logo
I've Never Sobbed Over A Movie, And I Didn't Expect The New Stephen King Adaptation To Be The Trigger

I've Never Sobbed Over A Movie, And I Didn't Expect The New Stephen King Adaptation To Be The Trigger

Yahoo17-06-2025
When you buy through links on our articles, Future and its syndication partners may earn a commission.
Up to this point in my life, no movie had ever made me sob. I'm not a crier, I never have been. However, when the latest Stephen King adaptation was released on the 2025 movie schedule, I ugly cried in a movie theater for the first time ever. That's right, a Stephen King movie made me sob, and I can safely say I never saw that coming.
However, after I tell you why The Life of Chuck was the film that made me break down in tears, I think you'll understand why this book-to-screen adaptation was the first one ever to pull this kind of reaction out of me.
Spoilers for The Life of Chuck are ahead! Read with caution, and catch the movie in theaters now.
Ahead of The Life of Chuck's release, I knew it'd be an emotional journey. However, I didn't expect it to be that way from the jump. This movie does a brilliant job of punching you in the face with a lot of emotions, and for me, it started with fear, anger and melancholy as the world ended during the film's first part, Act III.
Before I knew what this world ending crisis actually was, I was sitting there, fighting off tears, as the characters simply accepted that the situation sucked and there wasn't much they could do about it. That feeling of dread and helplessness is one that didn't feel far off from what I felt during COVID or when any major climate disaster happens.
Thinking about that anger and dread I felt during The Life of Chuck's first part made me emotional. However, it really got me when I figured out why the world was ending.
That melancholic feeling about accepting the world's end, and the anger of doing nothing about it, quickly faded away when I learned why this world was ending. Toward the end of Act III, it's revealed that Chuck, the man on the billboard who no one knows, is dying. So, I quickly figured out that as the power went out and sinkholes appeared on this planet, it was actually Chuck passing away, and this world was in his mind.
This idea of a whole universe ceasing to exist when someone dies hit me like a ton of bricks. That's because it's true, in a single person's mind lives an entire unique interpretation of the world, and that is depicted in this film through the town we see that ends when Chuck dies.
Then, as the movie went on, this realization grew deeper and deeper as I got to know the man whose light went out. By the end, I wasn't just thinking about him dying, I was thinking about this vast universe going away too that he'd created, and that profound realization made me shed a tear for sure.
Every moment involving dance in this movie made me immensely happy. But the one that made me smile the biggest, made me glassy-eyed, was the one involving Cuck and his grandmother in his kitchen.
Read More About Life Of Chuck
Stephen King Has Seen Tom Hiddleston's The Life Of Chuck, And I'm Intrigued About His Take On The Book Becoming A Movie
Realizing that his adoration for dance began with her, and the way they both put their fingers up in a point and ticked their wrist to the beat, is so cute and also deeply meaningful. It became clear to me that Chuck's grandmother helped give him his spark, and she helped teach him how to love life. And my grandmother, my Nannie, did the same thing for me.
While we didn't dance, we did jam to music in the car, garden, swim and talk about life together. She was my best friend, and losing her when I was 21 was deeply painful. However, the time I did get with her was magical, and it's impacted my life in the grandest, most positive way.
Chuck seemed to go through the same thing in this movie with his grandmother, and that made my heart achingly happy. It made me think about that magical relationship I had and how formative it was. It also made me remember that her life ended too early. But more importantly, it made me appreciate, love and cherish the time I did get with her.
As the above sections show, there were a multitude of moments that culminated in the waterfall of tears that came at the end. However, the breaking point was at the very end, when the movie closed with the same words as Stephen King's short story:
I will live my life until my life runs out. I am wonderful, I deserve to be wonderful, and I contain multitudes.
Obviously, this line is repeated throughout the film; however, it was the mix of Chuck seeing himself on his deathbed and hearing it one more time, and then the story ending right then and there, that hit me the hardest.
I think it was a statement and a moment I needed to see. I needed to remember how short life is, and how important it is for me to understand my self-worth, accept myself for exactly who I am, and live my life on my own terms.
We're only around for a brief period of time. We deserve to spend that time living it in whatever ways we find wonderful, because we deserve it, and we are wonderful.
Truly, what Mike Flanagan did with the brilliant The Life of Chuck was like a magic trick. It's like sleight of hand; while it's presenting this existential, dreadful story at the start, it sneaks up on you and flips into a truly life-affirming and celebratory tale.
This movie is life encapsulated, meaning it's equal parts tragic and happy. It also addressed the inevitable head-on – our lives are not infinite, and it's guaranteed to end. I don't know about you, but that's something I don't think about often because it's scary, so having it so directly addressed is emotional.
Meanwhile, The Life of Chuck is also a celebration of life and its meaning. Since we're only here for a brief time in the grand scheme of things, we need to do what we love and appreciate all the small and lovely things in the world. To take a page out of Chuck's world, we need to dance.
That's why The Life of Chuck made me sob. It made me realize how vast the world is and how small I am. But it also made me realize how big and wonderful I am, too. It had me thinking about the universe I've built in my own head, the people who have impacted me and helped me become who I am, and the tragedy and happiness that comes with all of it.
To put it simply, The Life of Chuck made me cry because it encapsulated everything that makes life worth living in a profound, tragic and celebratory way.
Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

