter English. He created this reading list inspired by Ms Pearline. It explores some brilliant Black Feminist literature and historical archives.

Thoughts on the actress Jayme Lawson deserves every good thing in this world. I love this character that she has brought to life and I thoroughly appreciate how messy, beautiful and real Pearline is.

Favourite quotes by her

"Y'all are cousins? I thought you were a nice young man"

"What was in that jar?"

These quotes represent the 'fuck it, we ball mentality of Mrs Pearline. When she learns that Sammie is related to the twins, she doesn't run out of that place - she spends even more time with him. I love that for her. There's no doubt she has heard rumours of the Smoke Stack twins not-quite-legal employment history. Rather than seek the company of upstanding black folk in Clarksdale, she goes even deeper into this mess.

For the second quote, I love how Pearline is actively working to figure out how the hell they can survive. The criticisms of her character as a jezebel are not completely unfounded however this line changes things. She is a woman who feels trapped in her marriage, just like how Sammie feels trapped in his father's church.

While she is very comfortable in her sexuality; she is not defined by it. She gets head from Preacher Boy, with her wedding ring on. She performs with reckless abandon on stage to an adoring crowd.

Siren, sure. Jezebel? No.

Mrs Pearline is not a sexual object with no thoughts, no ambitions for herself. She understands that in 1932 Mississipi, the sale of alcohol is illegal and she sings in a Juke Joint. She learns that this man she has just met has notorious, gangster cousins and she continues to seek him out. She finds out that they are surrounded by cold blooded monsters and she picks up a stake, then ties it to a shotgun.

The lovers' performance

I am calling it a singular performance because these two partners, idgaf. When Pearline arrives, Sammie dares her to play. She plays it cool and returns the dare. As he sings, she makes her way over and dances for him.

Them getting nasty in the backroom is the interlude. And finally, as she sings, he is in the wings, watching her with pure adoration.

Her musical number is just as powerful and vibrant as Preacher Boy's. Both of them are shown to be deeply rooted Southerners who love their people and the arts. They even stand up to Smoke in a similar manner. When Smoke tells Sammie to live a decent life, playing gospel music in the next town, Sammie refuses. Smoke holds a gun to his head. When Pearline hesitates to eat a clove of garlic, Smoke holds a gun to her head. Neither of them back down, even when their safety is on the line.

I saw an excellent post that explores the narrative development between 'I Lied to You' and 'Pale, Pale Moon'. It is a beautifully constructed journey that takes us from a coming-of-age musical to a historically accurate horror film. Sammie's song introduces us to his God given talent, while setting the scene for Remmick's self-serving, cult-like, pursuit.

Pearline's song is where the violence and the music begin to converge; namely when Pearline gets to stomping on stage in sync to the twins kicking a man in the gambling room.

In this scene, Sammie is admiring his woman and the juke joint patrons are singing in a chorus with her. This siren is at the centre of everything, in part because of her sex appeal, but mostly because of her passion and vocal abilities. The lyrics of the song even foreshadow the violent fates of these patrons. Sammie's music celebrates Black cultural contributions through past, present and future while Pearline's is a warning for what is to come.

Sammie is not the only griot in that place. The final credit scene features the gospel song 'This little light of mine' in which the lyrics directly contrast Pearline's song. Ms Pearline gets turned and becomes vulnerable to the sun so when she sings

Don't let it shine x4

Oh Lord

We learn that she is Sammie's equal and opposite.

In conclusion, Pearline is much more than eye candy in Sinners (2025). She is Sammie's narrative foil. She is a daring, formidable character who is about that action.

Favourite quote about her

'You so beautiful' - Sammie Moore 1932

No notes. Dude's right.

That whole scene had me like

[demonictacobeard]

Lilith, surprised when Adam’s contact picture shows up on her phone: Correct me if I’m wrong, but you’re supposed to be dead aren’t you? I felt the deal break months ago

Adam, who got sick of his and Lucifer’s UST last night and made a move: I mostly lived bitch, I just had to ask YOU PICKED THE BORING ASS BEACHES OF PURGATORY OVER SEX WITH THAT MAN FOR THE REST OF ETERNITY? WHAT THE FUCK IS WRONG WITH YOU?!

