Jordan peele says us’ twist ending leaves room for a sequel – polygon youtube gas pedal dance

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“This movie is about this country,” Peele said. “And when I decided to write this movie, I was stricken with the fact that we are in a time where we fear the other: whether it is the mysterious invader that we think is going to come and kill us and take our jobs, or the faction that we don’t live near that voted a different way than us. We’re all about pointing the finger, and electricity in indian villages I wanted to suggest that maybe the monster we really need to look at has our face. Maybe the evil is us.”

In terms of reveals, Us swerves left, swerves right, then barrel rolls from side to side before launching itself off a cliff Thelma-and-Louise-style. The reveal that Red and the other Wilson gas chamber lookalikes are not alone, but foot soldiers in a militia of revolting doppelgängers, is a gut punch. (The minute Us reveals Tim Heidecker #2 is up there with the oh-these-zombies-can-run moments in 28 Days Later — no one is safe.) Then we learn that there’s nothing magical about the tethered; like Get Out, there’s a pseudoscience basis for the horror scenario, involving secret clone experiments conducted in the abandoned tunnels underneath the United States. And it’s not just that there’s a double of every single American — they gas gangrene’re all synced to our movements. Or, that was the plan.

The real doozy of a twist is when Jason, Adelaide’s son, realizes that maybe his mother is “the evil twin.” We don’t have to rely on any diabolical grin (although we get one of those, too, for good measure): Peele flashes back to the first scene in the film, as a young Adelaide comes face to face with her double in a carnival house of mirrors, to extend the moment, when the tethered clone from the tunnels below actually swaps places with the “real” Adelaide. The clone has been living as one of us (hey, that’s the name of the movie!) the entire time, and at least in the final moments of the film, she’s getting away with her break out.

Us leaves the audience with a handful burning questions. Is there an end goal to the tethered invasion electricity trading jobs or was the faux-Hands Across America pose an ironic victory lap for a people who simply needed to disrupt the status quo? Where will the Wilsons go now that the country has been upended? Who was behind the cloning project, and what’s going to happen to all of those bunnies?

Though Us strikes a Shyamalan chord in those final moments, none of these questions require answers. The thematic inquiry is intact, and chilling. As the Wilsons drive off into the unknown, one can almost imagine Rod Serling gas constant for air’s voice-over kicking in to tie our now-knotted brain coils into a bow. Here’s how The Twilight Zone creator ended the episode “Mirror’s Image,” a story about coming face to face with your double, which Peele says inspired Us:

“I have the entire mythology of this world because the audience can tell if you don’t,” Pelle tells Polygon. “The electricity physics formulas choice becomes how much of that mythology do you reveal. The line that I’m exploring in this movie is a very difficult line. Some people might want less explanation. Some people might want more explanation. I’m trying to serve whatever your appetite is, but ultimately I’m trying to give enough context to be able to discuss and hypothesize about more. When it’s all wrapped up neatly and perfectly, it alleviates the fear. I don’t want to do it.”

For anyone who treasures Us’ ambiguity, the idea of carving out more of the who, what, where, when, and why of Red’s backstory may send a different kind of chill down the spine. But lest we forget the great electricity clipart horror sequels built on foundations of other terror that didn’t need to be explained: George Romero’s Dawn of the Dead, John Carpenter’s Halloween II, Juan Carlos Fresnadillo’s 28 Weeks Later, Chuck Russell’s ecstatic A Nightmare on Elm Street 3: Dream Warriors, and James Cameron’s genre-shifting Aliens.