West Virginia’s coal industry heavily influenced Elaine McMillion Sheldon’s childhood. Her father’s mining career led to frequent relocations across various coal fields. With mining being the main source of livelihood, even her brother followed suit, becoming a fourth-generation miner. In this community, mining was practically the only job option for those who weren’t aiming for professions like doctor or lawyer.

Raised in a place where everyone worked in coal, she only grasped its all-encompassing grip when abroad. Talking to people with diverse careers, she understood Sheldon’s words: “Not everywhere has a king. Not everywhere is completely dominated by this industry that controls everything from our rituals to the ways we live our life.”

Instead of focusing on geographical details, Sheldon’s documentary, King Coal, paints a poetic portrait of a region deeply affected by coal mining. Lush visuals showcase the area’s natural beauty alongside the scars of extraction. It explores the cultural significance of coal mining and the strong sense of community forged through shared labor and unions. This film delves into the legacy of coal culture, not as a collection of specific places, but as a unified “kingdom” with a common way of life that transcends borders. Sheldon challenges stereotypical portrayals of Appalachia, rejecting labels like “America’s spiritless factory” or a place defined by poverty or political leanings. King Coal offers a different perspective – a look at life under the “reign” of coal.

Sheldon, now living in Knoxville and in her thirties, acknowledges the common stereotypes about Appalachia. These portrayals paint the region as unattractive or morally corrupt, its people as uneducated and without ambition. The narrative often depicts it as entirely white and lacking in opportunity. Sheldon reflects on her younger self, feeling ashamed of her roots. Her documentary aims to combat these stereotypes, presenting Appalachia’s beauty, resilience, and the genuine hope that persists there.

Sheldon aimed to capture the deeper meaning of coal, beyond just economics and environmental impact. She focused on the cultural aspects that lingered even as the coal industry declined. The film doesn’t dwell on the harsh realities of mining itself, which is shown later. Instead, it explores traditions and remnants of the coal-centered economy. We see coal woven into celebrations like a town’s New Year with a “Coal Queen” pageant and a charity race where runners get dusted with fake coal. Schools teach the history of coal, with miners sharing stories of near-death experiences. Even a high school football field, built on a flattened mountaintop from mining, reflects the industry’s influence, with players touching a coal pillar for luck. A museum exhibit highlights the geological marvel of coal, formed over millions of years from plant matter.

The documentary combines realistic moments with dreamlike sequences, narrated by Sheldon’s reflective voice. It follows two young Appalachian girls, one white and one Black, as they experience childhood under the fading reign of “King Coal.” We see glimpses of school, festivals, family tales, and exploration in the rich natural world. These girls represent both Sheldon’s own past and a potential future less defined by coal. Sheldon acknowledges the struggle: “We explored the role of children growing up in a dying industry. What story do they want to tell for themselves?”

The documentary portrays coal’s decline as a long, ongoing process that Sheldon has witnessed throughout her life. Coal’s presence is fading – shipped away, leaving behind environmental damage and lost jobs. “Coal’s power is waning,” Sheldon suggests, “but it’s not entirely gone, more like a lingering ghost.” Statistics back this up: coal jobs in Appalachia plummeted by nearly a third between 2005 and 2015. Promises from past administrations to revive mining, often overlooking the historical strength of mining unions, failed to materialize. Coal jobs have shrunk to a fraction of their peak, with limited success in transitioning to renewable energy. Political and economic forces remain slow to abandon coal and fossil fuels.

Sheldon argues that focusing solely on employment numbers misses the bigger picture. “This film is about the people,” she says. Having lived in Appalachia for years, she understands the strong work ethic and desire for stable jobs. The coal industry, however, hasn’t offered that stability for a long time. The film raises a crucial question: what will come next for these communities?

The documentary concludes with a symbolic farewell to “King Coal,” a funeral where real people from the coal industry express their goodbyes through song or words. Sheldon acknowledges the complex legacy of coal – some see it as a symbol of greedy corporations, while others view it as a source of jobs and pride. Heather Hannah, a singer featured in the film, delivers a eulogy that captures this duality: the miners’ pride in providing for their families, mixed with the desire for a better future for future generations.

Sheldon found the symbolic funeral for King Coal to be a powerful experience. It showed her that filmmaking itself can have a positive impact on communities. The act of participating in the event, not just the finished product, held significance for the people involved. They brought their own stories and emotions to the gathering, making it a meaningful experience.

Sheldon’s documentary doesn’t just explore Appalachia’s struggles with the decline of coal. The film raises a broader question that lingers throughout: can we escape dependence on resources that ultimately harm us? Sheldon emphasizes that this isn’t a problem specific to one place or industry, but a universal challenge. “It’s not just Appalachia’s problem. This is a story that is relevant today and is one of identity and belonging which we all struggle with. We’re constantly changing,” she said.

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