[bambilott]

Idk if someone already has said this or if this was already confirmed i only watched the movie once but I wholeheartedly believe that remmick had sammys ability to conjure up spirits and ancestors with music when he was alive and thats exactly what he was trying to do in the dance circle with all the vampires. He was desperately seeking community throughout the whole movie, but his performance felt more cult like than spiritual (unlike sammy’s).

[beargregor]

wait i'm curious, what makes you say that gregor doesn't like everyone else (if i read that post right)? just curious since i've never seen anyone else say that

i don't necessarily think gregor dislikes everyone else at lcb but i do think that gregor is an incredibly petty person that isn't nearly as close to the rest of the sinners and even outright dislikes some of them cough cough rodya cough cough which a lot of people just Refuse to see because he's as much of a doormat as he is. there's several examples i could get into to try and prove my point however i'll just focus on what i personally think to be the biggest ones.

additionally, this is going to be kind of long, so i'm adding a read more. read more! read it. sorry for being so wordy. i have several diseases.

Pt1. gregor is the type to try and get along at least decently with everyone, especially if he gets a good first impression from them.

this is less a point in favor of gregor's distance w/ the rest of the sinners and more just a contributing factor to it. once again there's several examples i could point to here but i think the most in your face one happened in canto I with yuri, as several people have pointed out. even before gregor comes clean about growing attached to her as quickly as he did because she reminds him of his sister, we get this interaction.

i'll go ahead and make the disclaimer now that i don't necessarily think gregor is the most reliable of narrators, especially when it comes to his feelings and interactions with most people, but from the way he acts when the topic of yuri comes up (and the way we still see him act even all the way up to c7, nearly a whole year after yuri's death) i don't see reason to question his sentiment here. gregor immediately got that aya and yuri were close, potentially even taking note of their traded belts, and went out of his way to get something nice for yuri despite hardly knowing her.

i feel like a lot of people have forgotten as much, especially since it's been so long since c1, but gregor actually spent a good bit of season 1 doing the exact same thing with the other sinners! gregor reads a connection between him and ishmael pretty quickly despite getting off to a rocky start

mostly because gregor can tell that ishmael is pretty sardonic in a very similar way to him. there's been multiple instances where ishmael and gregor have essentially expressed the same sentiment at different moments, most notably gregor's little argument after ishmael got shot with a decay ampule in c4

and ishmael's response to pilot talking about self-sacrifice in c5

i could go ahead and pull up more examples, but in general pm has gone out of their way to show us that gregor and ishmael are pretty similar, so it makes sense for gregor to assume that they're friends, right?

this will be pushpin 1. keep note of this for Later.

ishmael's only the first sinner we see gregor trying to do this with in s1, we also see him try it out with heathcliff, sinclair, and ryoushuu

he's tried to get along with charon, being one of very few sinners that we've seen actually try to establish a connection with her at all

even rodya, despite my insistence that gregor doesn't like her nearly as much as the fandom thinks he does

all of these seem pretty fine and dandy, right? sure it frequently leans towards self-degradation, micromanaging, and commiseration, but gregor can at least be pretty chummy with most of the sinners, can't he?

