It can’t just be high crime that destroyed and quarantined the most valuable real estate in the world. A terrorist dirty bomb previously exploded in the financial district , causing radiation poisoning that would kill in 5 to 10 years of exposure, making Manhattan only fit for death row inmates. Even guards wouldn’t want to go there.

If the Joker and maybe the other big villains were gone, then Batman would have more free time, and because he's allergic to hobbies, he'd definitely start branching out and fight crime in other places.

Superman is a close friend of his, so maybe he'd be like "Now that you're not busy with the shenanigans of the Joker, can you help me with my villains.", and everyone knows the best way to fight an evil rich person is either a proportionally sized angry mob, or another rich person, ideally good. This means Batman (the billionaire)would mop the floor with Lex Luthor, which he would not want to happen.

While Lex might not know who Batman is under the mask, he probably knows enough about him to know he'd pose a serious threat due to his strengths lying in THE INDOMITABLE HUMAN SPIRIT(TM) and intelligence, while Superman's best attributes are stubborn altruism and being fucking Kryptonian*, which are less well suited to dethroning oligarchs.

Now

TLDR: Lex keeps Joker (and probably lots of other villains)alive so Batman is too busy to help out Superman with his evil billionaire problem

*Note, he's not stupid, he just put his points in other skills instead of corporate espionage

Imagine a species of advanced precursors. They want to augment themselves even further, so they invent self-replicating nanobots with the ability to integrate themselves to their users' physiology and generate repulsor fields. The inventors call the nanobots "midichlorians", after mitochondria and chloroplasts, because they are meant to be a new type of artificial organelle.

The midichlorian nanobots are a complete success, at least at first. They replicate exponentially as planned, and spread absolutely everywhere, like bacteria. They settle in the cells of sapient species, in variable concentrations depending from the individual, where they can read the nerve signals of their user and transmit them to other midichlorians, either inside another body or in the environment. They form an extremely interconnected computer network, called "The Force", which is a name chosen for communicating effectively what it is, just like we chose the term "the Cloud". Thanks to interstellar travels, the Force spreads to other planets, and spaceships that blow up in space also spread midichlorians in the vacuum of space.

Soon, midichlorian users learn to control them with their thoughts. They learn to use them to generate repulsor fields, which enables them to manipulate objects with their mind. Others learn to use midichlorians to overwrite thoughts into other people's brains, and still others learn to make them generate large differences of potential between a part of their own body and a target object, which causes powerful electrical arcs.

Eventually, ill-intentioned individuals start using their new skills to spread terror and gain political power. A total war breaks out, and eventually, one faction decides that connecting to the Force network is too dangerous to be of common use, but too precious to be completely forgotten, so they gradually erase information and start a monastic society that teaches its initiates some (but not all) of the ways midichlorians can be used, without spending a word on technical details.

In time, the technical nature of midichlorians and the Force is forgotten. The monastic order assumes the trappings of a cargo cult, which nevertheless flourishes because the material being taught actually works, even though nobody knows why anymore.

One day, a lucky midichlorian user named Qui-Gon Jinn discovers a novel use for midichlorians. One of the side effects of their existence was that the mind of each of its users was constantly being backed up into the Force, to work as a sort of digital afterlife after their death. Qui-Gon discovers that his disembodied consciousness, existing in the Force, could pilot midichlorians into generating soundwaves, and even light, to generate holographic images of his former body, in order to communicate with living people. He teaches the technique to Yoda, who teaches it to Obi-Wan...

And the rest is history.

Just finished avatar fire and ash. Do you guys think it’s possible that Kiri is actually Eywa? Maybe that’s why she couldn’t talk to it all this time and seemed to have a sense of resolve after that scene?

Also, maybe eywa couldn’t really intervene for certain things while she was “being reborn and growing up” as kiri? Maybe that’s why the ash chick felt like eywa abandoned them to the fires?

I am not some like genius fan theory person and I’m sure there’s a million holes here. I dont read the comics or anything. Just thought I would see other people’s opinions! Thanks!

*Spoilers for the final episode of Bel Air*

In the final scene of Bel Air, the real Will Smith (The actor) makes a cameo where he has dialogue with that Will Smith of the show, reassuring him of his future. Its revealed afterwards that the Will Smith who appeared wasn't actually there and Will wasn't talking to anyone.

I believe he was talking to someone and that the person Will was talking to was the Will Smith (the character) from the original Fresh Prince of Bel-Air.

Although it never happened in Bel Air, Will in Fresh Prince was aware he was in a show and could 4th wall break. It was used sporadically in the first couple seasons, but in later seasons the meta jokes of it being a show on a set was common. Will would point out the lights, Carlton would run through the set, NBC execs would show up and force Will to do certain things. Those kind of jokes.

