Review
Culture
Film & TV
Monsters
Race
4 min read

Sinners is standout thanks to Ryan Coogler and his ‘no stupid people’ rule

A cleverly choreographed culture clash between the living and the un-dead.

Giles Gough is a writer and creative who hosts the God in Film podcast.

Two actors in 1930s clothes sit in an open car while the film director gestures towards them.
Delroy Lindo, Michael B. Jordan, and Ryan Coogler.
Warner Bros.

Coming off the back of Black Panther and Creed, Ryan Coogler fights off franchise fatigue with Sinners, a historical crime drama turned horror film that might be his most personal film yet. Set in 1932, Michael B. Jordan plays twin brothers returning to their hometown in rural Mississippi to open a juke joint. But a trio of guests, both unwelcome and undead, crash their opening night. 

Any film set in the Jim Crow era South following a Black protagonist can set off warning bells for savvy audiences. The blatant racial oppression can often bring with it a fair share of trauma porn. But that’s not what Sinners is about. For a significant chunk of the run-time, the film is downright hopeful. Jordan’s dual role as the brothers Smoke and Stack presents them as dangerous and driven, but also compassionate, responsible and endlessly charismatic – the type of figures who could easily become folk heroes. There’s a scene where Jordan’s Smoke not only employs a young girl to watch his truck, but also teaches her how to negotiate, doing himself a worse deal in the process. Watching them recruit musicians, cooks and sign-painters for their juke joint from the under-appreciated and under-paid is a compelling exploration of Black enterprise. 

As night descends, and the juke joint opens for business, this peek into Black enterprise turns into a delightful celebration of Black joy. Chris Hewitt of Empire magazine referred to this film as a ‘stealth musical’ and it’s not hard to see why. Almost every main character gets a musical interlude of some sort. The standout by some distance is newcomer Miles Caton, who plays Sammie, the guitar-playing cousin of Smoke and Stack, who they recruit as the centrepiece of their entertainment for the night. Sammie is at the centre of a musical sequence that will have you leaning forward in your seat in amazement at what cinema is capable of. This film brings with it its own mythology, telling us that there are people whose music is so transcendent, they are capable of piercing the veil between the past, present and future. Sammie is one such person, and his talent attracts everyone for miles around, including ancient Irish vampire, Remmick, played by British star, Jack O’Connell.  

Perhaps what’s unusual for a vampire film is that, as an audience, we’re having such a good time at the juke joint, we can almost resent the imposition of the vampires forcing themselves into the narrative. The racial parallels of these monsters might not be as obvious as the ones you find in Jordan Peele’s Get Out, but they are still there. Remmick, as the head vampire, gains the memories of each of his victims, and he wants Sammie’s abilities as a means to communicate through time with those he’s lost. (Yet another example of Ryan Coogler’s ‘no stupid people’ rule. Every character has a convincing reason for doing what they do, even the blood suckers.) The vampires here are drawn in by the music and can represent a white ruling class that wants to exploit Black music for its own purposes, in much the same way that culture vultures took music of black origin like the blues and rock, and popularised it with more palatable white artists like Elvis Presley.  

The sequence where the vampires themselves have a riotous, yet melodic dance in the dark, reminiscent of a rowdy worship session.

Perhaps another reason why vampires are such a popular monster to revisit in western culture is how they are a literalised inversion of Christianity. In the same way that Christians are promised an eternal life through the blood of Jesus Christ, vampires get immortality through drinking the blood of their victims. Even the rule where vampires can’t enter a private building without permission could be seen as warped version of the image of Jesus standing at the door of our hearts and knocking as shown in Revelation, the last book in the Bible. Vampires are a perverted vulgarisation of what it means to be a follower of Jesus and this, on an unconscious level as a society, might be why we find them so fascinating. The way the vampires use words like ‘fellowship’ to make their dark gift sound more appealing to those still inside the building suggests Coogler is conscious of this parallel. The sequence where the vampires themselves have a riotous, yet melodic dance in the dark, reminiscent of a rowdy worship session, further emphasises how music can bring people together.  

There are so many fascinating aspects to the film it’s impossible to mention them all, which might be deliberate on Coogler’s part, as he tells EBONY:  

“I wanted the movie to feel like a full meal, your appetizers, starters, entrees and desserts, I wanted all of it there.”  

While this does mean a sequel is unlikely, and some critics have complained of it being over-stuffed, it does mean that the film will richly reward repeat viewing.  

By now, Sinners will have no doubt secured its spot in many critics’ top films of the year. Ryan Coogler’s Sinners could so easily fall apart in the hands of a less skilled storyteller, but in the hands of one of the best directors of his generation, it absolutely sings.  

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Article
Culture
Film & TV
Politics
War & peace
5 min read

The story from a galaxy far, far away that's just made for these times

Andor holds up a galactic mirror to our media-saturated world.

Krish is a social entrepreneur partnering across civil society, faith communities, government and philanthropy. He founded The Sanctuary Foundation.

A montage shows the lead characters from Andor.

It’s an unlikely setup for success: a series set in a forgotten corner of the galaxy, a prequel to a prequel, telling the backstory behind Rogue One - the fourth highest-grossing Star Wars film. It’s a show with none of the original characters—no Darth Vader, no Luke Skywalker, no Obi-Wan. And yet, Andor has garnered widespread critical acclaim and fan appreciation. This Disney+ series has become the first true Star Wars content for grown-ups. 

