Peyton Dix

Wow. Wow. Wow. Wow. One scene in Sinners that gets a lot of attention that I think is kind of like the thesis and bedrock of the movie is the scene where Preacher Boy, Sammy, is like playing the blues in the juke joint. And then we get like it's like he's conjuring all of these spirits of like black past and black futures. We get like 80s rap sort of mix a lot kind of. We get like tribal music.

Wow. Wow. Wow. Wow. One scene in Sinners that gets a lot of attention that I think is kind of like the thesis and bedrock of the movie is the scene where Preacher Boy, Sammy, is like playing the blues in the juke joint. And then we get like it's like he's conjuring all of these spirits of like black past and black futures. We get like 80s rap sort of mix a lot kind of. We get like tribal music.

We get like Native American like music. What did you think of that scene? You found a cornball?

We get like Native American like music. What did you think of that scene? You found a cornball?

We get like Native American like music. What did you think of that scene? You found a cornball?

No, the voiceover was at the very beginning. That kind of set the mood for how there are people who can live and conjure two separate realities at once.

No, the voiceover was at the very beginning. That kind of set the mood for how there are people who can live and conjure two separate realities at once.

No, the voiceover was at the very beginning. That kind of set the mood for how there are people who can live and conjure two separate realities at once.

Wow. Geez. Sorry. Like, sit down. No, I love it. He's like, nope, Peyton. Relax. Just calm down. It's just a movie. Relax. No, I really liked that scene. Oh, really? I thought it was... I thought it went on for a little bit too long. Yeah. But I think it really... I don't know.

Wow. Geez. Sorry. Like, sit down. No, I love it. He's like, nope, Peyton. Relax. Just calm down. It's just a movie. Relax. No, I really liked that scene. Oh, really? I thought it was... I thought it went on for a little bit too long. Yeah. But I think it really... I don't know.

Wow. Geez. Sorry. Like, sit down. No, I love it. He's like, nope, Peyton. Relax. Just calm down. It's just a movie. Relax. No, I really liked that scene. Oh, really? I thought it was... I thought it went on for a little bit too long. Yeah. But I think it really... I don't know.

I think that Ryan Coogler has this way of like playing toward the cinema goer, but like also playing to like a populist end. And that he has like those, I think like David Fincher kind of has the same quality too. And Steven Soderbergh as well, where it's like you really, what a deft filmmaker who can make something that is incredibly entertaining, but also really thoughtful and artistic.

I think that Ryan Coogler has this way of like playing toward the cinema goer, but like also playing to like a populist end. And that he has like those, I think like David Fincher kind of has the same quality too. And Steven Soderbergh as well, where it's like you really, what a deft filmmaker who can make something that is incredibly entertaining, but also really thoughtful and artistic.

I think that Ryan Coogler has this way of like playing toward the cinema goer, but like also playing to like a populist end. And that he has like those, I think like David Fincher kind of has the same quality too. And Steven Soderbergh as well, where it's like you really, what a deft filmmaker who can make something that is incredibly entertaining, but also really thoughtful and artistic.

I thought that scene, it went on for a like it as like a thesis statement for the movie that is really about like straddling two worlds that happens with like the literal vampires also with like the actual racism And double consciousness of that. But I did. I think I felt how you were feeling with the post credit scene. Right. That one felt like, OK, we're putting a hat on top of a hat.

I thought that scene, it went on for a like it as like a thesis statement for the movie that is really about like straddling two worlds that happens with like the literal vampires also with like the actual racism And double consciousness of that. But I did. I think I felt how you were feeling with the post credit scene. Right. That one felt like, OK, we're putting a hat on top of a hat.

I thought that scene, it went on for a like it as like a thesis statement for the movie that is really about like straddling two worlds that happens with like the literal vampires also with like the actual racism And double consciousness of that. But I did. I think I felt how you were feeling with the post credit scene. Right. That one felt like, OK, we're putting a hat on top of a hat.

Yeah. Motherhood, I guess. I think there were some points of escalation that didn't entirely work for me where it's like the vampires just kind of disappear at the end. It's like, oh, it's daybreak and they're all done. Well, that's classic. They don't know what kind of time they're on.

Yeah. Motherhood, I guess. I think there were some points of escalation that didn't entirely work for me where it's like the vampires just kind of disappear at the end. It's like, oh, it's daybreak and they're all done. Well, that's classic. They don't know what kind of time they're on.

Yeah. Motherhood, I guess. I think there were some points of escalation that didn't entirely work for me where it's like the vampires just kind of disappear at the end. It's like, oh, it's daybreak and they're all done. Well, that's classic. They don't know what kind of time they're on.