Pt2. hell's chicken was more than just comic relief guys please

i'm fully aware that this is quite the hot take, but i think hell's chicken deserves a lot more credit for character writing than the fandom gives it. hell's chicken gave us foreshadowing for several events, such as the donqui bloodfiend reveal

heathcliff's distortion in c6 (as well as hong lu's highly speculated distortion at some point in the future)

and ryoushuu and sinclair's continued connection by making him the odd one out on her team

which, hey! that implies something about gregor's odd one out, don quixote, too, doesn't it? yes. yes it does. that's pushpin 2. keep note of that for later.

speaking of pushpins, hey! that's pushpin 1!

splitting into teams is one of the major events in hell's chicken, and most of the sinner's choices are either motivated by very little, backhanded, or motivated primarily by not wanting to be on the opposite leader's side. i didn't include all of the picks, just because i feel like including most of them already gets this across, but i think gregor took one major thing from this: most of the sinners, when push comes to shove, will only side with gregor when they refuse to or can't take his opponent's side.

now, don't get me wrong, i'm fully aware that this is primarily intended to be comedic relief, but when gregor is being described as having his trust broken by ishmael or nearly crying because no one on his team properly sided with him for him, i feel like it's pretty fair to read into this.

something that i think is pretty important to remember in conjunction with this is that we know that gregor is the type to hold a grudge, both from his general attitude towards the G corp soldiers in c1 as well as his continued distaste for vergilius

even beyond the splitting into teams of hell's chicken, the sinners have given gregor plenty of reasons to feel bitter. i feel like this is something people have noticed but haven't really put a finger on, but it's kind of wild just how often the rest of the sinners make gregor the butt of the joke

and sure, we could argue that a fair few of these aren't really made with any ill intent. quite a bit of it could have been meant as harmless teasing, but with gregor being more sensitive than most, it coming from nearly all sides, and as often as it does? yeah, i think he's prone to taking it a bit personally.

Pt3. yes i do still think gregor was the third most important character in canto VII you guys gotta hear me out okay

of course, all of this leads up to the bit of the story i highlighted, doesn't it? c7? i totally get why people haven't really picked up on all the gregor things i did in it, seeing as they were mostly not *directly* said about him or by him.

personally, i think that gregor's distaste for talking about himself on any serious level and thus leading to him getting sort of "sidelined" narratively (which i take issue with that claim, but still. it's effective for getting what i mean across atm) is supposed to lead players to take a deeper look at the times gregor gets held up to other characters and compare and contrast what's being said about them by the matchup. as i showed earlier with his immediate latching onto ishmael, i think this is something gregor himself is at least partially aware of too.

so, that begs the question, who was gregor compared to in canto VII that makes me think it's one of the most critical pieces in understanding his character?

really, i'd like to avoid getting too lost in the analysis of this canto specifically, since i'd like to do a proper post about this later, but i figure i can bury the lede a little before doing it properly.

c7 features several characters being made to perform in sansón's play, acting out the relevant backstory for this segment of the plot. a lot of these characters have rather direct, degrading reasons for playing the roles they do.

outis, a character with an inflated ego who wants her journey to have a purpose, is made to play an aimlessly wandering villager with a single line.

hong lu and ryoushuu, two characters for whom families and the expectations placed upon them are likely going to play a major role, are made to play bloodfiends.

rodya, a character who resents her lot in life and is constantly shown to be eager to leave her destitution behind her and become someone special, is made to play a helpless villager that's too poor to even offer any money to the hero that saves her.

heathcliff, a character that has spent most of his life getting dehumanized by comparing him to beastly animals, is made to play a literal bear whose sole purpose in the plot is to get beat up and then quickly left by the wayside.

sinclair, a character that has two opposed parties essentially treating him as a macguffin to procure for their side, is made to play the character who was arguably the catalyst for this entire canto, not to mention playing a decently major role in ruina.

our star don quixote is made to play her father, the first kindred, but there's someone by their side the entire time, isn't there? don quixote's dear, steadfastly loyal companion. a character which don quixote has tasked themself with getting to come out of their shell?

hello again, pushpin 2.

gregor has been made to play our unreachable star, sancho. someone had to, of course. you can't really tell a story without it's main character, now can you?

now, i should once again give a disclaimer. i am not trying to say that i think adapting what happens to donqui/sancho in c7 to gregor is the road pm is going to take here, not only would that toe a bit past the line of foreshadowing, but it'd also just amount to rehashing that plotline again, which i don't think would make for a particularly exciting story.

