Ryan Coogler Spills the Tea on What Smoke and Stack Were Up to Before ‘Sinners’

with sinners With the ball set to make history this Oscar season, whether it’s a sweep or not (fingers crossed it does), interest in the film has been rekindled among fans with Ryan Coogler’s period piece vampire film. While Coogler has been careful to explain what his intentions were behind making the film, he wanted the film to speak for itself, and to shut down any internet rumors of a sequel, but he has lifted the curtain to reveal that Michael B. What Jordan’s color-coordinated twins were doing.

Speaking with Proximity Media, Coogler detailed what Smoke and Stack were up to years ago before the twins moved to Chicago and started Vampire Fest. sinners. While the film elaborates on all those details in its own right, noting that he betrayed Italian and Irish gangs, one of which was Al Capone, making off with his money, booze, guns, and decadent suits, Coogler set his backstory sights a little further back, taking place after Smoke murdered his father. spoiler for a movie Very Some of you have already seen it.

“He killed his father, hid out at Mary’s mother’s house, then moved to New York and joined the Army,” Coogler said. “Went off to fight in France, and they came back home for a while. Mary was older, so that’s when Stack and Mary were born.”

But wait, there’s more: “It was like a three-year run where the twins basically broke up. Smoke and Annie got their own house, and Stack and Mary moved to Little Rock. When [Smoke and Annie] Lost my daughter when things took a turn for the worse; They both originally left their partners and moved to Chicago.

The knowledge of sinners has been revealed. pic.twitter.com/Moq4MpEBAg

– Proximity Media (@proximitymedia) 27 January 2026

And the rest, as they say, was history, with the film picking up steam when the twins return home to start up their ruined juke joint. Although it’s usually the role of fan fiction writers to fill in the gaps in stories that leave everything on the table, it’s nice that Coogler decided to give us more insight on the twins’ lives, like the Santa Claus of cinema.

If it weren’t for the fact that we got a little more information with which we could learn why his relationship with Anne and Mary and their partner’s strained feelings towards each other were so strained by the beginning of the film, it would at least cut down on Hollywood trying to spin the block and entertain the idea of ​​pitching a movie prequel 1) Coogler would have the rights 2) He doesn’t need to. However, we’ll accept an animated prequel in the style of the film’s opening sequence if Coogler feels like it.

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