SummerSlam 2025: WWE reveals stage at MetLife Stadium
SummerSlam 2025: WWE reveals stage at MetLife Stadium

Yahoo

time20 minutes ago

  • Yahoo

SummerSlam 2025: WWE reveals stage at MetLife Stadium

WWE will bring its SummerSlam event to MetLife Stadium in New Jersey this weekend. SummerSlam has served as one of the sports entertainment company's biggest events of the year, dating back to 1988. This year's SummerSlam card will unfold over two days for the first time in the event's history. WWE has run a two-night event in recent years for its biggest event of the year: WrestleMania. SummerSlam is treated similarly to WrestleMania with special celebrity guests, such as Cardi B and Jelly Roll, and a custom stage built within the stadium. What will the SummerSlam stage look like? Fans got a look of the SummerSlam 2025 stage when the preshow for night one kicked off. It's a massive screen where the wrestlers will emerge of inside MetLife Stadium. The USA TODAY app gets you to the heart of the news — fast. Download for award-winning coverage, crosswords, audio storytelling, the eNewspaper and more. This article originally appeared on USA TODAY: WWE SummerSlam 2025: Stage revealed at MetLife Stadium

Bob Dylan, Willie Nelson, Wilco, Lucinda Williams Storm Jones Beach at Outlaw Festival
Bob Dylan, Willie Nelson, Wilco, Lucinda Williams Storm Jones Beach at Outlaw Festival

Yahoo

time20 minutes ago

  • Yahoo

Bob Dylan, Willie Nelson, Wilco, Lucinda Williams Storm Jones Beach at Outlaw Festival

