A commonly talked-about plot hole in the movie is that the opening narration says that the rose’s last petal will fall by the Beast’s 21st year, and the lyrics to “Be Our Guest” imply that the curse has lasted for ten years. That would mean that the Beast was at most 11 years old when he was cursed, and yet we see a portrait of the Beast before the curse that shows him in his mid-to-late teens at the youngest.

Some people have argued that maybe the narration didn’t mean the Beast’s 21st year alive, but his 21st year as a beast. But this still contradicts the “ten years” line. The last petal falls at the end of the movie, implying that the “21st year” is up. If the Beast had been cursed for 21 years at this point, that would mean Belle spent 11 years with the Beast, which seems quite unlikely.

Which brings me to my theory, which is that the Beast hasn’t actually been cursed for ten years. The only one who says this is Lumiere. Later in the movie when the Beast confesses his love for Belle after letting her rescue Maurice, Lumiere thinks this will be enough to break the spell, but Mrs. Potts points out that the Beast’s loved one must love him back in order for the spell to be broken. If Lumiere can get such a crucial detail wrong, he’s probably not very good at keeping track of time.

Theory: Fahrenheit 451, 1984, A Clockwork Orange, and Starship Troopers take place in the same alternate timeline

This is a speculative continuity experiment, not a claim that the authors intentionally created a shared universe. However, their worlds connect surprisingly well when arranged in this order:

Fahrenheit 451
1984
A Clockwork Orange
Starship Troopers

Together, they tell the story of a civilization repeatedly trying to control memory, violence and individual freedom.

1. Fahrenheit 451: Society voluntarily abandons the truth

The timeline begins with a society moving away from reading and toward electronic entertainment.

People surround themselves with immersive parlor walls, constant noise and simplified information.

Books become dangerous because they preserve complicated ideas, contradictory accounts of history and evidence that life has not always been the way it is now.

The government does not create this culture entirely by force. Society participates in its own intellectual disarmament. People choose comfort, speed and entertainment over difficult ideas. The government eventually recognizes the political value of that change and institutionalizes it.

Firemen eliminate books while the parlor walls occupy the emotional and intellectual space books once filled.

At the same time, violence is already spreading. Young people drive recklessly, attack strangers and kill one another with little concern. Adults retreat into entertainment. Families lose their emotional substance. Suicide becomes so common that technicians routinely respond to overdoses.

This is an early form of the “ultraviolence” that will later dominate A Clockwork Orange. Violence has not yet been controlled or redirected. It is simply ignored and trivialized.

2. The bombs in Fahrenheit 451 are the bombs Winston remembers

The war constantly passing overhead in Fahrenheit 451 eventually reaches Montag’s city. The city is destroyed almost instantaneously.

My theory is that this attack is part of the same global war Winston remembers from his childhood in 1984.

Winston remembers air raids, atomic attacks, underground shelters, hunger, displacement and family members disappearing. He specifically remembers an atomic bomb falling on Colchester.

Montag and Winston therefore experience the same historical rupture from different perspectives.

Montag witnesses the old world ending as an adult. Winston experiences that ending as a child.

The bombing is global, destroying governments, cities and international supply chains. However, it does not send every region back technologically in the same way. Surviving governments retain isolated pieces of advanced technology without retaining the industrial systems that originally produced them.

That explains the strange technological imbalance in 1984: sophisticated surveillance, helicopters and rockets exist alongside failing plumbing, food shortages and the inability to obtain ordinary consumer goods.

Technology has not vanished. It has become concentrated in the hands of the state.

3. The parlor walls become telescreens

The Party does not invent the telescreen. It repurposes the entertainment technology from Fahrenheit 451.

Bradbury’s parlor systems already possess most of the necessary features:

Large household displays
Continuous networked programming
Personalized audience participation
Immersive audiovisual entertainment
Centralized broadcasting
Interactive communication

After the bombing, emergency authorities seize the surviving communications networks.

First, the parlor walls carry emergency broadcasts. Then wartime governments centralize the system.

Interactive features are adapted for monitoring households. Private programming is replaced by official messaging, and the screens become mandatory.

Citizens originally invited the screens into their homes because they wanted entertainment. The Party simply reverses the direction of observation.
The technology also deteriorates. The state can no longer maintain three or four interactive walls in every home, so most citizens receive a single standardized telescreen. Inner Party members have access to better versions because they control the remaining technology.

4. 1984: Britain manufactures reality

The government in Fahrenheit 451 destroys books because books preserve inconvenient ideas. The Party goes further: it realizes that destroying records is insufficient while people retain independent memories.

The Party therefore attempts to control reality itself.
It controls history, language, relationships, sexuality, employment, food, entertainment and emotional expression. It does not merely ask citizens to ignore contradictions. It trains them to accept contradictions through doublethink.

