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After Life Season 3 Ending #AfterLife
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World Exclusive: After Life Season 3: The First few Minutes
After Life | Season 3 Official Trailer | Netflix
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episodes will be released on January 14th.
Just Three Things. Written for #Afterlife by Ricky Gervais and Andy Burrows
August 15, 2022
Ricky Gervais
London, W1F 0LE
UK
Dear Ricky,
Ricky Gervais would have us believe that there is no spiritual answers.
The Ending of ‘After Life’ Season 3, Explained
What happens in the end of After Life Season 3?
The closing scene of After Life Season 3 shows Tony walking away from Tambury Fair with Lisa and their dog Brandy. The married couple hold hands, but Lisa fades away. Shortly after, Brandy disappears. Then, Tony. What’s going on? Have all three passed away?
What does the ending of After Life Season 3 mean?
Luckily, we don’t have to speculate too much, because Gervais himself walked viewers through the ending. In an interview with Digital Spy, the creator explained what was going through his head as he wrote the last scene in Season 3.
“It’s just that life goes on, you know? When we’re all dead and buried, that field’s still there, the Tambury Fair is still going, that tree is still there, and it’s basically said that we all die, but not today,” he said. “That’s what the ending is saying. ‘We all die, but not today’. Enjoy it while you can, life is so finite. Whenever you are born, and whenever you die, it’s all over. So enjoy that bit, that tiny little bit.”
Anne: All right? Yes. I was just saying to Stan you’d be along soon.
Tony: Right.
Anne: Good day at work?
Tony: Yep. You still talk to him?
Anne: Every day. Not just here. Everywhere. I don’t get funny looks at home though. It really helps. Saying it out loud, I mean. You hear yourself.
Tony: Yeah, I’ve never been one for talking to myself. I’d probably argue. ( chuckles )
Anne: You wouldn’t be talking to yourself.
Tony: No. I do feel like she’s still here. And it’s like I’m in two minds. One knows the truth. She died. Logical. There’s no heaven. No reincarnation, no ghosts. I know that. But then I feel her inside me. All the time. Like she’s still part of me, guiding me. ( sighs ) It’s weird.
Anne: That’s because you’re human, and nothing really makes sense.
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I agree with Tony that there is no reincarnation and the emphasis in the beginning of season 2 is the paranormal (as it is in all 3 seasons). Episode 1 in season two starts off with Tony going to a yoga session with Matt and it turns out to be a disaster. Next at a person wants to tell the newspaper how he got raped by the spirit of Liberace. Of course, we can’t leave our Kath who brings up the paranormal and the idea that she can tell when an angel enters a room.
Why do so many people throughout the world believe in God and an afterlife? Ecclesiastes 3:11 “God has planted eternity in the heart of men…” (Living Bible).
Even Tony seems to feel this in episode 4 of the first season of AFTER LIFE when Tony talks about being with his wife in the future.
Matt: Tony that doesn’t even make sense. You are a rational man. You don’t even believe in an afterlife.
Tony: I know she is nowhere. Alright. But get this through your head. I would rather be no where with her then somewhere without her.
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In Podcast Series ABSOLUTELY MENTAL episode 8 WHY DO WE FEAR DEATH? is this following exchange:
Sam Harris “I get it from the other side because I am kinda agnostic about what happens after death. I am sure the religious pictures are wrong. There is no way there is a heaven and a hell of the sort that is imagined by monatheoistic religion, but given that we don’t actually know what reality is. We don’t actually know the distinction between mind and matter, it is still spooky right? We just don’t know how mind relates to the base layer of reality, but I have no expectations of my personally in terms of maintaining the memories of my life will persist. But I just don’t know what CONSCIOUSNESS is in the end.” Ricky Gervais responds “But we are all agnostic by definition because it deals with knowledge.” Sam notes, “ I am pretty sure that I know that rivers of milk and honey don’t exist.” Ricky states, Are you saying you think there might be other than nothingness in terms of experience? I can’t believe you think that. Based on what?” Sam responds, “Based on strange experiences both on psychedelics and in mediation where the mind seems to be…” Ricky observes, “Yeah but you are off your head. You are f$&@ng thinking nonsense!”
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This reminds me of Henry Miller who could not live with his secular view and had to embrace some sort of vague pantheism to give himself a leap into the dark irrational and come out of it with a nonsense belief that there is really a future somehow after death while clinging to his secular view.
Francis Schaeffer noted in THE GOD WHO IS THERE:
Mysticism in Literature — Henry Miller
In the writing of his earlier books, Miller (1891-1980) had not just set forth something which is dirty in a trivial sense, but he had succeeded in murdering everything which is meaningful, including sexual things. In these books he expressed his antilaw position, in every sense. However, Miller is another man who could not stand by his own position. Many others have been destroyed in their inner lives by his books, but he was not able to be so tough-fibered. So he joins the growing list of modern men who have accepted the new mysticism. In his later life Miller held to a pantheistic view of the world.
