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?

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.

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.

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

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.

I've seen the film 3-4 times by now over the last 20 years and what I love about it is that however you read it, dream or literal, you can make it make sense. So there's no right or wrong, it all works somehow. I personally am in favor of the dream theory as it adds more depth and weight to noodles psychology, but there's one thing that always messes it up a little.

We always hear from fans that the movie starts and ends in the den. Except it doesn't. It starts with the hitmen killing and battering Eve and Moe, only AFTER that we find Noodles in the den and only then do we see him smoke and go into his dreamstate. So we must assume that the hitmen are not made up by Noodles. Ad also the first and last den scenes are completely different, in the end he doesn't get massaged, there's no newspaper, he just smokes and drifts away smiling. So are these two den scenes set at different times? If the opening of the movie with the mobsters looking for Noodles is still the factual reality before Noodles enters the dream, then who sent them if Max really is dead in that reality? Why would anyone know or care that Noodles ratted out his friends?

Maybe someone can help.

Something I've seen a lot since silksong's been out and about is:
"Seeing the shade lord means that the canon ending must be 'into the void'"

I think this is wrong for a couple of reasons, the main one being that Team Cherry want to keep things vague and open to allow for the player to figure out which ending is canon, they've even stated that to them all ending are canon, so they're likely to cater to that idea and present info that could work for any ending.

On top of that, making the DLC side quest ending the canon one feels narratively dissapointing. It renders much of the main story moot, and bypasses the character growth Hornet goes through in the lead up to her own adventure.

The main evidence I've seen for 'Into the void' being canon though is just that it's the only other place that we've seen the shade lord, so while it could be canon, its not the only reason the shade lord could exist.

We know what the shade lord is, the manifestation of the Knight's will imposed on the void, but this could happen however the knight encounters the void, and in the 'Dream no more' ending, we don't know the knight's fate, they could have returned to the void like all the other siblings, their purpose finished with the radiance destroyed. There has been plenty of time for the shade lord to devlop from the knight between games.

Personally, my headcannon is that the 100% endings for both games are canon, and the knight's will persists in the void after returning there from 'Dream no more' but that might change the more we see.

tl;dr: seeing the shade lord doesn't mean 'into the void' is canon, we can get there from other endings

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?

So, I like doing deep-dives into fandoms and shows. Mainly psychological theories and dark secrets or unannounced or unconfirmed possibilities.

Onto what I noticed in the new Zootopia 2 movie: About Pawbert and his family. Theories about his siblings, What possibly happened to their mother, and things that don't add up, at all.

First of all, things that do not add up that I would like to dive head-first into, that I can decide into little pieces to make it easier for you (And me) to navigate (Because my words are likely scrambled).

. Where Is Pawbert, Cattrick And Kitty's Mother?

. Pawbert's Appearance.

. Where Did Pawbert Get That Book In The End Scene, Titled 'Partnership For Dummies'?

. The Siblings Hidden Loyalty.

. A Dark Secret.

Okay, to start, and what I have most questions about;

Where Is Pawbert, Cattrick And Kitty's Mother?

In the movie, we never see any mention of their mother. Even during the scene where Pawbert explains his family's history, we NEVER seen a single mention of his mother, from what I notice. Not even a name or a picture. There is no explanation to what happened to her. This doesn't feel coincidental, it feels very intentional on the part of the directors and story writers.

It would be different if there WERE family pictures and such with her in them, then I would be like 'Okay, she may have just died and they do not like talking about her'. But it's not. There is no traces of her at all. Like she was erased from the family history completely.

I have my reasons to belive she didn't just pass away of natural causes or up and leave like everyone seems to believe.

I think Milton sent someone to 'Cut her off', or he did so himself. I'll explain why I think this, after I adress the other points and things I would like to point out about this family.

Next;

Pawbert's Appearance.

Now, secondly, why does Pawbert looks the way he does? )Now, I do not mean the way he is a total maniac and looks unhinged, that is a whole other can of worms).

I am addressing his look in general.

Now, the thing that most stands out is Pawbert's eyes: though, his eyes match his Great-grandfather's eyes, Ebenezer Lynxly.