The earlier government controlled people by preventing them from thinking deeply. The Party controls what thoughts can exist.

5. Oceania may only be Britain

The Party claims that Oceania includes the Americas, Britain, Australia, southern Africa and other territories. Britain is supposedly only “Airstrip One,” a province within an enormous superstate.
But Winston cannot independently verify any of that.
My theory is that Oceania is actually an isolated British regime. It may control parts of Ireland, a few islands or some surviving military installations, but it does not control the global empire shown on Party maps.

Calling Britain “Airstrip One” creates the impression that Airstrips Two, Three and Four must exist. Calling the regime “Oceania” implies vast overseas territories.

Neither implication needs to be true.

Winston’s observable world remains intensely English and geographically restricted. If Oceania truly included the Americas, Africa and Australasia, London should contain officials, workers, soldiers and visitors from those territories. Instead, Winston’s world feels like an island completely cut off from outside contact.

The Party does not need to conquer half the planet. It only needs to convince Britain that it has.

Eurasia and Eastasia may be real successor states, distorted descriptions of smaller foreign powers or complete fabrications. Their alleged wars serve several purposes:

They explain shortages.
They justify military production.
They provide interchangeable enemies.
They make escape appear impossible.
They convince citizens that totalitarianism exists everywhere.
They make Britain appear powerful rather than isolated.

Some conflict may be real, but its nature is unknowable. Julia even suspects that the government launches some of the rocket bombs itself to keep the population frightened.
Oceania’s true territory is not the world. It is the portion of reality the Party prevents its citizens from questioning.

6. The appendix tells us the Party eventually fell

The appendix, “The Principles of Newspeak,” discusses Newspeak retrospectively and does so in conventional English.

Within this theory, the appendix was written after the Party collapsed.

Its existence suggests that:

Newspeak failed to replace English.
Standard English was restored.
Scholars recovered the ability to study Ingsoc.
The Party lost control of historical interpretation.
Big Brother’s claim of permanence proved false.

Winston does not live to see the Party defeated, but the appendix suggests that history eventually proves the Party was not immortal.

7. The proles rise, but the Outer Party inherits the revolution

The proles make up most of the population.

Eventually, worsening shortages, state violence and deteriorating conditions provoke unrest.

Riots become organized resistance. Parts of the military and police refuse orders. The Thought Police cannot monitor or suppress the entire population.

Members of the Outer Party then realize that the Inner Party is losing control. Some defect and provide the revolution with administrative knowledge, intelligence and leadership.

The proles supply the mass uprising. The Outer Party supplies the people capable of operating a government.

Big Brother is eliminated and Ingsoc is abolished. However, the proles do not permanently govern the new society. Former Outer Party administrators become Britain’s new professional and political elite.
The old Middle becomes the new High.

8. Britain rebuilds through consumerism

The recovered government defines itself by rejecting everything associated with Ingsoc.

Books, music, fashion and private relationships return. Telescreens become ordinary televisions. Newspeak is removed from schools. Political competition is restored.

The new government decides that the Party failed because it denied people comfort, privacy and personal choice. Consumerism therefore becomes more than an economic system. It becomes an anti-Ingsoc philosophy.

Scarcity is replaced by consumer goods. Uniformity is replaced by fashion. Sexual repression is replaced by permissiveness. Mandatory ideology is replaced by political apathy.

The state no longer demands that people love Big Brother. It encourages them to purchase things, entertain themselves and avoid thinking too deeply about government.

In trying to escape 1984, Britain begins moving back toward Fahrenheit 451.

9. Newspeak survives inside Nadsat

Newspeak is officially abolished, but generations raised under it retain its linguistic habits:

Compression
Compound construction
Simplified moral categories
Political euphemism
Emotional distancing
The use of language to conceal the meaning of actions

Their descendants combine those habits with Russian vocabulary, Cockney expressions, childish speech, commercial language and youth slang.
The result is Nadsat.

Russian words may enter Britain through refugees, immigrants, foreign media, military contact or renewed trade after the Party falls. The language is especially attractive to young people because Russian was once associated with the enemy and prohibited culture.

Even the name “Nadsat” comes from the Russian suffix used in the numbers 11 through 19—the equivalent of “-teen.”

Newspeak and Nadsat move in opposite political directions. Newspeak is imposed by the state to prevent rebellion. Nadsat is created by young people to conceal rebellion from adults.

But they use similar methods.

The clearest example is “ultraviolence.” It sounds like a surviving Newspeak compound: a complicated moral act reduced to an intensified, emotionally simplified category.

Alex’s language places a screen between him and his victims. Assault and murder become musical, playful and abstract.

The Party loses control of Newspeak, but Newspeak’s habits survive in the language of the young.

