Ok so this is going to be unorganized thoughts but try to bear with me. I believe I know who Izel was, before she was Izel. So Sarge had Coulsons body through the Monoliths explosion causing a rift to their dimension and allowing a “copy” to be made. There were a lot of different people that Sarge could’ve copied but specifically copied Coulson. I believe this influence made Izel chose someone that should have shown up in the fear dimension but ultimately didn’t on screen. Rosalind Price, having her confront Coulson in disgust and calling him a murderer for what he has done would’ve been a big fear for Coulson. They both have similar hair styles, accents, and ways of teasing Coulson/Sarge.

Maybe this is obvious, or maybe I’m completely wrong but I think Izel chose the form of Rosalind, simply because she would have felt the connection the two forms shared while Sarge was copying Coulson. Could also explain why Sarge reacts to Izel the way Coulson would have acted if he ran into Rosalind while sealing the rift. With anger because it wouldn’t really be her, disgust because of her telling him who he “really is”,sorrow over having to kill her, and love by being willing to sacrifice himself to seal the rift.

I've read them all and I've considered the plausibilities, but there's an idea I have that simplifies the meaning of major plot points in the movie i.e.

• Is Cobb still dreaming at the end?

• Did Mal die or did she "wake up"?

• WTF is the deal with the spinning top?

Ok here it is; Cobb tells Ariadne (and us by extension) the top is Mal's totem, and explains how it works when Mal is dreaming. Despite theories to the contrary, we are never told what Cobb's totem is or if he even has one.

There are several scenes where Cobb "wakes up" and gets himself alone to spin the top. We assume he's checking to make sure he's not dreaming and the top falling confirms this for him.....but it's not his totem;

COBB IS CHECKING TO MAKE SURE MAL IS NOT DREAMING.

because if the top spins then he's in a dream with her. She is alive and he is wrong.

Just saw the movie a few nights ago. It's not that deep of a theory, but I find it to be interesting and believing that this theory is true makes me like the movie even more.

I don't think Gladys is a witch. I mean, she's doing witchcraft, but she herself is not a witch. My whole theory is claiming that the Tree is behind everything, and Alex will become the next Gladys.

From what I can remember, early on in the film there is a shot where in zooms in on Alex in the classroom and we see the word "parasite" on the dry erase board behind him.

We later see a commercial with ants infected with the cordyceps fungus. For those unfamiliar, cordyceps will infect an ant, the ant will get above its colony, and then the fungus will burst from the ants head and more spores will drop onto the colony below, spreading the infection.

At some point, we learn that Gladys's sister never knew much about her. This makes be believe that Gladys came into the family at a later point in her sister's life. So what am I getting at?

I think Gladys lived through the same situation that Alex did. Gladys doesn't have access to her parents anymore, just like how Alex doesn't, so she ended up with a different family. Since Gladys used the tree, she is infected by a cordyceps like fungus, and is being controlled by the tree. Not only that, but the Tree wanted to infect the people of the town just like how cordyceps affects ant colonies. But why?

Gladys was never the one who was sick. She was not some witch that had access to this special tree. The Tree is what was sick the entire time. Somehow, it feeds off of people for nutrients and growth, while also being able to somewhat control them with witchcraft. However, the tree seems to have more control over those who prick themselves with its sticks. Alex will repeat everything Gladys lived through since he was the only other person to have done this in the movie.

What do you all think?

Spoilers for The Perks of Being a Wallflower by Stephen Chbosky

In The Perks of Being a Wallflower, the narrator Charlie begins to have a sexual encounter with his crush, Sam, but calls it off after she starts to rub his penis. Later that night, he has a dream about his beloved aunt Helen touching him in the same way. When he wakes up, he believes that this dream could have been a true memory. A psychiatrist in a mental hospital, where Charlie becomes a patient, later assures him this was a repressed memory.

Although it was published in 1999, The Perks of Being a Wallflower was first drafted in the mid-1990s, during a time when repressed memories were still considered factual. Throughout the 80s and early 90s, allegations of repressed memories were pervasive in popular culture, leading to the "Satanic Panic." This cultural phenomenon had begun to die down by the time Chbosky started his novel, but the idea that child victims commonly repressed sexual abuse was set in the popular imagination.

Decades of research since this time have shown that completely repressed traumatic memories are unlikely to exist, and that most, if not all, of the cases of repressed memories were actually false memories. Experiments have shown that it's quite easy to intentionally or accidentally implant a false traumatic memory in a subject. In a type of source misattribution, Charlie likely combined the confusing sexual experience with Sam with a memory of another woman he loved, Aunt Helen. Charlie may have been particularly susceptible to false memories surrounding Aunt Helen due to his previous experimentation with LSD, during which he had a flashback of Helen's death.