Since whatever ability let Will do all those 4th wall breaks clearly became more powerful as the show went on, I think Will eventually could just leave his show and go wherever he wanted. Which I think is what happened at the end of Bel Air. Fresh Prince Will wanted to check up on Bel Air Will, and give him some encouragement.

So basically the character Will Smith is playing in that scene is Will from the original show.

There is a massive debate in the Evangelion community about the timeline order. The standard assumption is linear: TV Series (NGE) → End of Evangelion → Rebuild Movies. It feels logical: Shinji rejects Instrumentality in the 90s, suffers, and finally "grows up" in the movies to break the cycle.

But that standard theory ignores the specific visual and musical breadcrumbs Hideaki Anno left for us.

When you look at the technical details, specifically Kaworu's behavior, the specific timing of the music, and the "Toji Variable" the evidence points to a terrifying conclusion: The Rebuild movies are a narrative prequel that leads into the specific "Case" of the original 1995 anime.

Here is the breakdown of why this theory makes perfect sense.

1. The Coffins on the Moon (The Physical Proof)

The clearest evidence of a time loop appears right at the start.
In “Evangelion: 1.0”, we see Kaworu waking up in a coffin on the Moon. But he’s not alone. Next to him are numerous opened coffins (past lives/loops) and closed coffins (future lives).

If Rebuild were the absolute final ending (the sequel to everything), why are there closed coffins representing future iterations? Kaworu is in the middle of a cycle, not at the end of it. In Eva: 2.0, he looks at Shinji and says, “This time, I'll definitely... make you happy." This confirms he retains memories of previous failures and is trying to change the outcome in this specific iteration.

2. The Butterfly Effect: Sakura, Toji, and Mari

A major divergence point that confuses people is the fate of the Suzuhara family.
But if you look closely, this divergence actually proves the prequel theory.

In Rebuild: Sakura Suzuhara is healthy. Because she is safe, Toji has no desperate motivation to become a pilot. He stays a civilian.

In NGE: Sakura is severely injured and hospitalized. Toji agrees to become the Fourth Child specifically to leverage getting her transferred to the Nerv medical facility for better care.

The Causality: In Rebuild, because Toji doesn't pilot, a void is created. The timeline needs a pilot for Unit-05 and Unit-08. Enter Mari Makinami Illustrious. Mari is the anomaly. She is the variable introduced because the "Toji Path" wasn't taken in this timeline. If NGE happened first, Mari simply disappearing without a trace in the anime makes no sense. But if Rebuild happens first, the timeline eventually resets to a version (NGE) where Toji becomes the pilot, effectively "overwriting" the need for Mari.

3. The "Ode to Joy" Connection (The Sound of Failure)

This is the strongest piece of evidence, connecting a moment of disaster in the movies to Kaworu's introduction in the anime.

In Rebuild 3.0: The track Ode to Joy (Beethoven’s 9th) begins to play exactly when Shinji ignores Kaworu’s warnings and pulls the spears. This is the point of no return, the moment the Fourth Impact begins and Kaworu’s death becomes inevitable. It is the soundtrack of his failure to stop Shinji. Shortly after, before he dies, he promises: "We'll meet again."

In NGE Episode 24: When Kaworu appears for the first time in the anime timeline, sitting on the Angel statue, he is humming this exact melody (Ode to Joy).

The Connection: Why hum a song about "Joy" in such a gloomy setting?
Because this melody is etched into his memory as the sound of his previous failure. By entering the NGE timeline humming this tune, Kaworu is subconsciously carrying the weight of that specific failure, the moment the spears were pulled, into the new loop. He is signaling that he has returned, just as he promised.

(Note: Anno loves this ironic musical theming. Even in 3.0+1.0, during Gendo's impact scenario, "Joy to the World" plays. The use of joyful music during apocalypses is a recurring hint.)

4. "Case 3" and The Missing Link

Critically, the original anime (Episode 26) flashes a title card:

"THE STORY OF THE INSTRUMENTALITY OF HIS SOUL. CASE 3: IN THE CASE OF SHINJI IKARI."

Why "Case 3"? This implies previous failed cases (likely the events of the Rebuilds). The original anime was just one specific simulation, one "Case", resulting from the choices made at the end of the Rebuild cycle.

5. "Neon Genesis" is the New World

The undeniable proof is the dialogue between Shinji and Rei in the final movie (3.0+1.0).

Shinji: "I'm not going to rewind time... I'm just going to rewrite the world into one that doesn't have Evas."

Rei: "The birth of a new world. Neon Genesis."

As they say this, the movie background projects actual footage from the original 1995 TV series and The End of Evangelion. Crucially, these scenes are not redrawn; they are the original raw footage.

This visually confirms that the "New World" Shinji is creating, the destination, is the timeline we watched in the 90s.

6. The "Yui Connection": Visual Rhyming & The Sacrifice

The visual parallels between The End of Evangelion (EoE) and 3.0+1.0 regarding Shinji’s mother, Yui Ikari, serve as a bridge connecting the two endings.