10. A Clockwork Orange: Britain has recovered materially, but not morally

The Britain of A Clockwork Orange is not a society still under the Party. It is a society recovering generations after the Party’s fall.

People again possess music, fashion, consumer goods, public transportation, hospitals, television, shops and nightlife.

However, social recovery remains incomplete.
The country suffers from youth violence, weak families, corrupt policing, political opportunism, institutional distrust and generational alienation.
The revolution restored choice without restoring a shared understanding of responsibility.

The government also preserved many institutions created under Ingsoc: prisons, police networks, intelligence files, behavioral laboratories and bureaucracies accustomed to secrecy.

Big Brother is gone, but the belief that government can manufacture better human beings remains.

11. Room 101 becomes the Ludovico Technique

The Ludovico Technique descends from Party interrogation and psychological conditioning.

Room 101 identifies the subject’s deepest fear and uses it to destroy resistance. The Ludovico Technique medicalizes the same principle.

Alex receives drugs that create extreme distress. He is forced to watch violent images. His body learns to associate violence with sickness and terror. The state removes his ability to act violently without changing his moral beliefs.

The language surrounding the process has changed:
Torture becomes treatment.

Thought correction becomes rehabilitation.

Ideological conformity becomes crime prevention.

Forced submission becomes public safety.

The recovered government insists that it is different from the Party because it does not require Alex to love Big Brother. It only removes his capacity to choose violence.

Both governments nevertheless claim the right to enter a human mind and reconstruct it.

12. The Ludovico research survives

Alex’s treatment becomes a political scandal. Public use of the technique is condemned, but the underlying research is too valuable to destroy.

It is transferred into classified military and medical programs.

Over generations, scientists refine it. The drugs become safer. The triggers become narrower. The effects become temporary, selective and reversible.

The technology is eventually adapted for:

Fear management
Sleep induction
Trauma control
Combat readiness
Emergency performance
Military conditioning

Alex becomes an involuntary pioneer of technology later presented as humane military medicine.

13. The world enters another period of disorder

Consumer society ultimately fails to resolve its deeper problems. Personal freedom has returned, but it remains disconnected from civic responsibility.
Crime, political corruption and social fragmentation worsen. Civilian governments lose legitimacy.

Veterans, military units and emergency organizations become the only institutions capable of maintaining order in some regions.

This becomes the period later remembered in Starship Troopers as the Disorders.

The Terran Federation emerges from the belief that previous governments failed because they granted political authority without requiring demonstrated responsibility.

Its solution is Federal Service.

Civilians retain personal freedoms, but voting and public office are reserved for people who voluntarily complete service.

14. Starship Troopers: Violence is redirected

The Federation does not attempt to eliminate humanity’s violent nature. It trains, disciplines and directs it.

The violence that appeared randomly in Fahrenheit 451 and overwhelmed the streets in A Clockwork Orange is enclosed within powered armor and aimed toward an external enemy.

The Mobile Infantry becomes civilization’s perfected container for ultraviolence.

The Federation also uses injections, psychiatry and hypnotic preparation before combat. Hypnotic suggestion can regulate when soldiers sleep and awaken.

This is the distant descendant of the Ludovico Technique—but its purpose has been reversed.
Alex is conditioned so that he cannot commit violence.

Rico is conditioned so that he can continue functioning while terrified.

The Ludovico Technique suppresses unauthorized violence. Federation conditioning enables authorized violence.

15. The evolution of government control

The same basic power passes through several political justifications:

The Party alters people because resistance is forbidden.
The post-Party government alters criminals to protect society.
The Federation alters volunteers who have accepted Federal Service.
Only those volunteers later become eligible for political power.

The Federation solves the appearance of coercion by placing consent at the entrance to the institution.
A recruit volunteers. Everything that follows is considered part of that original choice.

The Federation does not need to condition the entire population. It only needs to shape the smaller group that will eventually be permitted to govern it.

16. The final enemy

The Arachnid war gives humanity something its earlier governments repeatedly tried to invent: a genuine, permanent, outward-facing threat.

Previous societies directed aggression toward readers, dissidents, criminals, rival political classes, youth gangs and random victims.

The Federation directs that aggression toward an alien species presented as an existential danger to humanity.

This may finally unite the human race. It may also perfect an ancient political strategy: social cohesion through the existence of an enemy that cannot be humanized.

The complete cycle

Fahrenheit 451 controls what society consumes.
1984 controls what society believes.

A Clockwork Orange controls what an individual can do.

Starship Troopers controls who receives political power—and psychologically prepares them before granting it.

The parlor walls become telescreens.

Newspeak becomes Nadsat.

Room 101 becomes the Ludovico Technique.

The Ludovico Technique becomes military hypnotic preparation.