what i DO think is that we can take a lot of the things that are said to either directly be the case for sancho and use them to inform how we see gregor.

and god, does playing sancho have some fucking implications for our favorite ossan archetype.

starting off, the earliest moment we get to see of sancho is quite literally her just waiting for death to take her in a pile of ashes.

which, i should remind everyone, is actually pretty damn close to what happens to gregor's literary counterpart at the end of the metamorphosis. gregor samsa experiences one final breaking point that pushes him over the edge and makes him decide to just wait for starvation to take him.

gregor and sancho both consider themselves to no longer be human, something which sancho goes out of her way to highlight repeatedly throughout the canto and gregor is quick to get defensive on her behalf for when outis starts really tearing into her

sancho spends quite a lot of this story denying herself the joys of community and friendship, despite knowing that, even with the rest of the sinners frequently making jokes at her expense and outright insulting her, they were things that she desperately craved.

and, while this is getting into my "outis is a red herring meant to distract us from gregor's eventual betrayal" theorizing, i also think it's worth noting for this discussion that sancho's fellow kindreds, her family, all seem to be under the impression that she dislikes them and ultimately her departure was an act of betrayal

and that, despite gregor being one of LCB's resident mood makers and attempted conflict de-escalators, one of the sinners that's most prone to making appeals to the bonds they've all forged together, only him and faust remained silent during everyone's speech

so yeah, i think there's quite a lot of little details and hints building up to the reveal that gregor's not quite as fond of everyone as he presents himself to be. i do think a lot of this ultimately comes down to gregor getting in the way of his own happiness, similarly to donqui, particularly because he's been frequently portrayed as something of a self fulfilling prophecy, especially by giving him as many christ allegories as they have by way of priest and garden of thorns. gregor is convinced that the rest of the sinners don't like him because he's not convinced anyone could like him, so he convinces himself that he hates them because why should he care if someone that he hates hates him too?

a lot of this ultimately ties back to my personal interpretation of what happens in the metamorphosis as well as my own theories regarding all the times gregor has made weird callbacks and references to lobcorp and ruina, but yeah. i think about this guy and his deeper characterization a fairly normal amount, i think.

to end this off i'll highlight one of my favorite little "gregor is fucking seething and trying so hard to keep it cool" moments, in the credits CG for c7 we see rodya teasing him by drawing a little horse on his window and actively pointing and laughing at it, which gregor really doesn't seem all too pleased about.

i personally think this ties into the other cruel part of sansón forcing gregor to play rocinante, which is the more literal "he's actually just straight up playing rocinante" side of things. gregor was quite literally made to play something less than human, less than even animal really, as he was reduced to nothing more than the shoes don quixote wore as she got to play the leading role. sansón directly makes jokes about gregor being nothing more than shoes in the play twice, which adds to this reading, i think.

this, imo, really plays into the adaptation of the metamorphosis! i've seen a lot of readings for the book that posit that, despite being the protagonist, gregor samsa can't really be considered the main character due to nearly everything he experiences in it being used to further his family's character development at his expense, which i think fits nicely with limbus gregor seemingly having the most said about him through indirect means by holding him up to other characters. also it's rodya carelessly making fun of His Big Major Insecurities™ again like she did in c1 which i always find fun. rodya i love you but god you're the worst.

[enticingmelanin]

Watching Sinners again… don’t judge me. 🤭

Something just crossed my mind while watching, there were so many ignored warnings and intuitive moments. The snake on the truck, Smoke suggesting they wait and open the next day, and Delta Slim asking if the juke would still be standing after that night because he could always count on Messenger’s to be there another ten years. Even the red paint for the sign and the 3 buzzards flying about the mill.

Like, imagine if they had waited until the next day like Smoke suggested. They probably still could’ve taken down the Klan, but honestly? I think the Klan would've just retaliated. Even if they managed to open successfully, the juke wouldn't have lasted long with the Klan constantly coming for them. Can't forget about the mob coming for the twins sooner or later.

