In this video loop, the avatar of Fukuyama is shown as a perpetually falling form or concept. These silhouettes and their choreography are inspired by the media loops that were broadcast on September 11th and the days that followed, showing victims jumping out of the World Trade Center to escape the suffocating smoke. Once again, as in the other pieces of the History Reloaded art narrative, the figure of Fukuyama, standing for the concept of “endism,” is used, here taking the place of the actual falling bodies. As the loop develops, we feel a sense of suspension – a fall with no end, a fall with no death – that tries to soothe the tragic memories of the event and at the same time to revert its dreadful meaning. What we see in Raining Man is an attempt to embody the turn of the century as a shift from fear to hope, from death to life. What is thus floating in this red air of anger, in this thumotic upsurge, is the “society of the last man” and the unique horizon of market democracy that Fukuyama tried to impose on the collective mind. Don DeLillo’s novel The Falling Man is not far, and we can also recall Magritte’s painting Golconda, where suspended human figures resemble drops of heavy rain. The avatar of Fukuyama thus migrates as a 3D model from the film of the opera to become a figure looped onto itself. Here, the narrative has vanished, leaving us with a variation of a neverending story.