Street violence becomes interstellar warfare.

The Outer Party becomes the new governing class.
The veteran becomes the citizen.

The governments fall, but their tools survive.

So the final question is not whether the Terran Federation is freer than Oceania. It clearly is.

The deeper question is whether humanity finally learned to govern its violent nature—or merely found a cleaner, more acceptable and more technologically sophisticated way to control it.

What connections, contradictions or additional books would you add to this timeline?

>!We already see how Steve Rogers de-ages in the Doomsday trailer.!<

>!Time Travel is shown to be real in the MCU. The Time Stone is magical and held by the Sorcerer Supreme. And the first non-magical time traveler appears to have been Scott Lang when he reappeared five years after entering the Quantum Realm. Armed with this knowledge, the gang then asks Tony Stark for help. He refuses. It's then they ask 7 PHD having Banner Hulk. This is the second time time travel happens. Only, Scott doesn't travel through time, time travels through Scott.!<

>!In that sequence, Scott becomes an old man, a boy and a baby all in a span of maybe 45 seconds or so. Scott poops his suit. It's unclear which version.!<

>!This is how Steve Rogers shows up de-aged in Doomsday. They use the flawed (though understood) Banner-method of time travel to knock a few decades of age off of Old Man Rogers. I'm going to guess this a 'break-glass' scenario where Steve insists on helping.!<

Reposting with spoiler

I’ve been thinking about what Jared said at D23, and something crossed my mind. I’ll share it here for posterity, just in case I’m right. Jared mentioned that the third movie would really put Nick and Judy to the test. Most people would probably imagine a major case, a villain, or even something like caring for an egg that hatches, forcing them into a surrogate-parent role. But it’s already been proven that they can work together and solve big cases. So, what could truly test them? What if the real challenge is something that’s been right in front of them all along—something they simply hadn't paid attention to? What if it’s something they haven't yet given a chance? There are mutual, reciprocal feelings between the two—that was made clear in the second movie—but will they have the courage to acknowledge those feelings? To go public with their relationship? Think about it: for Nick, it means accepting that he is worthy of love and can build a future with Judy. For Judy, it means realizing that life isn't just about solving police cases—that she can actually embrace these feelings. The greatest challenge of all is facing the truth that’s been there the whole time and accepting that they can love each other.

This is just an opinion from an writer who loves them deeply. Take care.

APTX 4869. The drug is not merely a poison, it is a substance capable of reversing the flow of time by shrinking the body. However, it is a double-edged sword: under the right condition, it becomes a giver of life; without that condition, it immediately becomes a giver of death.

While many fans have been caught up in far-fetched theories, let's examine the evidence calmly by comparing every successful shrinking case.

• Shinichi Kudo: A severe head injury, heavy bleeding, freezing cold weather.
• Shiho Miyano (Haibara): Emotional breakdown, intense grief, trapped inside a cold gas chamber, heavy rain outside, and a mild cold.
• Mary Sera: Overwhelming guilt, suppressed sorrow, cold symptoms, freezing weather with heavy rain, and falling into a river.

The common denominator is simple: a significant drop in body temperature. Every successful shrinking incident occurred in extremely cold conditions.

During the shrinking process, the body's temperature appears to rise dramatically, causing intense pain. For the drug to reverse time instead of ending life, the body requires an external factor capable of rapidly lowering that temperature.

• Shinichi, Shiho, and Mary survived because the rain, freezing weather, and cold water prevented their bodies from overheating.
• Kohji Haneda and Amanda Hughes died because the incident took place inside a warm, comfortable hotel. Their bodies could not withstand the extreme heat generated by the drug, resulting in death.

Evidence from the Antidote and Gosho's Hints

Haibara's condition: Whenever Haibara gives Conan the temporary antidote, she consistently insists that he must have a cold first, a condition that alters the body's temperature, for the antidote to work properly.

Physical evidence: After both shrinking and returning to the original body, we repeatedly see steam rising from the body along with heavy sweating, strongly suggesting a dramatic increase in body temperature during the transformation.

Gosho's clues: the weather is consistently cold with heavy rain, which appears to be an intentional hint from Gosho.

Conclusion

The recurring presence of rain and freezing weather during every major transformation is unlikely to be a coincidence. Instead, it strongly suggests that the key to surviving APTX 4869 lies in lowering the body's temperature and the presence of water, whether through an internal factor such as a fever/cold or an external factor such as rain, snow, or any other source of intense cold.

Edit: Grey Matters was not a Chem supply company

Just an idea from the scene where the guys say that they synthesize it and how simple it is to do so. Even with Walt siphoning his methylamine from a train, which seems easy to contaminate, he makes the best product ever in just an RV. What if the purity stems partly from his knowing that it's nearly impossible, or super difficult or time consuming, to make the acid perfectly, and so Walt simply buys his?