As for Remmick, I wouldn't be too worried about him, Annie's the cheat code. They could’ve come up with a plan to trap and kill him.

Another thing… I still can’t stand Mary, but I do understand why she wanted to turn Stack and the others. It would’ve given her a permanent family, and after losing her mother, it’s natural to want that kind of connection. Plus, not being able to openly be with Stack? As vampires, they wouldn’t have to play by the rules anymore. I get it.

I don’t like how she went about it though. And I HATE that she had zero discernment and walked around acting like she knew every damn thing but yeah… I get where she was coming from.

[altered-corp]

A Random Sinners Thought

I wonder if this more qualifies as a head cannon. But I like to think that dying was the best thing that could've happened to Remmick. Him being turned into a vampire is what separated him from his ancestors. Which lead him to wandering the earth in search for a person who would give him the ability to see his people again. A person like Sammie.

So let's say Remmick got what he wanted and turned Sammie. One of two things could happen.

1. Even though Remmick and Sammie are now connected through memories, Sammie's power as a griot doesn't work for Remmick. There's no connection he has to the Irish man or the culture. So when he plays, Remmicks ancestors either can't show up, or won't. (This actually happens in the movie. Remmick is right there at the highest point of Sammies song, yet he's ancestors are no where to be seen).

You could make the argument that needing a connection wouldn't matter, as two ancestors show up for Grace and Bo, who don't emrrally know Sammie. And to that I say: yeah, but not really.

Sammie's song conjured up spirits of past and future. But all of those spirits were of African decent. The two Chinese ancestors are there because they know they're welcomed in that space. That's the "yes" part of my response. The "not really" comes in the knowledge that there were only two ancestors and from only one time period. I don't know if they're strictly from the past or future, but that's not the point. The point is that there's only 2. Similar to there only being two Chinese people in the juke. They know they're welcomed, but it still isn't necessarily "their place" to be there. So the ancestors show up to let their people know they're here for them. But not in a way that may seem over bearing.

So the reason this scenario doesn't work, is because Remmick has no place in the juke, let alone black culture, in any time period.

2. The second way things could turn out if Remmick turned Sammie, is that Sammie becomes like Remmick. Not only does Sammie become a vampire, but he's also cut off from his ancestors.

Remmick is in need of connection, specifically from his own people. But he knows he can't have it. So in his search of someone who can pierce the veil, he makes his own family. Biting to turn instead of kill. Filling a person's head with everything he knows of his culture. Making them participate in his songs and traditions. It's not the same. But every once in a while Remmick needs the comfort of his culture. And the only way he can get that now, is through forcing it upon other people.

When he turns Sammie (in this scenario), Remmick is unknowingly putting Sammie in the same position he's in now. Stripping Sammie of his ability to conjure spirits, and therefore damning the both of them to an eternity of being alone.

This is why I believe Remmick had to die to get what he wanted. And I think he even thought as much towards the end of his life. He looks to the sun, something he hadn't been able to look at, be in, enjoy in decades. He admires its beauty, even if just for a second. Allows himself to watch it rise. There's no running to shaded areas at dusk or dawn. And he's already burning so there's no need to worry about that. For the first time in a long time, and for the final time, he can see the sun.

And before he burns entirely, he thinks, "Maybe this is what's meant to happen." He's finally free of the thing that cursed me to be alone. Without it, he can see his family again. It may just be wishful thinking, but just like the prayer, it brings him comfort in his final moments.

The second possibly is what I believe would happen in a more cannon sense. I want them all to have a happy ending, even if they don't become/stay vampires. But if I had to put this in cannon, the second one seems more likely to happen, in my opinion.

[cheesyhobbit]

Sinners (2025)

[yaeggravate]

First, it's worth pointing out, Skirk doesn't use a Vision. Her powers come from the Abyss. But, in the interest of blending in, she camouflages it to appear Cryo-like in nature.

hey kaeya, why is your vision mirrored and missing two wings answer QUICKLY