Disney invested heavily in acquiring the rights to both the Marvel and Star Wars franchises, paying $4 billion for each. The returns have been massive—an estimated $13 billion from the Marvel Cinematic Universe and $11 billion from Star Wars. Yet, despite the financial success, something has been lost along the way: mediocre storylines, convoluted time-travel plots, and repetitive tropes have dulled the creative edge. 

But Andor stands apart. It offers something different—a grounded, character-driven narrative with rich, resonant themes that speak directly to today’s audience. 

Tyranny needs resisting at all levels

Andor follows a number of intersecting character arcs. Although the series is named after Cassian Andor (played by Diego Luna), a disillusioned smuggler turned Rebel Alliance operative, the story is much larger than a single man.  

As the Empire tightens its grip—both openly through military might and brutality, and in the shadows with a vast array of spies, surveillance, and an ever-expanding intelligence network—the need for resistance at every level becomes urgent. Those with a voice need to speak up while there is still a semblance of democracy and freedom of speech. Money is required to fund an insurgency and foot soldiers from all walks of life need to be found and prepared to rise and challenge the systemic injustice and rising imperial oppression. 

Enter Cassian Andor, orphaned at age six and adopted by Maarva and Clem Andor. His early experiences with poverty and oppression awaken something within him—something that solidifies when Clem is executed by stormtroopers. At the other end of the spectrum is Mon Mothma, born into privilege and political influence. Her arc centres on a moral crossroads: whether she will risk her status, her wealth, and her safety to support the resistance from within the halls of power. 

The relevance of Andor's message couldn’t be timelier. In an era marked by rising authoritarianism, disinformation, and increasing political polarization, the show insists that tyranny must be resisted at every level. It reminds us that democratic institutions are fragile, and silence in the face of injustice enables oppression to grow unchecked. Whether it’s fighting against despotic leadership, the erosion of freedom of speech, or systemic inequality, Andor suggests that the burden of resistance cannot simply fall solely on the heroic few. It requires people at every level of society to act with courage, integrity, and purpose before it’s too late. 

 Truth matters 

One important storyline in Andor is how the Empire constructs a moral justification for its actions through state-controlled, propagandist media. Good people can be manipulated, and truth can be twisted. In real time, we witness spin doctors denying or reframing the brutality unfolding around them—even as the Empire violently crushes a peaceful protest in Gorman. 

Showrunner Tony Gilroy uses every world-building tool at his disposal to draw parallels with both historical and contemporary injustices. For instance, the costuming of the Empire’s senior leadership and Imperial Security Bureau agents evokes eerie similarities to Gestapo uniforms. In contrast, the Gorman resistance fighters appear as if they’ve stepped off the set of Les Misérables, echoing the June Rebellion of 1832. They even speak in a French-accented galactic dialect, reinforcing the connection. 

It's difficult not to read this as a critique of how modern news outlets reframe and re-narrate global conflicts—such as the war in Israel and Gaza—to suit and shape their audiences. This agenda-driven reporting distorts facts and desensitizes viewers, often at the expense of those suffering on the ground. The complicity of the press in disinformation and facilitating or justifying atrocities, is contributing even today to ongoing humanitarian crises in places like Sudan and Gaza. 

In a supposedly post-truth era, Andor reminds us that truth still matters. The series holds up a mirror to our media-saturated world, revealing how outrage is manufactured, narratives are controlled, and reality is often mediated through selective storytelling. It challenges us to reflect on the reliability of the news we consume—and on our own role in questioning or accepting the stories we're told. 

Which side are you on? 

One of the most compelling aspects of Andor is its portrayal of parallel lives on both sides of the conflict. While much of the action follows Cassian’s transformation from smuggler to reluctant operative to key rebel leader, we also witness the rise of Dedra Meero—a driven, ambitious surveillance officer within the ISB, the Empire’s intelligence arm. 

Dedra begins as an underdog fighting workplace sexism in a male-dominated bureaucracy. But as her career advances, so does her capacity for cruelty. She becomes one of the Empire’s most ruthless enforcers, willing to sacrifice anything and anyone in her relentless pursuit of Rebel operatives. Her story is a chilling reminder of how authoritarian systems reward efficiency and zeal, no matter the moral cost. Ironically, her single-mindedness may end up helping the rebellion—her recklessness potentially exposes secrets about the Death Star. 

Throughout the series, we see similar tactics employed on both sides—surveillance, betrayal, sacrifice. The only difference is the larger narrative arc that ultimately vindicates the Rebellion’s cause. But in building complex, believable antagonists like Dedra, Andor shows us the banality of evil—how ordinary people, convinced they are doing the right thing, can become instruments of oppression. 

The question the series leaves us with is chillingly simple: in a world sliding toward growing injustice, which side are you on? 

Celebrate our 2nd birthday!

Since Spring 2023, our readers have enjoyed over 1,000 articles. All for free. 
This is made possible through the generosity of our amazing community of supporters.

If you enjoy Seen & Unseen, would you consider making a gift towards our work?

Do so by joining Behind The Seen. Alongside other benefits, you’ll receive an extra fortnightly email from me sharing my reading and reflections on the ideas that are shaping our times.

Graham Tomlin
Editor-in-Chief