This might explain something - Gale, and most of the other cooks we see, are trained chemists but may not have experience in the economic side of it, like how they get certain precursors to come out pure. In contrast, Walt actually founded a chemical supply company, and had experience separate from his classroom experience.

So what if the cartel cooks and the other professionals are overstepping their abilities, don't check the phenylacetic acid, and are simply adding in an unknown number of variables when they make their own precursors?

Also helps to show that a textbook chemist in the show - Gale - is much more oriented to simply following instructions from the textbook, as opposed to Walt, who knows the market inside and out.

Psychic telepathic powers mind control taken away because of power and held captured by the force to use their powers ....And a lot of things

parallel overlap it seems

also a lot of scenes of sadie sink in spiderman resemble directly from max in stranger things😭

I watched the Machinist over the weekend and I liked it, however there is one part at the end I don’t understand. >!When Trevor is about to leave to turn himself in, his landlord comes in and asks if she can buy his glass bowl. He said no because it was his mother’s bowl so it means a lot to him. Then he told her that a truck is coming to pick up his belongings and donate everything.!< Why not just let the landlord have the bowl if you’re just donating it? I feel like I’m missing something as it doesn’t contribute anything to the plot maybe other than showing he still isn’t making any sense? I guess it just seems too random to not mean something. I know it’s pretty trivial but I can’t stop thinking about it lol. Thanks for your ideas :)

The Usual Suspects, just from the title, is obviously meant to be a mystery. The director allegedly even convinced many of the cast that they were all Soze just to make the performance more enigmatic.

Here is how the movie leads you. First, the cops think Keaton is the mastermind of the whole operation. So the audience is meant to start thinking that too. When the character of Soze is first introduced, the dialog emphasizes all his foreign qualities, like having a Turkish background or possibly speaking Hungarian. At almost the same point in the movie, we’re introduced to the character of Kobayashi, who speaks English with an accent and has a vaguely foreign appearance. That clearly leads the audience to think that he might be Soze. Then in the stunning finale, the audience gets the big reveal where they're led to believe that Verbal is the mastermind.

Here’s the problem. It’s too easy. Keep in mind this line from the movie: "If you got a dead body and you think his brother did it, you're gonna find out you're right". The movie doesn’t want to make the solution this obvious.

Also, Verbal being the mastermind doesn't fit with the theme of the movie. The theme of the movie is that cops are corrupt. Consider that the lineup that set the whole plot in motion was some kind of twisted cop contrivance. Keaton (a criminal) is a former cop. The gang's first job is to rob a bunch of corrupt cops. Dave Kujan implies that he will (illegally) use all his resources to punish Verbal if he doesn’t cooperate. Verbal's last line of the movie is "Fuckin cops".

So here's the theory.. Soze is actually … Jack Baer, Esposito's character.

Some evidence:

• Look at how Jack Baer is introduced. It's at the boat fire where they're recovering bodies. He’s standing with his back to the camera, smoking a cigarette in his right hand while wearing a fedora. Now consider the last scene where Keyser Soze appears in the movie. He's about to start the boat fire. He’s wearing a fedora and smoking a cigarette, with a lighter in his left hand. If you pause the movie at this point and zoom in, this might actually be Esposito.
• When the burn victim from the boat wakes up in the hospital, guess who is there. Jack Baer. The burn victim freaks out and his heart races. He starts screaming about Keyser Soze.
• Towards the end of the movie, Jack Bauer is talking about Soze and says, "Could be an old badge. You know, a hex sign to keep people from fucking with you..."
• Guess who introduces Soze into Kint’s story. Yep, Jack Bauer.

Lastly, consider how Verbal came to be in custody. If he is Soze and sets the boat on fire, how does he get picked up by the cops. We’re also shown Verbal getting into the van with the crate full of money and a bunch of other crates possibly containing the dope. What happens to the van?

Doug Funnie is the ironically named bland, wet blanket protagonist of the eponymously named cartoon "Doug." It takes all of three minutes for one to notice that he is severely mentally ill, likely a danger to himself and the community, yet the characters and show itself continuously ignore the warning sides, unintentionally mimicking the American society that has done the same thing time after time.

Doug's mental illness is first and foremost clear in his major depressive tendencies. He's like Charlie Brown without the brain tumor. Self-effacing, self-critical, defined by his lack of definition; he's an empty hole of a human without genuine interests and connection. A majority of the episodes have him stewing in isolation and sadness, all the while his parents make fun of him or ignore him as they tend to his drug addict sister.