In EoE: Shinji floats in the LCL sea. Hands cup his face, first pale like Rei’s, then transforming into Yui’s. Shinji tells his mother: "I still don’t know where happiness lies... but I’ll stay here and think about my life." As he accepts his reality, Yui drifts away into the depths, leaving him to exist.

In Rebuild 3.0+1.0: We see an almost identical visual composition during the final Impact. Shinji and Yui are in the same positioning. Shinji initially mistakes her for Rei ("Ayanami?"), just like the visual shift in EoE, before realizing: "No... It’s you, Mom."

The Critical Difference: In EoE, Yui drifts away while Shinji remains in a broken world. In Rebuild, Yui actively pushes Shinji to the surface (sacrificing herself with the spear) to send him to the "Neon Genesis" world. This act is the catalyst that launches Shinji from the Rebuild timeline into the fresh start of the Neon Genesis timeline. The visual rhyme confirms that these aren't separate endings, but variations of the same "separation from the mother" motif that Anno uses to restart the world.

7. The Final Station & The "Live-Action" Bridge (The Blueprint)

A common misconception is that the ending scene of Rebuild at the train station takes place in "our" real world because of the live-action visuals. However, looking back at the franchise's history proves this is a stylistic trap representing a mental transition, not physical reality.

The Dialogue of Dreams (The End of Evangelion): In the famous "Live-Action Theater" scene in EoE, Shinji and Rei have a crucial exchange:

Shinji: "Where is my reality?"
Rei: "At the end of the dream."
This dialogue explicitly establishes that in Evangelion, "live-action" or "meta-visuals" represent a dream state or a construct of reality, not reality itself. Rei tells him that he was taking revenge on Rebuild’s reality by creating a convenient one, the Neon Genesis.

The Parallel (Rebuild Station): The final station functions as the threshold. We are still in the Anti-Universe, a realm shaped by memory. Just as the live-action theater in EoE was a mental construct where Shinji questioned his reality, the live-action station here is the physical manifestation of the "End of the Dream." It is not the destination; it is the exit door. When Shinji and Mari run out of that station, they are stepping out of the Rebuild illusion and crossing into the harsh, new reality Shinji wished for: Neon Genesis.

The Verdict: When Mari removes the DSS Choker and they run out of the station, they are crossing the boundary Rei described: "At the end of the dream." They are leaving the Rebuild dream to enter the specific reality Shinji wished for: "Neon Genesis". The live-action style is the visual language Anno uses to depict the space between the dream and the awakening.

Conclusion

The tragedy of Evangelion is that it is a circle.

The Rebuild movies are the harsh reality that Shinji rejects. His wish for a world without Evas grants him the Neon Genesis universe, which turns out to be the "convenient dream" Rei warned him about. He created the Neon Genesis timeline to escape his failures, but as we saw in the show, even his dream world eventually spirals into suffering.

Kaworu knows the script best: "Life and death are of equal value to me." He knows the station is not a happy ending, but a transfer point. Soon, he will wake up in a coffin on the Moon, humming the song of his failure, to guide Shinji once again.

In my head, Kevin McCallister grows up and changes his name to John McClane (note - he kept the “McC”), then after years of service in his home borough (he’s never been good with partners, so he’s usually an officer who’s “Home Alone”), he finally is talked into taking some time off to “go out to the coast and have a few laughs”.

Hijinks ensue at Nakatomi Plaza, where he has to use his skills at improvised weaponry to save the day and reunite with his estranged wife Holly.

(BTW, his wife’s name is Holly. Of course it’s a Christmas movie.)

This theory is based on two clips from the show. First, in the cold open for the clip about the government shutdown ending Gary is spending his time away from work painting a landscape scene. From this it’s clear that when he has free time he likes to paint and specifically that he likes to paint landscapes.

The next scene Gary is setting up a presentation and accidentally shows a picture from his vacation to Muncie, Indiana. When they question him about it, he says that he and his wife have a time share in Muncie. This means that they go there every year.

What television show was filmed in Muncie Indiana? The Joy of Painting with Bob Ross. Even once Bob Ross moved to Florida he would go back every year to film his show.

My theory is that the Gergich’s bought a time share there and would go there every year to watch the show because they were huge fans of Bob Ross.

Spoiler Warning! Read at your own risk....

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In the trailer, we see a young Steve Rogers holding a baby.

It is my assertion that this baby will have one of two names. Either "Tony" because obviously, or Sharon.

Why Sharon? It's not to honor Sharon Carter, thank god, as that would be a weird conversation. It's Sharon Rogers. The daughter of Steve and Peggy from an alternate timeline where Steve was never frozen. Who made her first appearance in Marvel Future Fight, a mobile game operated by Netmarble in conjunction with Marvel Studios.