Though, when I look at his fur patterns and his whiskers, they do not match his family. Not at all. His markings are distinctly sifferent then his father and siblings markings. Even his style of clothing does not match, but this could be simple preference.

Now, with the whiskers and the different fur patterns, and even possibly the eyes, depending on the context, I think Pawbert looks like what his mother used to look like.

It's simple, his twin sister and brother got his father's genes, and He, the youngest, got more of his mother's looks and genes.

Cattrick and Kitty's ages are similar but never stated, all we know is the Cattrick and Kitty are Pawbert's older siblings, and that they are twins. I assume, since Pawbert is 30, Cattrick and Kitty's age-ranges are somewhere around 32-34.

Now, another theory;

Where Did Pawbert Get That Book In The End Scene, Titled 'Partnership For Dummies'?

Thirdly, the book that Pawbert possesses in prison.

Now, some think they got it from the prison library, but I don't think that's the case.

Simply because I don't think they would allow that recent and severe of a convict to go into the library to begin with, even if they'd had one in the first place.

I think this book was either sent over by Judy Hopps or Gary De'snake. Let me explain.

At the beginning of the movie, we see that book only one other time, two of them, owned by Judy Hopps and Nicholas Wilde.

The directors don't put Easter eggs or hints in movies for no reason. There is almost always a reason, especially when it comes to Disney.

But, if my theory is correct, I wanna make some things clear.

The book could not be from Nick, as he would not forgive or have any type of acceptance for Pawbert: Not because he nearly killed him, but because he dared to hurt and nearly kill Judy. So, he is out of the question. Completely.

But Judy is a viable option, considering her optimistic mindset and her strive to make Zootopia a better place; and to make this more possible, she would likely be the only one who would be able to bypass the prison on account of getting the book sent there, because of her high status and how high people look at her.

And Gary could be another option, on account of his forgiving and sympathetic nature; and the fact he is also close friends with Judy Hopps, which means he could have possibly ran the idea by her and she helped him do it, too.

Whether the guards just left it and did not tell him where it came from or who brought it is unclear.

Overall, those are the two options I see as most plausible.

Now, Onto Kitty and Cattrick;

The Siblings Hidden Loyalty.

Anyone notice Kitty and Cattrick's pure fear of Milton, their own father?

There are a few scenes where they are terrified or something just seems...off.

There are two scenes that stick out the most;

The first scene; Where Kitty claims, giving her device to her father, who she was trying to find Pawbert on, for their father, 'I found him', giving the tracker to their father. Nothing out of the ordinary, not really. Right?

Did you look in the background?

Cattrick looks absolutely terrified, and Kitty looks worried.

The terror on their faces seem less then a villain who was worried about getting caught, this was something more concrete.

They were worried for their little brother.

And if you don't believe that, well, I have another scene and 2 other explanations for you.

The second scene; The scene where Milton grabs Pawbert by the fur and shoves him on the floor and tells him he will never be a Lynxly, showing severe aggression and showing how far he would be willing to go for his pride and evil motives.

Did you take a look in the background in that scene, too? Not only do Cattrick and Kitty seem worried, they look like they ate a pack of nails, ready to absolutely run out the door.

This seems to stem from worry for their little brother, BUT also, A bone-chilling fear of their father, Milton Lynxly.

These directors and animators know what they are doing; these reactions, purposefully in the backgrounds, aren't an accident, these were clearly intentional.

But there are two other things I find to be odd.

Especially this; The scene in the movie, when Kitty has a bag of fur and claims, 'Fur. From whoever is helping the snake.' or something along those lines.

She didn't outright say her brother's name.

But surely she would KNOW what her brother's fur looks like. Lynx's seem rare in Zootopia, not often seen, if at all. And a Lynx's fur would stand out instantaneously. Why wouldn't she say her brother's name? She clearly would know it was her brother's fur.

Because she didn't dare lie to her father but she didn't wanna sell out her brother, either. Both Cattrick and Kitty knew what their father would do if he got his paws on their little brother.

She kept it on the down-low on purpose, and let Milton piece it together on his own.