Secondly, Doug is clearly delusional. He copes with his trauma (more on that in a bit) and depression through dissociative episodes. Unable to rise to the occasion and be a fucking man (or even straw-man representation of a human being), he disappears into delusion, imagining himself as characters like Smash Adams, Durango Doug, Quail Man and Jack Bandit. It should be noted that these delusional alter personas are all derivative of pop culture figures, demonstrating that even in his wildest dreams Doug lacks panache, creativity, uniqueness, or any semblance of a back bone.

His super hero form wears tightie whities and straps a belt on his head. This is his ideal form. Jesus fucking Christ what are we doing?

This isn't just imagination. Doug actually loses track of reality and is shown in the show acting out his fantasies to the point of endangering himself (one time he almost gets hit by a fucking car). He speaks to himself and these characters frequently and oddly imagines his dog (which some asshole named Porkchop) as having incredible human like abilities. Porkchop communicates with Doug in advanced ways, drives vehicles, sets up traps, and saves the day on multiple occasions, again demonstrating that Doug has less agency and ability than a fucking dog but also that he is imagining all of this.

Doug has been isolated since childhood. His friends allow him to exist in their general space but never quite accept him as one of their own. He's always on the outside pining for Patti Mayonnaise who clearly would much rather have Chalkie Studebaker take her down to Stitson's pond to bag a nematode.

That's another thing: Doug's friends are all vastly superior to him. Smarter. Funnier. More capable. Skeeter is a shit bag weirdo loser but he's still wayyyy cooler and funnier than Doug (honk honk). Chalkie Studebaker is a regular Nietzchean ubermensch. He's nice, funny, smart, popular, and the greatest jock on the goddamn planet. Seriously, in one episode he's the star quarterback who throws a pass over the line, runs past every other player, and catches his own pass for a touchdown.

Let's me clear: throwing a pass to yourself in American football is illegal. You cannot throw and catch the ball unless someone else hits it first. Chalkie breaks the rule, scores a touchdown, and no one gives a fuck because he's goddamn Chalkie Studebaker. He carries the entire team on his shoulders and then what happens?

Doug, the kicker, goes out to try and win the game. He bumbles it (of course) falling on his ass and sending his shoe flying through the goal post. The crowd cheers until Referrer Assistant Principal Bone blows his whistle and boldly declares "no, the shoe doesn't count!". This is something I still yell while watching football to this day.

He's viciously bullied by Roger Klotz, who wears a sweet leather jacket and clowns on Doug without effort. He probably also fucks Doug's mom too.

The person who is kindest to him? His neighbor Mr. Dink who continually invites him into his garage to do special experiments. He invites Doug regularly, speaks moistly in a creepy voice, repeatedly pats and rubs his back, and for god's sake the man's last man is Dink.

We all know what's happening and no one is helping.

Doug is inferior and knows it. He falls into psychotic delusions. He self-isolates. He's spiraling and handling his abuse on his own. He is a powder keg ready to blow. What is the trajectory of such a kid in modern times? He will be denied love, community, happiness, or any shred of self-esteem.

Doug Funnie will lash out. He will strike at a world he views has been unkind to him. He is the archetype for so many who have committed acts of mass violence. I wouldn't be surprised if some idolized him and his shitty underwear worn on the outside of his pants as Quailman.

Our society overlooks people screaming for help and we reap what we sow, and Doug Funnie is the epitome of this

Oleana is autistic

Out of all Pokemon characters, I think Oleana is the one who has the most likely chance of being autistic. Canonically, it's unspecified. But she fits many traits to a T.

Taking her Twilight Wings episode as the main source of reference:

• Stoic expression and limited nonverbal expressiveness
• Issues socializing with others
• Struggles understanding and maintaining relationships
• Rigid routines
• Intense specific interest (science)
• Infodumps about a specific interest (namely, Pokemon biology and science)

Evan knew that he was dead the whole time even though it appeared he was alive throughout the main story. There are a few things that might give it away for example, he sees the reflection of Nate in the water but turns away before looking at his own. Ghosts don’t tend to reflect? Any other ideas. Well.