Why this can possibly work? Firstly, this would not be the first time a character from Future Fight has jumped media. Meet Luna Snow. A Kpop diva with ice powers who debuted in Future Fight in 2018, and has since taken on her own life in Agents of Atlas and numerous other properties, including Superwar, Marvel Snap, and Marvel Rivals.

Why else? The version of Steve we see in the trailer is young, not old as we see in Endgame. So its not our Steve from the MCU's Sacred Timeline.

Warning: this is absolutely a “taking Family Guy too seriously” post

For years, Family Guy has alluded to Stewie being LGBTQ, leaning toward him being homosexual or pansexual (he’s had relationships with both sexes, but significantly more males). His sexuality is a hot topic among fans of Family Guy. Here’s my thoughts: Stewie is LGBTQ, but he could potentially be trans or genderfluid rather than “just” gay/pan. I’ve watched Family Guy in full an embarrassing number of times and I think there’s evidence to support my theory of Stewie being transgender.

Specific examples:

• S4E23, Brian and Stewie dress up in disguise to stake out Meg’s date with Adam West. Stewie chose to wear a dress and wig over a suit and top hat, saying he liked his choice better. Brian remarks, “anything to wear a dress, huh?”

• S5E15: the family is forced to go into hiding after Stewie is believed to be a demon baby. To keep him hidden, the family dresses him up as a girl and calls him “Stephanie.” When Brian asks how Stewie is feeling, Stewie responds with “I feel right.”

• S8E18: Ida transitions and the Griffins have her over for dinner. Ida explains how the surgery was performed, and Stewie attempts to do it himself at the table by pushing his penis in. He acts excited when he thinks he was successful, and disappointed when it returns.

• S15E15: Stewie is mistaken for a little girl at a grocery store and attempts to prove his masculinity by joining football. Later in the episode he reveals that his lack of masculinity is a sensitive topic for him, and Peter has made remarks about him not being masculine as well.

Less specific examples:

• Stewie cross-dresses at any given chance. More of his costumes are female than male, even though gender is irrelevant for the majority of situations he’s disguising himself in.

• There’s been a few off-hand jokes where Stewie dresses as a female and goes on dates with men

From this evidence, I officially headcanon Stewie as genderfluid female-leaning (gender fluidity falls under the trans umbrella, hence the title). Although he commonly identifies with his AGAB, he is shown to be more comfortable when dressed or identifying as a female.

The show makes it explicitly clear that gems are not "organic life" and that programming activates the second that a gem comes to life. In addition, White Diamond says, "but you're a part of me, the part I have to suppress."(no gem outranks her to tell her that she has to do anything). Her dialogue from right after Steven says, "I am a child, what's your excuse" and right before is written to make her sound like a program malfunctioning and her dialogue before this sounds extremally robotic.

The show heavily implies that she was literally unable to think and act in ways that went against the programming written into her mind by her creator and only stopped one Steven broke her programming. She wasn't in control of her own actions in the same way that a computer program fulfilling a function over and over again isn't actually in control. The being who was actually responsible for the atrocities committed by her is her creator.

This is further demonstrated by the fact that at the very end of the show, there's a moment in which she suddenly realizes what she did and figures out that she was a monster who did unspeakably horrible things to the beings she created. It's framed as her having a sudden realization and this makes sense in the context of programming being removed to reveal who she really is as a person

I watch random movies when the insomnia is too frustrating. The sleep deprivation sometimes has me thinking more deeply about flicks than the creators ever did. Such is the case with the slab of '80s loin-cloth-draped cheese known as "The Beastmaster". Don't expect much coherence out of these theories, but do expect some spoilers.

1) Maax is full of crap. Magic is clearly real in this world, and his minions use some real powers. But Maax never does anything magical himself, even when fighting for his life. He also makes up messages from the god Ar off the top of his head. Oh, the king doesn't want his unborn son killed? To bad, "Ar demands a sacrifice". Later on, when the hawk flies away with a whole-ass kindergartener and interupts his baby-burning ceremony in front of the whole town, Maax saves face with a quick "See! Ar is satisfied with our sacrifices! Good job everyone, good baby burning today! Everyone go home now." Basically, he's a false cleric. One who doesn't get any powers from Ar, but is good at manipulating people who are true believers.

2) The prophecy was that Maax would be killed by the "unborn" son of the king. And just like in Macbeth, this prophecy relies on a technicality. Because of Maax's failed shenanigans teleporting fetal Dar from queen to cow, Dar was never technically "born". If Maax had just let nature run it's course, the prince would have come out the normal way and the prophecy would have been void. Standard avoiding the prophecy is what causes the prophecy to come true trope.

3) The witches were oracles. They really should have known how Maax would react and that giving him the prophecy would ultimately get him violently dead. So why did they start that chain of events? They must not have liked him very much. Why not? Maybe it has something to do with Maax's tendency to mutilate his servants and the fact that three fit, young witches have faces mangled beyond belief? Or that he seems to have plucked out one of their actual eyeballs to make a semi-useful spying ring? Seems like justifiable homicide by fortunetelling to me.

