Early in the film, she recounts to Isabelle a story about her twin-sister, Clarissa. Specifically Clarissa was killed because of Christine’s actions. Christine was riding a bike when she was distracted by the bike’s mirror, and an oncoming truck hit the girls. Only Christine survived.

"I just wanted to see myself…and I saw my reflection," Christine reports of the tragedy.

Another scene reveals that Christine keeps a creepy white mask -- one that is molded to resemble her facial features -- because, again, she wants to "see" herself.

And in the absence of her twin, that is not always easy.

Accordingly, Christine goes through the film and through her life attempting to re-make others in the image she wants to see: her own. In particular, this means that Christine creates "users" and "manipulators" like herself, and indeed, that’s the journey Isabelle takes in the film. She goes from being a relatively normal person to a competitive player, to a monster who becomes Christine’s "double" and equal. By film’s end, she has been re-fashioned in Christine’s desired image, but she is not able to handle it, perhaps because she possesses the conscience Christine abundantly lacks."

Stone pointedly critiqued Walter White’s method of handling the gang that kidnapped Jesse. “Nobody could park his car right then and there and could have a machine gun that could go off perfectly and kill all of the bad guys! It would be a joke,” he insisted. “It’s only in the movies that you find this kind of fantasy violence. And that’s infected the American culture; you young people believe all of this shit! Batman and Superman, you’ve lost your minds, and you don ‘t even know it! At least respect violence. I’m not saying don’t show violence, but show it with authenticity.

The Untold History of the United States offers a fascinating look at American history, re-examining pivotal moments in the shaping of our culture and our democracy, by placing events like the development of the atomic bomb in a larger, more well-rounded context. When asked whether mainstream entertainment could provide similar sorts of lessons about American culture, Stone said that the infrastructure of studio blockbusters often obscures those potential insights.

“I wouldn’t criticize everything. I’m just saying it’s the level of violence,” Stone explained. “If people think that bringing a machine gun to your last meeting is a solution to a television series that’s very popular, I think they’re insane. Something’s wrong. It’s not the world we know. But I think there might be in Iron Man… there could be some good stories about war profiteering, some good moral tales. I agree. Comics were that for that reason, remember? But when you’ve reached this height of technology level of a Michael [Bay], of a Transformers, I don’t understand the meaning of it and the reason for it, except that it appeals to some visual sense, some kinetic sense of dynamism and a need for action. But action is not always a solution, character is.”