The Outlaw Music Festival began nine years back as a single event in Scranton, Pennsylvania, featuring Willie Nelson, Neil Young, Sheryl Crow, Chris Robinson, and Lee Ann Womack. It's slowly morphed into a traveling fest that brings Nelson and a rotating cast of top-grade support acts to amphitheaters across America every summer, and they leveled up significantly last year by placing Bob Dylan in the penultimate slot every night of the run. They repeated the successful Bob/Willie formula this summer for an extensive, 36-show trek, and sprinkled on acts like Wilco, Sheryl Crow, Billy Strings, Waxahatchee, Lucinda Williams, Nathaniel Rateliff & The Night Sweats, and Bruce Hornsby & The Night Sweats at various stops along the way. Some nights have slightly stronger bills than others, but it's undoubtedly the most exciting/eclectic multi-artist show of the summer amphitheater season by a wide margin. More from Rolling Stone Is Bob Dylan's 'Subterranean Homesick Blues' Video the Most Copied of All Time? Lucinda Williams Is Opening a New York City Honky-Tonk Complete Unseen: New Doc on History of Newport Folk Festival Announced That was very clear August 1 when Lucinda Williams, and Wilco played truncated sets at Long Island's Jones Beach Amphitheater before handing the evening over to Dylan and Nelson. These are four totally unique acts with fairly different approaches to live performances, and their own massive followings, but they all have a deep love and respect for American roots music that permeated through the entire night. Due to tremendous good fortune, it was an unseasonably cool night at Jones Beach following two weeks of scorching, record-high temperatures, and a massive thunderstorm the prior evening that generated flood warnings all across the region. This placed everyone in a cheerful mood as Lucinda Williams took the stage in the very late afternoon. (Unfortunately, I arrived too late to see opening act Waylon Payne, but I caught him later when he played with Willie Nelson. Jones Beach is a beautiful amphitheater directly on the water, but the mass transit options from New York City are less than ideal.) Williams no longer plays guitar due to a stroke she suffered in 2020, but she made the excellent decision to bring former Black Crowes guitarist Marc Ford into her band to compensate, and her singing voice retains much of its power. The set began with back-to-back songs from her 2023 LP Stories from a Rock n Roll Heart, 'Let's Get the Band Back Together' and 'Stolen Moments,' before dipping back to Car Wheels on a Gravel Road for 'Drunken Angel.' Midway through her set, Williams broke out Memphis Minnie's 'You Can't Rule Me,' dedicating it to the 'so-called king of the United States.' She didn't speak Donald Trump's name once, but it wasn't necessary. Prior to that, she unveiled her excellent new ballad 'Lowlife' ('Play Slim Harpo on the jukebox/Let me go with no shoes or socks') that will hopefully appear on the next LP. She closed out the set with the Beatles' 'While My Guitar Gently Weeps,' giving Ford and guitarist Doug Pettibone the chance to show off their chops, 'Joy,' 'Righteously,' and a fierce take on Neil Young's 'Rockin' In The Free World' that brought the capacity crowd to their feet. A decent percent of the Outlaw crowd is on the elderly side, and it's unclear how many of them were familiar with Wilco when they took the stage, but it didn't take long for Jeff Tweedy and company to win them over with a set packed with staples like 'I Am Trying to Break Your Heart,' 'Jesus, Etc.,' 'Handshake Drugs' and 'Walken.' None of these songs are 'hits' in the traditional sense since Wilco never had anything resembling a Top 40 song, but they've been perfected across hundreds and hundreds of concerts by one of the greatest live bands of the past quarter century. Nels Cline delivered an epic, mind-bending guitar solo on 'Impossible Germany,' proving once again that he's one of the single greatest guitarists of his generation. And Willie Nelson's harmonica player Mickey Raphael came out to join them on 'California Stars,' wearing a Flaco Jimenez t-shirt to honor the legendary Tejano accordionist, who died this week. They closed out with a cover of the Grateful Dead's 'U.S. Blues' that caused the place to absolutely erupt with joy. (It's always a good time to cover the Dead, but this was also Jerry Garcia's birthday, and the first day of the Dead's 60th anniversary celebration at San Francisco's Golden Gate Park.) As the sun began to set, the crew removed Wilco's gear and set the stage for Bob Dylan and his band. On most Outlaw dates last year, Dylan compromised on his usual stance and allowed venues to display a single, distant shot of his set on the screens, giving people in the upper seats at least a vague sense of what was happening on stage. This year, the screens remained completely dark, meaning the vast majority of the audience saw nothing more than a distant, blurry figure in a white hat perched behind