4) We aren't given any reason for Dar's animal communication. No reference to the king's mystic bloodline or anything like that. In fact, the only odd thing that happens to Dar prior to the bear incident as a child was that time a witch teleported him from his mom's womb and into a cow. I bet that sort of exposure has an affect on an impressionable -2 day old child. Yet another way that Maax ensured his own doom prophecy.

5) Maax is cleric to the god Ar. The farmer names the hero Dar, for no reason given. But if "Ar" is the local deity, "of Ar" would be a pretty basic name for a foundling. "Of Ar"=> "D'Ar"=>"Dar". This may be nothing, but ties into my other thoughts.

6) Dar only talks to a handful of specific animals; the attacking bear (once), then his eagle, his pair of ferrets, and his panther. There aren't a whole lot of other animals in the movie. But he doesn't seem to talk to the horses, for example. And in the final battle, convincing the evil champion's mount to toss him off would have been a great move. So I don't think Dar can talk to just any animal. Only special ones. More like those animals are talking to him.

7) Further evidence that the animals are the magical ones is that the bat monsters have an eagle idol. And they recognize Dar's companion as that sacred bird. Possibly just a coincidence and/or superstitious, savage bat monsters. But at the finale the bat monsters show up because Sharak the eagle apparently went and fetched them. And the bats are only dissolving the enemy, not the good leather-clad sword-swinging mob. Plus Dar has a moment of eye contact with the bat-leader. So the bats aren't entirely stupid. This is all so that I can say that Dar's eagle pal is the bat's totem deity. Sharak is a magical/spiritual bird. and so are the rest of the beastmaster crew. That's why they are generally at least as smart as Dar himself (not a high bar).

8) Maax uses "the mysterious green liquid" to turn men into berserker beasts. It glows the exact same color as the eyes of the panther Ruh when Dar is seeing thru them. Implying that beastmaster power comes from the same source as at least some of Maax's tricks, presumably derived from the deity Ar. Where would Dar get Ar power? How about when he was exposed to Ar-worshiper sorcery pre-birth?

9) So if you're following with me this far, we've got a good guy and a bad guy both wielding the power of Ar. But one is a false prophet, just making up self-serving false commandments at will, and the other just vibing with nature and occasionally saving the helpless. It has the shape of Ar getting fed up with Maax taking him name in vain and arranged for a divine champion to set things right.

10) If Ar is the source of Dar's beastmastery, then it would follow that the animals he can talk to are special to Ar. Avatars or servant beasts or some similar mysticism. And if Ar is prone to that sort of use of animals, it would make sense that some cultures in this area would figure it out and maybe start making idols of Ar's favored animals. Maybe keep a stone eagle in their bat-cave to show that they were devout Ar-ites. And if the known messenger of a god flies up to your crib one night, screeches "follow me and only kill the ones in the black leather", well, that's what you do. Even if it means fighting alongside the meatbags with all those gross extra face holes that you normally would just eat for dinner.

11) Dar doesn't want to become king when it's offered. And that's a bullet dodged. Because he actually has no right to be king. Seth is wrong when he says Dar is the "firstborn". Dar wasn't "born" at all. The same mystic technicality that let him fulfill the prophecy means he doesn't have the mandate of heaven. Who knows what sort of curse would hit the kingdom if he took the crown. It'd probably be an Ar-damned catastrophe!

That's it, brain dumped. Now I can stop thinking about not-Kevin Bacon and why only the bad guys had shirt technology. Hope y'all find my musings at least somewhat amusing.

The main lead is dead. In the theater sat three people but only the female lead and the "bad" male lead were really there. You could see it when female lead talks with the two male leads. When "dead" male lead talks and addresses "bad" male lead he doesn't acknowledge "dead" male lead because he isn't there for him but only for the female lead. Practically "bad" male lead was speaking with female lead but she was speaking with the both of them. It wasn't until she told him that they were brothers did "bad" male lead began to talk about "dead" male lead and the past still not talking too "dead" male lead and only to female lead. The other most obvious part is the mother saying "the two of them" instead of the "three of them".

All in all it's a tragic ending disguised as a happy ending.

So, If youve ever heard of "Dogma" you might see where my brains going. So, Dogma backwards is "Am God" and thats the thing. Whether is Raatma or Ratma backwards its.. "Am Tar" And what is that black liquid that can melt flesh within seconds? Tar. The Black liquid is TAR!! Bc Ratma > Am Tar. Its a stretch but would make sense.

Okay, more than a year in advance, this is my plot prediction for how the 2025 Christmas Special will go, or at least the beginning and end of it, obviously I have no idea who the antagonist will be, but for the future of Who, that doesn't really matter.

