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Melissa Barrera plays the new character Sam in the new Scream. Despite being new to the franchise, Sam has a surprising connection to its past.

The irony here is that the addition of new “generations” of characters means the stories of these franchises can’t end. They’re doomed to cycle endlessly, grinding up more and more people. The recent Star Wars trilogy that began with The Force Awakens in 2015 literally served as a revisiting of most of the initial trilogy’s ideas, themes, and memorable moments, now with a set of new, younger characters to carry us through. (Luke, Leia, Han, and Chewy were all still there, of course.)

Because these sorts of franchise films are often the main game in town when it comes to getting anything made within the studio system, all kinds of narrative baggage gets piled on top of them, in a way that becomes much more untenable within the world of feature filmmaking. If Sidney Prescott has survived five separate slasher movies and if Neo has died and been resurrected in his pursuit of ending the Matrix’s hold over those who would rather be free, their emotions start to feel alien and unrecognizable.

That potential distance has led to one of the more fashionable ways to describe big-budget storytelling right now: These stories are really about trauma. And, yes, if I had survived five separate slasher movies, I would be really, really traumatized. Part of the appeal of Sidney, then, is that we know she won’t let these events get her down. By the fifth movie, she’s treating hunting down a psycho killer as basically just a thing she’s gotta keep doing, like Meredith Grey at her hospital. Characters like Sidney and Neo are inspiring because of how they keep rising above what would crush most of us. (Also, Sidney can survive seemingly any knife wound, and Neo can stop bullets with his hands, both of which are also admirable qualities.)

But the legacyquel drags entirely new batches of characters into the central stories of the franchise, which ends up feeling slightly like a cycle of trauma perpetuating itself. If we accept that these stories are “about trauma” on some level (and I have doubts, but I’m going with it for purposes of this argument), then the continuation of the story is a continuation of the trauma. And if new people are getting dragged into the story, then the trauma becomes cyclical. Sidney and Neo aren’t spreading damage themselves, but by being in mere proximity to them, you’ll probably end up dead or horribly injured anyway.

The perversity of blockbuster suffering

There’s an occasionally overt religiosity to the ordeals these characters must endure the longer their franchises go. Neo and his love Trinity (Carrie-Anne Moss) are literally resurrected, after all.

But that religiosity extends beyond what the characters go through to the experiences of the audience itself. When the characters in a Scream movie argue about the rules of the genre and/or franchise they exist within, they present their arguments almost as ones over doctrinal differences. Being in a slasher movie is different from being in a slasher sequel is different from being in a slasher legacyquel, but we in the audience want to see the familiar beats of the story hit, like stations of the cross.

If it’s a Scream movie, we want some poor girl to die before the opening title, we want a collection of characters who get whittled down to a core handful, and we want there to be two killers working in tandem. You can subvert one or two of those things — the girl in the pre-titles sequence in the new Scream survives, for instance — but you can’t subvert all of them.

This endless procession through pain and catharsis, over and over, starts to take on the feeling of ritual. We sit down in our theater seats, we pull out our popcorn, and we wait for Sidney and Neo to do the things they do. If they don’t do them in exactly the way we expect them to, there will be angry outcry online, as The Matrix Resurrections (which inspired a lot of fan complaints) and the Star Wars film The Last Jedi showed. We want to know our faith has not been misplaced.

Amusingly, Resurrections and especially Scream write these ideas into their very text. Resurrections features a number of Matrix fan characters, one of whom turns out to be a most likely unwitting dupe of the movie’s main villain. And the big bad in Scream is literally a toxic fan, who yells at a handful of terrified survivors about how there are certain things that must be done to make a good slasher movie.

Neo visits a body shop. Sparks fly in the background. Warner Bros.
Neo finds himself resurrected in The Matrix Resurrections.

But that’s just it: If you’re a character in one of these movies and you only continue to exist because there’s an appetite for more of your adventures, then literally any fandom of the property is toxic. I’m not trying to suggest here that you and I are literally responsible for the endless suffering of Sidney Prescott.

We’re not the ones stabbing Sidney, nor do we have the power to greenlight more Scream movies. But so long as we keep going to those movies, they’re going to keep getting made, and Sidney will forever be trapped in a maze of knives because we don’t want to see the Scream formula shaken up all that much. Sidney’s a great movie character, one of the best in the slasher genre, played brilliantly by Campbell, so it makes sense we’d want to spend time with her. But the price of getting to hang out with her is also having to watch her nearly die, over and over again.

The sense of an unwelcome cycle repeating itself extends behind the scenes too. The filmmakers of Resurrections and Scream are incredibly inventive. The Matrix sequel was spearheaded by Lana Wachowski, one of the most innovative directors currently working, and Scream hails from Matt Bettinelli-Olpin and Tyler Gillett, whose 2019 horror movie Ready or Not was a blood-drenched bit of darkly comedic class commentary. And yet how can these filmmakers continue to make movies in this environment? They can continue pumping out new installments in established franchises, that’s how!

There used to be room for many stories within the American film industry, but now, unless you’re willing to make movies for very small budgets that often limit the scope of what you can do, you’re only telling a handful of stories we already know. We’re still telling the same stories we’ve always told. The difference is that we won’t let the characters we love escape them to do something else. They’re stuck in the spiral, and they’re dragging all of us down with them.

Our bodies have their own way of remembering. Our brains, for example, forge connections between neurons early in our development, a process that can be visibly disrupted by illness or trauma. Similarly, our primary or baby teeth, as they grow, capture the conditions of their surroundings, like growth rings in a tree. Reporter Jackie Rocheleau explores an effort among a small group of scientists to discover what stories may lie in our teeth, and how they might help doctors better understand children’s health.

And finally, our issue concludes with a look at the way New Orleans remembers and celebrates those who’ve died. “Covid-19 has exacerbated our country’s inarticulateness around grief,” writes Nicole Young. “So many Americans have had to bear theirs alone.” What can our nation learn from the communal mourning of a New Orleans funeral second line?


Photo illustration of a stack of
 books with the words “the survivors” and the silhouettes of two people on the cut sides of the pages. Will Staehle for Vox

The school shooting generation grows up

After coming of age in a world wholly unprepared to deal with the aftermath of mass school shootings, an early wave of survivors is now in their 30s and 40s, grappling with the present.

By Marin Cogan


The word trauma appears in numerous cartoon fonts and is 
repeated over and over on a yellow background.

Bráulio Amado for Vox

How trauma became the word of the decade - Coming Tuesday

The very real psychiatric term has become so omnipresent in pop culture that some experts worry it’s losing its meaning.

By Lexi Pandell


A 
person is shown with photographs, sticky notes, calendars, an image of a birthday cake and musical notes coming from 
their head. They hold a finger up with a red ribbon tied around it. The background is a teal blue sky with clouds and 
birds. Michael Waraksa for Vox

Why do we remember what we remember? - Coming Wednesday

The mundane photographs that are helping scientists probe the mysteries of memory.

By Brian Resnick


 Getty Images; illustration by Amanda Northrop/Vox

The secret lives of baby teeth - Coming Thursday

Why some scientists are trying to discover more about our bodies’ “little living archives.”

By Jackie Rocheleau


 
Photos by Kathleen Flynn for Vox

What New Orleans can teach us about mourning - Coming Friday

As we reckon with the mass deaths from Covid-19, the collective power — and joy — of the funeral second line reminds us that grief is a burden that can be shared.

By Nicole Young

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