(PAGE 80)
His later views are very cogently and consistently expressed in the Preface which he wrote to the French edition of Elie Favre’s History of Art. He calls his preface, “A Sense of Wonder.”4 This is an important title, for it implies that he is going to contrast the “sense of wonder” with the intellect. And this in fact is what he does. For example, he says, “Above all, he [Elie Favre] was a devout worshipper of the creative spirit in man. His approach, like our own Walt Whitman’s, was nothing less than cosmic.” This already has a pantheistic ring about it. Later on he continues, “What impact his work may have today, particularly on the young who are almost immune to wonder and mystery because of all the knowledge which has been crammed into their heads, I do not know.” This is a significant sentence because he has set the intellect and knowledge against the sense of wonder. One’s intellect would lead one only to the lower story of rationality and logic where there is no meaning in life, only machines. But in contrast to this one has a sense of wonder which bypasses the rational, and this sense is very much related to the use of the word awe that is so much in vogue today. The intellect is divorced and rejected.
It must be plain that the later Henry Miller cannot in any sense be called a Christian. He is doing the same as Salvador Dali and the new theologians are doing—namely, using Christian symbols to give an illusion of meaning to an impersonal world which has no real place for man.
This is Henry Miller, the writer of The Tropics, who in this preface takes up basically the same position as the new theologians. We have ample warning not to accept the “god words” of many modern theologians without being certain that they, like Henry Miller, are not using these words to give an illusion of meaning.
Francis Schaeffer below in his film series shows how this film was appealing to “nonreason” to answer our problems.
In the book HOW SHOULD WE THEN LIVE? Schaeffer notes:
Especially in the sixties the major philosophic statements which received a wide hearing were made through films. These philosophic movies reached many more people than philosophic writings or even painting and literature. Among these films were THE LAST YEAR AT MARIENBAD by Alain Resnais (1961), THE SILENCE by Ingmar Bergman (1967), JULIET OF THE SPIRITS by Federico Fellini (1965), BLOW UP by Michelangelo Antonioni (1966), BELLE DE JOUR by Luis Bunuel (1967), and THE HOUR OF THE WOLF by Ingmar Bergman (1967).
They showed pictorially (and with great force) what it is like if man is a machine and also what it is like if man tries to live in the area of non-reason. In the area of non-reason man is left without categories. He has no way to distinguish between right and wrong, or even between what is objectively true as opposed to illusion or fantasy….One could view these films a hundred times and there still would be no way to be sure what was portrayed as objectively true and what was part of a character’s imagination. if people begin only from themselves and really live in a universe in which there is no personal God to speak, they have no final way to be sure of the difference between reality and fantasy or illusion.
But Bergman (like Sartre, Camus, and all the rest) cannot really live with his own position. Therefore in The Silence the background music is Bach’s Goldberg Variations. When he was asked in the filmed interview about music, he said that there is a small holy part of the human being where music speaks. Bergman also said that while he was writing the script for the film SILENCE that he had the music of Bach’s Goldberg Variations playing in his home and the music interfered with that which was being set forth in that film.
A good example is Antonioni’s BLOW UP. The advertisement for the film read: “Murder without guilt, love without meaning.” Antonioni was portraying how, in the area non-reason, there are no certainties concerning moral values, and no human categories either. BLOW UP had no hero. Compare this with Michelangelo’s DAVID–that statement of humanist pride in the Renaissance. Man had set himself up as autonomous, but the end result was not Michelangelo’s DAVID, but Antonioni’s non-hero. All there is in the film is the camera which goes “click, click, click,” and the human has disappeared. The main character snaps pictures of individual things, particulars. One might point out, for example, the models he snaps: all their humanity and meaning are gone.
After a scene in which clowns play tennis without a ball, there is at the end of the film a reverse zoom shot in which the man who is the central character disappears entirely, and all that remains is the grass. Man is gone. Modern people, on their basis of reason, see themselves only as machines. but as they move into the area of non-reason and look for their optimism, they find themselves separated from reason and without any human or moral values (pp. 201-203)
The answer to find meaning in life is found in putting your faith and trust in Jesus Christ. The Bible is true from cover to cover and can be trusted.
Thanks for your time.
Sincerely,
Everette Hatcher, everettehatcher@gmail.com, http://www.thedailyhatch.org, cell ph 501-920-5733, 13900 Cottontail Lane, Alexander, AR 72002
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Ricky Gervais 25/07/2021 Facebook Live at 28:29 mark Ricky answers my question about Sam Harris
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