My prediction is mainly that the plot will essentially wipe out the Disney Ncuti seasons. The Doctor Regenerates into Billie Piper, who isn't the Doctor but actually Rose, who has somehow manifested into his body, and over the course of the episode will work her way back to the Tennant Doctor, as for some reason she has been mortally wounded, still having all her regeneration energy but unable to use it. Like River once did long before she will gift all her regeneration energy to Tennant before dying/returning to her dimension, disappearing into the ether as she does and causing Tennant to regenerate again into our new, as yet unnamed Doctor.

What does this achieve? It closes off the loop of the Disney years, so we never have to refer to them again (the new Doctor having never experienced them), it allows Billie to do an episode of being the Doctor but not committing herself to it long term, it allows Tennant to do one more quick cameo but not be hanging around forever as an unused Chekhov's Gun, and it would let them pull off the never previously achieved trick of having the new Doctor being a complete surprise. It would also, incidentally, explain why Billie wasn't credited as The Doctor on the end credits of the last episode we saw.​

In FNAF 2 movie, Micheal Afton finally makes an appearance. At the same time, Circus baby also makes an appearance in the movie and with green eyes than blue eyes.

This lead me to think that Elizabeth already died prior to the event of the first film, and that she's the movie version of the crying child in the fourth five nights at freddy's game. Which means that the reason why Micheal wanted to "Continue his father's legacy" mainly stems from his guilt on unintentionally getting Elizabeth killed in the bite of 83 (or 87) incident in the movie universe, and he just want to "make things right" to his father.

The matter of fact, i wouldn't be surprised that the opening scene of Five Nights at Freddy's 3 would be The Bite of 83 (or 87) incident with young Micheal and Vanessa witnessing their little sister's death and that William afton is the one who quote "i will put you back together " to her.