this completely reframes Ant-Man by proposing that Hank Pym originally engineered the basement heist for Luis, a combat-ready security prodigy, rather than Scott Lang. When Hank tells Hope, "I have someone in mind," the film immediately cuts to Scott, but at this chronological point, Hank has only been watching Scott's file from afar; conversely, Luis is already out in the world running a crew and possessing elite heavyweight boxing instincts—proven later when he drops a professional corporate security chief with a single punch while Scott struggles to survive basic sparring with Hope. Because the Ant-Man suit functions as a high-stakes weapon where the physics are handled internally, Hank didn't need Scott's electrical engineering degree—he needed a soldier who understood guard rotations, which perfectly fits Luis's future background as the head of X-Con Security. Hank meticulously rigged the heist by seeding an antique 1910 Carbondale safe with a highly specific thermal weakness and feeding a tip down the grapevine, even ensuring a heavily regulated cylinder of liquid nitrogen was floating around Luis's black-market network to dictate a direct, physical entry. However, Scott unexpectedly accepted the job, and his literal engineering brain completely broke the parameters of the test by using real science to bypass the system rather than executing Hank's sloppy, scripted stage play. This explains why Hank is so intensely disgruntled and impatient during the training montages; he is furious that a random, sarcastic amateur out-engineered his trap, forcing him to waste weeks teaching Scott how to punch and talk to bugs when Hank's own track record—like throwing himself recklessly into the Quantum Realm and almost destroying his own suit because Scott had to remind him how a basic regulator belt works—proves Hank is a chaotic chemist who severely lacked the discipline to handle a meticulous engineer

Me Jane. You Tarzan. I neurotypical developmentally intact adult woman predator. You animal-identifying developmentally stunted man-child trying to make sense of humans and the concept of attraction.

The story of Tarzan and Jane is represented as one of beauty and love. The reality couldn't be further from the truth. Jane is more reminiscent of a female teacher preying upon her male pupil than an equal partner in a romantic tale. It is clear based on their power dynamic and the happenings of the movie that Jane is manipulating Tarzan to satisfy her sick whims.

Let's consider the evidence. Jane first begins demonstrating a clear romantic interest in Tarzan after he takes her shoe off and engages in some seriously unabated foot play. Clearly Tarzan isn't afraid to give those piggies a wigglin' and this seems to tickle Jane's fancy. Also, while swinging around, it is likely that Jane caught a glance of Tarzan's massive hog. And I mean, I think it has to be gigantic. Jane fawns over Tarzan's body to such a degree that her father smells her interest while she's drawing a picture of him and suggests that he "leave her and the picture alone for awhile." I count that as the first time in a Disney film that a father suggests his daughter take some time to flick her bean but I imagine it will not be the last.

All jokes aside, it is clear that Jane becomes physically interested in Tarzan. He is attractive of course (those eyes, that bod), but let's consider the reality of Tarzan the character. He identifies as an animal. You may say "well actually, he's human...." and yes, professor, you are technically right, but he has been raised as an ape since childhood. HIs understanding of his body, mind, soul, social etiquette, and everything is that of an animal and last time I checked beastiality ain't cool. Secondly, even as Tarzan begins to recognize his identity as human, he is decades behind Jane in emotional and social development as we understand them. He isn't unintelligent, but being stunted in these things leaves him for an extended period (if not permanently) more child-like psychologically. This is clear throughout the movie.

Jane has all the cards. She understands dating and romance. She understands non-ape sex. She wraps Tarzan around her gloved finger (I mean, she's literally his teacher and then she seduces and bangs the hell out of him), and she gets what she wants, which is for Tarzan to repeatedly shoo-bop her she-do.

Years later, we still celebrate this romance, even as an epidemic of student teacher relationships/assaults keep occurring. Was Tarzan a flashpoint that normalized this or subconsciously influenced young folks? Perhaps. Phil Collins is likely in on it but that's a theory for another day.

Damn you, Jane, you irredeemable pervert

I’ve been thinking about the Emily / Andy’s mom theory again after Toy Story 5, and I believe there’s still a version that can work — a much sadder one.

We all know the classic theory: Emily (Jessie’s original owner) grew up to become Andy’s mother. The red cowboy hat Andy wears matches Jessie’s (and Emily’s) far more than Woody’s, the timeline roughly fits, and Mrs. Davis’s first name has never been confirmed on-screen.

Toy Story 5 seemed to shut it down: Emily has a daughter named Jessie, and she’s a redhead in the flashbacks while Andy’s mom isn’t. But what if that daughter is the key rather than the contradiction?

Here’s my theory:

Emily had a first child — a daughter she named Jessie, after the cowgirl doll she once loved so much. At some point, she lost both that little girl and her first husband in the same tragedy (possibly a car accident). The time capsule Jessie the toy finds under the tree, full of buried memories and a photo of Emily with her daughter, suddenly reads like a memorial rather than a simple keepsake.

Devastated, Emily moved away and eventually had Andy and Molly. But the father of these two children was never really present. Not because he died, but because Emily, still traumatized, developed a deep fear of committing again. She may have had a relationship, but she never allowed anyone to fully stay. That would explain the complete absence of Andy’s father in the films without needing to kill him off.

She also stopped dyeing her hair red (or deliberately changed its colour) because it kept reminding her of both the doll and the child she lost. The red hat, however, she couldn’t bring herself to throw away. She passed it on to Andy — a quiet, almost unconscious way of keeping a piece of her first daughter alive without ever talking about it.