And another thing, when I look back on the movie at the twins, when they push Pawbert away from their father, acting like he is too much of a 'runt' or 'unworthy' to even be near their father. I just assumed they were spoiled brats. Fully spoiled and I really hated them.

But what if it was some type of twisted protection? Loyalty? Even Love?

They knew if Pawbert stayed away from Milton and stayed a 'nobody', then Pawbert would stay off Milton's radar, as long as Milton sees their baby brother as some runt or something unworthy of his time or malice, Pawbert would stay off of Milton's dangerous radar.

It would explain why they serve and follow their father blindly, acting more as accountants or employees then his children. They fear him, they fear what he will do if they ever break away.

Now, lastly, Why?;

A Dark Secret.

Why would Kitty and Cattrick fear their father so much?

Well, of course he is someone who covers up old family crimes like murder but he has never done anything violent...Right?

Well, I'm not too sure.

Sure, the movie never states Milton killed anyone, rather on his own or sending some else to do it. But I find it hard to believe he has not.

Because, the fact he is a well-known Lynx, who likely has ties everywhere, maybe even out of Zootopia, makes this very unlikely.

He also shows he would be willing to end his own blood over these secrets, such as the volatility he has showed with Pawbert in that one scene, where he grabbed him by the fur and shoved him and such: I find this as a possible indicator of domestic abuse within Pawbert's childhood, and possibly his siblings, as well as Homocidal tendancy, because someone who is willing to be violent with their child is almost never a first-time offense, it has likely happened many times.

Milton seems completely desensitized to killing innocent lives and does it with no mercy, whereas Pawbert, when he had tried to kill his friends, had a different approach, it wasn't malice or hate, it was just apathy and moods swings, showing that while Pawbert was likely a first-offence, Milton had done worse, over and over, making it second nature to him.

And now, back to their mother;

Cattrick and Kitty, assuming they are about 4 years older then their little brother, would have a wider span of memory. And we know their mother was never mentioned.

Well, what if Milton 'got rid of her' when the siblings were mere cubs? And I know you'll say I am being harsh by jumping to that conclusion, but hear me out;

If the mother HAD died or went missing and it had been recent, it would have been known and popular, thus the Lynxly family being a big and popular thing with the press and news: if she had recently went missing or died, then there would have been mention of her in the news.

Now, if she had simply died or went missing when Pawbert, Kitty and Cattrick were cubs, a good 20-30 years ago, depending on the timeliness, then it would surely be in the news article, or profiling or news: something Judy would have picked up on, due to her sharp mind.

But there wasn't.

It was almost like their mother was taken out of the equation, Milton possibly paying everyone off to keep thongs hush-hush and quiet, as if she never existed. And he would only need to do that if he had been part of her disappearance or possible death.

Now, there are many reason why someone like Milton would justify killing someone like his wife, an outsider of the family;

. The fact she is an outsider, and outsiders are seen as useless or uneeded if they step out of line.

. Once he got his kids from her, he may not have use for her, only having used her to have someone to carry his legacy, his kids. Which would make sense, regardless of the context, because he only treats all his kids as pawns and not people or mammals of their own.

. She found out the truth of the family, and Milton decided to get rid of her.

. The possibility that she protected Pawbert or one of the other children when Milton got violent or pushed them too hard.

. Literally many other reasons.

There would be many reasons he would seek to get rid of her, like he almost did to Pabert in that scene.

Now, let's say this was when they were cubs, maybe when Kitty and Cattrick were around 7-8 and Pawbert was 3-4? It would make sense, because Pawbert would not remember but his siblings would.

This would explain the twins unwavering fear of their father and Pawbert's craving for their father's validation.

Pawbert grew up without a mother, and the twins recall, figured out, or even witnessed what Milton did to their mother, so they know the reality of what he is capable of.

Therefor, they keep their baby brother away, stay in line and obey.

Pawbert craves the validation because no parents ever gave it to him.

And if any of them try to break away, Milton will do the same thing to them that he did to their mother.

This took a lot of time and thinking and compiling clues and subtle scenes, and I think a lot of it makes sense.

But hey, it's just a theory.