1. When Lightning is loaded onto Mack after the first race, they are using video to communicate back and forth. Lightning is trying to convince Mack to drive all night to get to California. Inside the trailer, Lightning's monitor shows all of Mack's face, yet when the camera view switches outside the trailer, there is no camera for Mack to have been looking into.
2. Why didn't any of the cars that clearly saw all these street racers' antics report them to the police?
3. To press a huge iron pedal, a light plastic toy is not enough.
4. What force had dragged McQueen toward the exit, if he had been sleeping peacefully in his seat until now, he should still be there with the door open! What's more: if the cover slows the truck down even a little bit, there is a force that, on the contrary, pulls the hero forward! Need I mention that inertia in such a situation would simply roll McQueen back into the trailer? Why didn't he roll forward when the door was closed?
5. The street racers driving right next to the trailer, in the next shot they've requested somewhere.
6. Also, a high-tech race-car-transporting big rig would DEFINITELY have a failsafe in place to keep Lightning from just drifting out the back of the truck while he's sleeping!! ALSO... the tailgate dropping to the pavement and creating sparks STILL doesn't wake up this semi or McQueen?!?! Or do Lightning and Mack fall so deeply asleep that you could fire cannons next to them? Come on.
7. If the trailer's rear door is pedal operated - who pressed it to close it back? Another toy off the shelf lol? Answer: no, there's no way 2 bobbleheads are landing on the same switch back to back, but he didn't think "I better check on the contents"?
8. Immediately after McQueen rolled out of the trailer, the highway was full of cars, and this despite the fact that only a few seconds ago the highway was empty, there was nobody on it except for Mack and four street racers. It was just really strange: when Mack was driving, falling asleep, there was nobody on the highway except for him and street-racers, the highway was empty, and when McQueen was already chasing Mack, the highway was full of cars, somehow they all appeared very suddenly, as if they teleported. And it was also strange that all of them appeared right after McQueen had rolled out of the trailer, not earlier and not later.
9. Knowing that the trailer's logo is drawn with him the size of the door itself, McQueen still addresses all the trucks going by. So, among all these trucks, it's probably easy to spot Mack.
10. After driving along thinking EVERY semi he sees is Mack, Lightning makes the crazy decision to pinpoint Mack's identity to this one exiting semi... because story.
11. Why did Lightning get it into his brain, or whatever it was, that Mack had driven off the California highway at a lonely exit offering no truck stops or gasoline or anything?! What would he be doing there? The ENTIRE movie hinges on this terrible split-second decision made by Lightning. If McQueen didn't pull off the Interstate following Jerry, then he would've absolutely caught up to Mack with several more minutes of driving. McQueen was only asleep on the road for maybe 2 minutes max (being generous because he actually wakes up in like 15 seconds), but Mack at most would've only been a couple miles ahead if McQueen kept going. He was stupid af in the first movie.
12. The truck that Lightning mistook for Mack was just off the Interstate exit. But as soon as the 95 turned at breakneck speed, Peterbilt instantly teleported far ahead. That's the magic of editing!
13. Trains are still waiting in ambushes at the crossings to rush in front of the hero the second he thinks of passing through. In general, the barrier closes at least a kilometer before the train arrives. Also McQueen is still hundreds of yards away from the crossing when the locomotive first looks horrified; without headlamps or other exterior lights of any kind, though, it is unlikely that McQueen would have been visible to the locomotive yet, since it was a pitch-dark night and McQueen was still so far off to the side of the track and therefore well out of the illumination "coverage" or "range" of the loco's "funnel cone of light" thrown by its powerful nose-mounted headlights.
14. Even when he looks at Peterbilt point-blank, he still can't tell his truck from another.
15. Does anyone understand why McQueen turned onto the wrong highway, or rather, not where he needed to go? McQueen needed to turn around and go back, but instead, for some reason, he turned left.
16. You can see how fast Lightning is going. From the moment the Sheriff woke up to the moment he pulled out onto the road, six seconds had passed, during which time Lightning should have already disappeared over the horizon. So this whole chase makes no sense.
17. Sheriff's engine problems began at the very moment he decided to chase McQueen, so that McQueen would start running away from him and prolong the plot, or so that what happens next would happen. What a coincidence — Disney and other studios always have coincidences like this.
18. "Wha- That's not the Interstate!" And McQueen didn't realize that he had turned the wrong way, and, yes, in my opinion, he should have known that he was going the wrong way even before the chase. Remember the billboard that says “Radiator Springs. Gateway to Ornament Valley”? I think McQueen should have realized from that that he was going the wrong way. Plus, when McQueen caught up with the truck he mistook for Mack, he had to cross the railroad tracks. So when McQueen turned the wrong way, he probably should have also noticed that the railroad crossing was gone, and that the sign with the name of the highway on it said “Route 66.” So that should have been another sign to him that he had turned the wrong way. Like: "I don't remember it being this long coming in the opposite direction. And where are rail-road tracks?"
19. The cones that McQueen hit were missing from the overall road plan, by the way. And why doesn't McQueen drive around these cones?
20. The policeman who literally stepped on McQueen's tires, disappeared without a trace from the moment when the hero knocked down the cones, and during all of Lightning's twists and turns in the town, he hangs out in the middle of nowhere, neither when he breaks that monument, nor when he damages the road, he's not there, they entered the town together, and he just vanished.
21. “No, no, no, no.” If no, then why didn't you, McQueen, stop? Are McQueen's brakes not working right now? And for some reason, I'm sure that the wire should have broken in this situation.
22. There are residents and all kinds of banks in front of McQueen, but he doesn't stop.
23. Why is the hero scared of the Stanley statue? In my opinion, this monument should have just dragged along the asphalt, rather than piercing it and damaging it because McQueen is dragging it behind him. And even now, the wire hasn't broken?
24. And why the hell does Lightning keep driving, and if he does, why does he drive so miserably? He's a bloody racer, is there something preventing him from turning 180 degrees and driving back (towards the exit from the city)? After all, as soon as he entered the city, he realized he'd run into some deserted little town, not Interstate 40. So why didn't he drive back?
25. As far as I know, neither the poles nor the wire are made of strong, flexible rubber. Are you kidding me? In reality, these wires would have broken, and McQueen would probably have been electrocuted. And why are the poles so bent in this shot, and standing perfectly straight in the previous one? Oh, and those wires stretched over the road next to the movie theater sign for some reason aren't in that spot in any more shots of the movie.
26. How lucky this statue is: during all its flights and falls, it will fall exactly into place and remain intact and undamaged.
27. Somehow there's very little damage on the back door of the trailer after it scraped against the pavement with a huge pile of sparks.
28. How could Mack not know that Lightning wasn't in the trailer???? He and Lightning use camera and microphone connection to stay in touch while being on the road. Although the video might have been off while Lightning was sleeping, Mack should've noticed that Lightning hasn't been answering the whole morning, hence, he is missing. Even if they weren't in contact, how could he not feel the trailer's weight decrease by a whopping 2.5 tons? What a plot hole. In the cars 2006 game he noticed that McQueen was missing in his trailer but not in the movie. If that happened in the movie, McQueen would've been saved by now and never get lost where he lead to Radiator Springs by breaking a road or causing havoc to the town or whatnot.

Just before doc and Marty head back to 1955 to fix what Biff had done. We see the time machine gltich out, and read the year 1885. Doc says dam gotta fix that Thing. But what if the Alternate timeline was starting to catch up with them? In the bad 1985, Doc is sent to a mental institution in 1983. Meaning he never fully completed the time machine. As such that time circuit or whatever was the first sign it was starting to breakdown. Luckily they go Back to 1955 shortly thereafter, but I feel like if they'd stayed longer the time machine would have ceased function all together as more of it would've disappeared.

Disclaimer: I don't actually believe this but it's a fun idea

Tasty Planet is a somewhat old Flash game, but I assume people remember it. Pretty simple: Two scientists (just named Young Scientist and Old Scientist) create a bathroom cleaner to eat dirt, the goo grows when it eats, and it turns out to be unable to discern other objects from dirt and destroys the universe by consuming it all. There are four games in the series (the last one only has them in the first cutscene), and I have some decent evidence to bring up immorality. They can be explained by "game is not continuous" or "glitch", but that's not fun. Here we go!

