the groundhog day project

Consider another angle. Maybe Michael isn't Laurie's id . Rather, Laurie is Michael's super-ego. Michael wasn't waiting for the opportunity to kill again. He could have done that at any time. He was waiting to be judged for having killed. This is why he follows Tommy first. He can feel a connection with Tommy. Tommy is just like him, a little boy full of imagination and potential. And, Laurie looks after Tommy. Like Judith didn't look after Michael all those years ago. This means Laurie's repression is even more important to the story than already suggested. She isn't free of Michael's violence (up to a point--and that point matters) because she doesn't have sex and do drugs (Notably, Michael probably has no idea Laurie was smoking in Annie's car. He's following them, but that doesn't mean he can see what's going on inside.) but because being that pure, virginal girl, she can pass judgment on him. He wants approval. He wants disa...

So then there's little ol' me. What am I--two, three, four, five? Somewhere in there. My brain is still figuring out what the fuck all of the things around me are for, and blessed with the wonder that is cinema, movies are just one of many stimuli that get injected into the mix. And, Halloween is just one of those movies. But, oh what a movie. Whether you take Michael as representative of fate, of death, of the inevitable, of moral judgment, of Laurie Strode's id--yes, that's a thing; just see Muir (2009) and it's right there along with his section about fate--Michael is some... thing . However much he appears an average kid in that opening, however much he looks like a normal man without his mask (when Laurie briefly gets it off of him right before Loomis shoots him), and however much the sequels explain him, he is a force of nature, or a force beyond nature. More supernatural than natural... Except, that isn't really true. I mean, in this film and this film ...