This would explain:

• Why we never see Andy’s father
• Why the hat is so important yet never explained
• Why Emily’s memories are literally buried
• And why the visual similarities between young Emily and Mrs. Davis still feel intentional

It’s darker than the original theory, I know. But Toy Story has never been afraid of quiet tragedy underneath the comedy. The idea that the red hat Andy wears is a silent memorial to a sister he never knew, and that his mother’s emotional distance comes from a loss she never recovered from… that feels very Pixar to me.

Has anyone else gone down this particular rabbit hole after Toy Story 5, or am I alone in this?

It's far from an original take that the OWW is NOT a cursed item. Ian asks for a billion dollars and simply receives it. In a pretty inconvenient format yes, but he is not crushed by gold bars, or gets a billion Zimbabwean dollars, or anything of the sort.

Which makes it weird that Bear's wish *is* incomplete. He wishes for Nikki to love him. We know that he doesn't consider whatever is controlling her body as Nikki. The same semantic games could've gotten Ian useless confederate bucks but it didn't. This implies to me that the OWW is limited in its powers. The client made a demand it simply can't fulfill so like any contractor you find a workaround and present the finished project as exactly what was required.

Even assuming that Bear's wish was correctly interpreted, it's really weird that Nikki still can occasionally break free. It would be like some of Ian's dollars were actually just pieces of paper colored in crayon. This is an actual "bug" in the shipped product, which couldn't happen if the OWW could truly do everything.

The fact that the operator has access to true Nikki means that this must be working through some sort of soul magic. Said soul magic seems to be able to move them around, but cannot control them. Bear asked for soul control, it couldn't be fulfilled but it could be approximated using the power to move souls around.

Putting all this together, I find it extremely unlikely that Nikki does not have access to the OWW. We know it was a different being inside her, we know that there's soul magic involved, and we know the object is not cursed. Thus, it seems to make the most sense that it will recognize a different soul and allow full access to its powers. And we know that Nikki knows the OWW works because she saw herself break it. Now what she could wish for to get herself out of the bring I don't know. If she wishes all her friends came back, I'm going to guess the same limitations will come to play, and she'll get possessed friends and be haunted by ghosts. Probably the best she could do is wish that everyone believed her. I don't know if that's also controlling souls and thus would need a workaround as horrific as Bear got, but at least it's a bit more of a happy ending then I think most think is possible.

P.S. The director said it wasn't *demonic* possession not that it wasn't possession all together. It clearly was given that real Nikki can break free and knows it wasn't her. And I know the director said she's probably going to jail but that's not a canonical ending, he clearly left it open for interpretation, and this is mine.

Im rewatching the Code Name Kids Next Door and im on the Licorice episode and it opens with Sricky Beard having a sugar eating contest with his crew and I looked down at his candy cane leg and the pieces were just too obvious to ignore. You cant just keep chugging the sugar forever without it effecting your body over time

So in Invincible 4x5, Nolan said he was roughly 1000 years old. Okay, sure, he looks it with his nice silver wings. But then you look at people like Thragg and Kregg. Both are massively older than Nolan, as when Nolan came of age, Thragg and Kregg were adults of high rank in the era of Argall's rule, yet in the modern day they appear basically the exact same.

Why is this? Nolan's got terrible aging genes, and there is so much proof when you look at how each of his sons turn out.

Mark by ~90-100 already has grey streaks in his hair, though he otherwise looks like a good looking guy in his 40s, and he settles in this appearance of a 40-something year old with grey streaks for the forseeable few thousand years. Nolan told him in their big fight that everyone around him would die before he ever looked thirty. Nolan was either lying or grossly misunderstood his genetics, which I think is the latter. Eve's super-genes thankfully meant that their daughter Terra did not inherit her paternal aging, and even at ~500 looks to be a youthful twenty-something.

The evidence gets damning with Oliver however. By the age of ~2, Oliver looks to be a teenager between 14 and 16, and by ~3 all of his purple Thraxan pigmentation is replaced by his father's white pigmentation. By ~4 he looks pretty much the same as a 22 year old Mark, and by ~9 he appears to be a fully mature, adult viltrumite. Contrast this with Thragg's hybrid children. Assuming that his elites (including Ursaal and Onaan) represent the first generation because there was little conflict in the 5 year timeskip, that means that his eldest children at ~5 years old look just as old as Oliver did at ~2. Even an Ursaal who should be in her 70s looks incredibly youthful compared to Oliver who died before he even reached 10.

My verdict is that these Graysons are just predisposed to looking much older than they actually are, at least in terms of hair. Nolan and Mark both managed to look incredibly handsome in their age, but poor Oliver got the short end of the stick by literally growing up faster than any other of his kind. It's very minor, but I've wanted to type this out for a while.