Outside of this single doubtful memory, there is little evidence to paint Aunt Helen as a child molester. Throughout the book, she is presented as being supportive and loving towards Charlie. Both of Charlie's siblings testify that they never experienced any sort of abuse at her hands. Charlie likewise does not describe any other memories of abuse.

I think Charlie is likely on the autism spectrum, but with the book being set in the 1990's, he does not want to acknowledge this. He, and later his psychiatrist, latch on to repressed sexual abuse to explain away his social awkwardness and blunted emotions. Unfortunately, this explanation sullies the memory of a beloved aunt, unfairly making her the villain of Charlie's life story.

💡 My Theory: Tony Stark faked his death and actually returns as Doctor Doom

Okay, hear me out. I’ve been thinking about this for a while. What if Tony Stark’s death in Avengers: Endgame was never real?

We already saw in Spider-Man: Far From Home how Stark’s drone tech could create ultra-realistic illusions. What if Tony used the same kind of illusion/drones to stage his sacrifice scene? Everyone believed he died, but in reality he escaped with a bigger plan in mind.

Why would he do this? Because Tony Stark and Victor Von Doom share some deep similarities:

Both are geniuses with unmatched intelligence.

Both are driven by strong willpower and pride.

Both rely on armor/masks as symbols of power.

It’s not impossible to imagine that Tony, after years of saving the world, decided that true control and “saving humanity” required him to step into the shadows and become something darker. In this version, his ultimate evolution is not as Iron Man… but as Doctor Doom.

This would explain the thematic connection between Iron Man’s iconic metal mask and Doom’s legendary iron mask. It would also turn Tony Stark’s “ending” into a massive twist: he didn’t die a hero — he transformed into the greatest villain.

I know this sounds wild, but to me it makes sense. What do you guys think? Could Marvel ever dare to pull something like this off?

Title: 💡 My Theory: Tony Stark faked his death and actually returns as Doctor Doom

Text: Okay, hear me out. I’ve been thinking about this for a while. What if Tony Stark’s death in Avengers: Endgame was never real?

We already saw in Spider-Man: Far From Home how Stark’s drone tech could create ultra-realistic illusions. What if Tony used the same kind of illusion/drones to stage his sacrifice scene? Everyone believed he died, but in reality he escaped with a bigger plan in mind.

Why would he do this? Because Tony Stark and Victor Von Doom share some deep similarities:

Both are geniuses with unmatched intelligence.

Both are driven by strong willpower and pride.

Both rely on armor/masks as symbols of power.

It’s not impossible to imagine that Tony, after years of saving the world, decided that true control and “saving humanity” required him to step into the shadows and become something darker. In this version, his ultimate evolution is not as Iron Man… but as Doctor Doom.

This would explain the thematic connection between Iron Man’s iconic metal mask and Doom’s legendary iron mask. It would also turn Tony Stark’s “ending” into a massive twist: he didn’t die a hero — he transformed into the greatest villain.

I know this sounds wild, but to me it makes sense. What do you guys think? Could Marvel ever dare to pull something like this off?

Miguel have musical ancestors in aztec times, Colonial Mexico (New Spain, Renaissance era Mexico and Victorian style Mexico. Miguel's great great great grandfather Carmelo was a musician like his son Hector

when we first meet lois in the 1978 superman movie, she's typing an article and is struggling to spell certain words. she doesn't know how to spell massacre and asks how many Ts there are in the word bloodletting. later in that same scene, perry points out to lois that there is no Z in the word brassiere.

now, it might seem pretty odd that a reporter would make so many spelling errors and not be able to spell certain words. however, it's possible that lois simply suffers from dyslexia, AKA word blindness.

In OUATIH, Rick Dalton dances on the 196O’s bandstand show, Hullabaloo. The song he sings is “Behind the Green Door”.

Behind the Green Door is a song from 1956. It describes a debaucherous club that the narrator can’t stop thinking about. They try to sneak in to the club, but they are laughed off. It’s exclusive, and the narrator is fixated on what goes on behind the green door.

“Behind the Green Door” is also a 1972 porno movie. The premise: A woman is abducted and gang raped, by a cult of masked elite. Basically Eyes Wide Shut, but designed for the audience to indulge in the elite’s rituals. This controversial and profitable movie shows up casually in the Canonball Run movies lol.