a piano. And if you were in the nosebleeds, it's unlikely the figure was anything more than a tiny dot. If nearly any other artist pulled this move at a large amphitheater, a rebellion would likely brew. (Back in 2012, Peter Gabriel kept the screens off for his first few songs at Jones Beach, and fans howled in frustration until they were illuminated.) But Bob Dylan fans are a different breed, and they simply leaned forward and focused on the music. Unlike his indoor theater shows of the past few years, which focus heavily on material from 2020's Rough and Rowdy Ways, this was Dylan's version of a crowd-pleasing set that drew from all eras of his career. That doesn't mean he played any actual hits besides a radically re-worked 'All Along The Watchtower' that stripped out every bit of Jimi Hendrix's influence, but it did mean we heard 'To Ramona,' 'Desolation Row,' 'Gotta Serve Somebody,' and 'Love Sick' from his back catalog. More importantly, he was once again in remarkably clear voice, even if he occasionally slurred lines in wordy tunes like 'Desolation Row.' Many people were forever turned off to Dylan shows after witnessing 'wolfman' era gigs about a decade back, but they need to give him another chance. Somehow or another, at age 84, his voice has been rejuvenated. It's a minor miracle. If you're only seen Dylan at a theater these past few years, the atmosphere of the Outlaw Festival will be quite jarring. At the theaters, phones are taken away, the houses are completely dark and silent, and ushers roam the aisles with flashlights to pounce on anyone violating the rules. At the Outlaw shows, people are eating chicken fingers, spilling ketchup on themselves, chugging beers, loudly talking with their friends, scrolling through their phones, and taking selfies with Bob in the background. It's the opposite vibe in nearly every imaginable way. As always, practically every song in Dylan's set was rearranged not just from its original version, but the live rendition we heard as recently as last summer. ''Til I Fell In Love With You' is now practically a spoken-word track with sparse instrumentation, 'Gotta Serve Somebody' has a rollicking groove, and 'Blind Willie McTell' has rarely sounded so loose and playful. There are some grumblings in the fan community that nearly 30% of the set is devoted to obscure covers like 'Charlie Rich's 'I'll Make It All Up To You,' Bobby 'Blue' Bland's 'Share Your Love With Me,' and George 'Wild Child' Butler's 'Axe and the Wind,' but Dylan delivers them with real passion and tenderness. And if they cause anyone to seek out the originals, he's done them a favor. The set wrapped with a revved-up 'Highway 61 Revisited,' Roy Acuff's World War II-era folk song 'Searching For a Soldier's Grave,' which Dylan regularly played live at the turn of the century and only recently resurrected, and 'Don't Think Twice, It's All Right.' Casual fans perked up at the latter one, and some surely recognized it from A Complete Unknown. He delivered it like a torch ballad, and it was easily the most moving moment of the evening. There's virtually no figure on the planet with the song catalog and the gravitas to follow that besides Willie Nelson. He missed several shows last summer due to health matters, and he looks every day of his 92 years, but every ounce of his essential Willie-ness remains. Smartly, he's stripped his band way down to the essential players, centering the focus on his voice and guitar. His lean band includes Waylon Payne, who doubles many of the vocals, and takes over on lead for a handful of songs, including 'Me and Bobby McGee,' 'Help Me Make It Through The Night,' ' and 'Workin Man Blues.' This gives Willie a chance to catch his breath, and prep for the next song. Willie standards like 'Angel Flying Too Close to the Ground' and 'You Were Always On My Mind' sounded absolutely majestic, and were reminders that this man wrote a decent chunk of the Great American Songbook. It's impossible to cram all into one set, so he combined 'Funny How Time Slips Away,' 'Crazy' and 'Night Life' into a medley. Wilco came back out near the end of the set for 'Will The Circle Be Unbroken?,' but there was no sign of Dylan. Oddly enough, despite their close friendship and long history of onstage collaborations, they haven't appeared together at a single Outlaw Festival. It's a tremendous missed opportunity because a duet on 'Poncho and Lefty,' 'You Win Again,' or 'Heartland' would set any venue ablaze. The tour continues Saturday night in Saratoga Springs, New York, and wraps up September 19 in East Troy, Wisconsin. Let's hope they're back next summer for another round. It's only been two years of Bob and Willie leading this tour as a combo act, but it already feels like a summer tradition. Best of Rolling Stone Sly and the Family Stone: 20 Essential Songs The 50 Greatest Eminem Songs All 274 of Taylor Swift's Songs, Ranked Solve the daily Crossword

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store