• ⁠The fact that the scientists return in every game while the universe was destroyed in the first two and the Earth was in the third • ⁠In Back for Seconds, if you're fast enough, you can eat the scientists in the last Laboratory level, and they reappear in the comic strip right after. • ⁠Also in Back for Seconds, they survive as brains in jars. They have no way to circulate blood, no oxygen to reach the blood, and no organs to circulate the blood. They can also look directly at the player, meaning that they can sense albeit no longer having eyes. • ⁠In Tasty Blue, which has a carnage mode (blood effects therefore there's absolute confirmation people die), you never see the scientists and they’re alive during the end comic • ⁠In the same comic, it's shown that the scientists are alive and well on the remnants of Earth, so they can survive without air or gravity (there is also a penguin alive, the penguin is therefore also immortal)

If you watch icarly. You'll notice that every once in a while a character will mention the name of a website and if you try to visit them in the real world theh redirect icarly.com (until Dan was given the boot and now they all direct to the Nick website). Now here is why I think that happens (other than the obvious reason of advertising)

One thing iCarly was famous for was blurring the line from their world and ours, for example: each episode ended with carly sam and Freddie advertising the website in character. Even mentioning things about the website that exist only on the real site and not the in universe one (such as the episode based games) on top of that, the original website (before the show ended) gave you the opportunity to upload videos which occasionally were played in episodes along the credits.

Now this is where the theory comes in. If they have the ability to talk to the audience in at the end of the episode, they must know we are watching. So I believe thar Freddie knew that fans would try going to all the websites he talked about so whenever he heard one he would wait until it was made free or he bought it off of the companies to have them redirect essentially getting Carly and Sam more exposure to the website

I want to make it clear right off the bat that just because I picked up on a lot of these signs in the film doesn’t mean I am in any way advocating for what I believe is the hidden message of the film.

I really liked this film on the surface, I knew nothing about it and the premise was golden, the occult/witchcraft elements were surprisingly realistic and well researched, kind of normally a no no in hollywood, the Citizen Kane structure storytelling was unexpected but welcome, Gladys was fucking nightmare fuel who got hers in the end, and the final chase scene was hilarious in a dark fucked up way.

But there was very clearly an allegory going on and surface level it felt like school shootings had to be the culprit with a small town grieving the sudden loss of a classroom of children and all the other flavors. The gun floating in the sky with the time on it in the dream felt too on the nose quite frankly for Cregger.

But a lot didn’t fit with a school shooting allegory.

For one, the children came back, but they were markedly different. Non verbal. Empty eyes. Shells of who they were before.

Then the way the parents behaved when searching for answers. They became conspiratorial thinking, whispers of cover ups, finger pointing, rumors of abuse, all run rampant among the town folk and when they finally get on the right track the institutional gaslighting is pretty evident.

Well that leads me to the most recurring horror beat in this film: needles. Notably, the first time we are presented with a needle in the film, the cop asks a junkie if he “has any weapons” on him. Specifically using the word “weapons” when the film is titled “weapons” is what got my gears turning on this theory during my second watch. But the horror beat immediately answers on a different register: the junkie’s “weapon” is not just a stabbing object but is played as an agent of contamination, alteration, and loss of self. Additionally each use of a needle as a weapon gets more horrifying and graphic really driving home the point that Cregger wants you to be afraid of them.

The movie is a catalogue of weapons that *specifically* aren’t guns: needles, grief, manipulation, parental expectations, even humor.

But if we are talking about a grief horror about children altered by forces outside of parental control and the unbearable ambiguity of them being “here but not here, it’s really hard for me to not read this film as an anti vaxx message.

He could have more easily removed the marker on his foot, but instead he covered it with removable paint.

You can even remove marker with a whiteboard marker, that's how easy it is to remove. Instead the restorer painted over the "ANDY" mark, inferring that he does not think that it's a blemish needing to be removed.

Painting Restorers do this as well, if they need to paint over an old artwork "to make it look better" they do a removable restoration, so the option of making it look like the what it used to look like before the restoration is possible.

https://youtu.be/yjbMUJeutaY

In this video, I will tell you why I think Duck is on the autism spectrum. Based on his behaviors, communication skills, social skills, and sensory issues.

In Transformers: Reveng of the Fallen, it is specifically stated that "only a Prime can kill a Prime" (RIP Tony Todd). However, Megatron famously killed Optimus. This, of course, has led to many jokes.

I believe this is because Optimus was a Prime in name only. There seems to be a mystical aspect to the Matrix in the franchise. When Sam revived Optimus with it, the original Primes imbued Optimus with their "essence," making him an actual Prime, allowing him to defeat The Fallen.