This Green Door porno movie was originally referenced in Pulp Fiction. A blue/green door is seen in Zed’s sex dungeon. Again, we see that abduction and sexual abuse is what happens behind the door.

In OUATIH, Rick Dalton is becoming irrelevant. He yearns to be part of the Hollywood elite. He lives next to the hottest director in town, Roman Polanski, (irl, a known pedophile and rapist). Rick hinges his success on networking with Polanski, and by the end of the movie he saves the day and gets invited into his house by Sharon Tate. With this new “in”, Rick is about to find out whats behind the green door.

With everything thats coming to light about the financial elite, the Green Door seems to have more meaning than before, when you consider that its a reference to the 1972 rape movie, and the rape scene in Pulp Fiction. Rick Dalton finding elite status is achieved through becoming friends with a known child rapist.

Lol. I’m sorry to make these connections. But they’re there and I noticed em. Oh yeah… and Dalton being friends with Polanski mirrors Tarantino being friends with Weinstein. Oof. Okay, I’ll stop.

Not sure the episode or season, but it's the one where Rick C137 is fighting Rick Prime... Rick Prime says to Rick C137, 'She even sounds like Our wife', talking about the program C137 made to torture/haunt himself. Fast forward a few minutes and Prime says something like, 'That's why I killed Your Diane'. Seeing as Prime created the omega device maybe he configured it to not kill Diane Prime? Or somehow put Diane Prime somewhere that the omega device couldn't delete her? Or probably both seeing as she's not in her original universe.

James Gunn has confirmed the video transcribed by Luthor was real and Kal El was meant to conquer earth not serve it. That kinda flips Krypton for me. It’s not really this perfect utopia its more like an advanced version of earth with the same politics and corruption and hunger for power. I think maybe all that advancement came at a cost like maybe they were pulling energy from the planet itself and every new invention just cause the planet to decay quicker.

The only one who really saw it happening was Zod. He wasn’t just some conqueror he actually wanted to preserve Krypton and its people instead of chasing more power. But nobody listened and by the time it was too late Jor El had already thought Krypton was done for. Instead of putting all his genius toward saving Krypton he built one pod to save his own bloodline. So when Zod sees Kal’s shuttle escape it isn’t hope to him it’s betrayal. From his perspective Superman isn’t Krypton’s last son he’s Jor El’s last failed experiment and proof of his arrogance so now he must take out Krypton’s last bag of trash before creating his own!

How do u guys feel about this switch? Having Zod be the hero on Krypton while Jor is more of an egocentric ass. lol

If anyone is confused please ask me cause I’ve spun my whole lore for a dcu Krypton and might’ve wrote something that’s head cannon and not known knowledge lmao!

Finished the season earlier today and man… what an experience. I just wanna put my thoughts out there because it has been running in my mind all day.

The Carcosa reminds me of the Interstellar bookshelf. They are a 4 dimensional being who can perceive time as a state of matter. This ties in with the old lady calling them a“time-eater”. Cohle interprets time for such a being to be a “flat circle” which is further portrayed by the recurring spiral tattoos of the Carcosa cult.

“You'll do this again. Time is a flat circle” -Reggie Ledoux

In this theory, Cohle says life is a circle- we live through the same sequence of life and death over and over without realising it. This is also further solidified by the fact that the old lady, while talking about Carcosa explicitly says “Death is not the end”.

Lemme sidetrack a lil bit coz I wanna talk about the vortex thingy in the very end. His “hallucinations” are all a side effect of his synesthesia. So the old lady says the Carcosa’s robes were a wind of invisible voices. In those voices is what Cohle “saw” Carcosa for what they really were.

Cohle hoped the old lady was wrong about death not being the end because that would mean time was indeed a circle. That would mean he would have to go through the “darkness” that is the world all over again. He would lose his daughter again. He would go through all the grief and sorrow over and over and over again. All throughout the series, he has had a nihilistic view of the world and according to him there was no point to a life in all this ugliness,

…..up until the point he was stabbed and was near death. He describes feeling his daughter’s and his father’s love within the “darkness”. In that moment, he yearned to follow them into the darkness- into death.

For the first time, Cohle chooses a different perspective. Even if time really is a flat circle, it meant he could see his daughter again. He embraced life for what it really was. He found meaning in life in his daughter. If it meant seeing his daughter again he would take it even if it also meant he would eventually grieve her death all over again.

