With Sully, the film-makers were faced with a problem: how to make a feature-length movie about a six-minute flight? They took the easy way out and invented an antagonist. As a result, the takeaway is that the NTSB – as I heard one person leaving a screening say – “tried to stitch Sully up”.
It’s not hard to see why this tack appealed to strident libertarian Eastwood. In its populist zeal, the American right wing has been increasingly unwilling to accept the legitimacy of any branch of federal government. Sully meshes perfectly with a worldview where petty and clueless civil servants obstruct real Americans from being great.
“And I slept. And slept. And slept. Until it was boring. And then I talked. Yelled. Screamed. And kept screaming. And I screamed and screamed. Someone would hear. Right? Someone would help? But… No one came.
And the screams… Started screaming back.”
I’ve been thinking about HOW the transformation took place? Was it gradual? Was he like that when he appeared in the anti-void? Or was it like an infection, slowly transforming parts of Sans until he wasn’t the same anymore?
Error!Sans (And the dialogue) belongs to @loverofpiggies and of course Undertale belongs to Toby Fox!
What I love the most about this is the role swap: as kids, it’s Stan who puts his arm around Ford so Ford would know that someone cared about him, and would always be there for him. And now as adults it’s Ford that’s comforting Stan in the same way. This gesture shows that Ford cares about Stan and will be there for him no matter what. Their brotherly bond has finally come full circle and I’m so happy for them.