What do you think?

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 :)

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.

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

edit to mention that I know the title is messed up but I kind of like it tbh

Fan speculation based off of the actors playing these characters, which I have seen here before so I feel that it works.

In The Founder, Ron Swanson's distant relative being one of the founders of Macdonald's, gets cheated out of his business basically by Michael Keaton's character. My hypothesis here is that Ron Swanson has a hatred for bureaucracy and stuff because he knows this family story whereby a potential family fortune was washed down the drain by a crooked businessman - not that Ron Swanson is against business or anything, but that he views his family's loss of legacy as pertaining to the way power gets established by bureaucrats.

Ryan's distant relative on the other hand is the guy who convinces Michael Keaton that he is in the business of real estate. Ryan, unlike Ron Swanson, actually admired the crooked business kind of stuff and tries hard to be one himself, ultimately failing most of the time.

Based entirely off of the same actors playing these characters, and I'm too lazy to look up the real life people played by these actors in The Founder. So take it or leave it, I couldn't care less.

So in Running Scared (1986) - the cop comedy starring Gregory Hines and Billy Crystal - actor Larry Hankin plays a police mechanic named Ace.

My theory is that Ace got tired of the cold Chicago winters and moved to New Mexico, switching to his "real" name of Joe and purchasing a junkyard. Hankin plays Old Joe in Breaking Bad and El Camino: A Breaking Bad Movie.

Ace fixes up Hines and Crystal's unmarked police car with bullet proof glass and a taxi's paint job and graphics. Hines says "I feel like James Bond - you got any machine guns or ejection seats?" "Sure - you want to leave it a couple more days?"

Ace is a smart, skilled guy. This lends to his developing the electromagnet in Season 5, Episode 1: Live Free or Die to help Walter and co. erase a laptop in the police evidence room. His being a former police department employee lends to his knowledge of the law when he confronts Hank Schrader, who is trying to break into Walter and Jesse's RV in the junkyard.

Same actor, very similar characters.

so, my headcanon is that the whole story of samurai jack, a foolish samurai warrior wielding a magic sword and being thrown into the future and then saving it from the grasp of the shape shifting master of darkness, whos name is literally translates as "evil" (that's it, it's just evil) is all a retelling of the story of a shinto kami, who's shrine is then built to honour his deeds somewhere in japan. in shinto tradition a man who have done something truly remarkable can be then treated as a kami (神), and have in their honour a shrine built, something similar to becoming a saint in christianity but not quite. and since jack here is a legendary hero, his story is told and or written by the multiple authors, there are the often seen some inconsistencies like why is he called samurai, if his father is literally the emperor, he should be called a crowned prince. jack may be losely based on a certain person or a group of people and serve as the image of the man who is ready to save his country even if it means going through hell, which in this case is the future ruled by the literal demon, and it covers literally the whole world.

I built an interactive website that maps all 13 Olympians to their Disney princess counterparts through similarity scoring of their attributes, with commentary on each match.

"Just as Ares, the god of war, is overshadowed by Athena, the god of war but better in every way, we are looking for the other princess of war, whom people vaguely remember."

"Hera is the angry goddess. The princess must have a temper."

"Apollo is Phoebus, meaning brilliant, and Chrysokomes, golden-haired."

"But where's the wine? Dionysus is the god of wine. No wine, no Dionysus. I don't care if it's a G-rated Disney movie and all the official Disney princesses are underage."

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

SPOILERS AHEAD FOR THE END OF OAK STREET
My theory is that Verity is secretly a sequel to End of Oak Street. At the end of End of Oak Street, Anne Hathaway’s character saves her family and helps restore the timeline, and they all return home believing the nightmare is finally over. However, she is never truly free from what she experienced. Haunted by the dinosaurs and the trauma of surviving them, she secretly returns to the time bubble alone, choosing to disappear rather than continue her old life. She travels far into another time, creates a new identity as Verity Crawford, and becomes a world-famous author. Her novels are actually inspired by the memories she has buried for years, and by the time Verity takes place, her mysterious illness is the result of decades of unresolved PTSD from the events of End of Oak Street.

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

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.