That momentary flick of light, of love was all worth it. There was only darkness before but now he can even see a glimmer of hope.

The light is winning.

I finally watched Interstellar and it struck me as a pretty direct Moses parallel. Not that I think the Nolans intended it to be a bible story. More that it’s an old archetype humans keep retelling, and the Moses version is the one I’m most familiar with. The person who goes where we are not supposed to go, receives the world-saving “law,” brings it back, and leads everyone out. And the prophet is not Cooper. It’s Murph.

Think about the staging. Sinai becomes a library built in five dimensions, a set-apart and impossibly private place meant for encounter. Instead of stone tablets, the “law” is tapped into the second hand of a wristwatch. Durable, portable, meant to be carried down from the mountaintop and interpreted for the people. Cooper does the ascent, or really the descent. He crosses the uncrossable, acts as the messenger, and gets the revelation into Murph’s hands. Murph is the one who receives it, understands it, and turns it into a future.

The roles line up cleanly: Murph is the receiver and the leader who decodes the message, solves gravity, and persuades a stubborn world to move. Cooper is the intermediary, courageous and necessary, the go-between who makes the handoff possible. The tesseract is Sinai, a built meeting place where message and messenger can finally connect. The watch is the tablets, civilization-shaping instructions etched in time instead of stone. And “they,” the future humans, play the outside-of-time presence. Humans essentially made gods, able to reach across the timeline and make sure the meeting happens where it matters most.

Even the pressure around it feels like Exodus. Dust storms as plagues. A dying Earth. A people with no home. The passage opens not through the Red Sea but through math, stations lifting once the instructions are obeyed. And even the wandering in the wilderness of space after they escape Easth. Covenant memory becomes time-loop memory. The future remembers the hinge and protects it, circling back to hold the door open for Murph the way a god might guard a promise.

What I love about this reading is how it quietly shifts the spotlight. I thought Interstellar was Cooper’s epic. The mythic center sits with Murph instead, the person who receives the “law,” turns revelation into a plan, and gets her people out. Once you see that, the ending stops being just a maze of physics and becomes a myth about the sacred duty to receive truth, interpret, and shepherd a people forward.

The Bird Species in LOZ called the Rito are a natural evolution of the Loftwings Hylians rode in the series first game chronologically, the loft wing.

Seeing as Zelda, a hylian, is decended from Raru, a Zonai, interspecies procreation is possible. I added this because Medli, a Rito, has an ancestor that is a Zora.

The ending seems a little too perfect for me. I do understand “Babadook” represented something different in both mother and son. In the son, it was his desperation to connect to the dad he never knew and to get the listless mother he does know to connect with him in any way he can manage. In the mother, it’s repressed grief, depression, resentment of and inability to deal with a somewhat unmanageable child. And having Babadook in the basement shows she’s managing her grief but could probably do with counseling of her own- and maybe let that cute guy at work have another chance.

But… did Amelia have a psychotic break for real and kill the dog, the neighbor and almost her son, and then be glowed up and settled down just a couple days later? Or was that all just an intense cathartic break where she saw herself doing that and knew she had to snap out of it?

In any event, incredible movie. I’m sorry it took me so long to watch it.

This might sound like it’s just because they’re both played by Steve Buscemi, or stupidly far fetched, but hear me out.

In the crazy world of these two films, I don’t think it’s that far fetched that Garland isn’t recognised and hauled to jail, but I’m gonna try and justify it in a couple of ways.

At the end of Con Air, the apparent mass killer GG is out in Vegas, being able to play a Casino game. So he’s already not being stopped, but regardless my speculation for how he hopped from one movie to another is that he won all this money from gambling plenty. He then used all of this money to help bribe people into helping him create a new identity for himself. A feared killer like him could easily make those around him happy to take the money and run, plus he could convince them that he doesn’t really wanna kill anymore.

Now it seems Garland Greene is his actual name, therefore Theodore Donald Kerabatsos is a fake name (albeit one he’d use for his will executor), and that’s most likely. He doesn’t have any family and The Dude/Walter are the ones who take care of his ashes.

As for continuity of character, Garland in Con Air, despite being feared by plenty, isn’t all that scary and seems relatively tame compared to the other criminals if sarcastic and unfriendly. Not to mention he’s self aware of his evil actions and as shown by the scene with the little girl, willing to spare and accept others. I feel like his character is wanting to start a new life, so embracing being the mild mannered friend of Walter and The Dude would feel appropriate.

Plus he decides to be friends with two men known for speaking their minds openly and have their own rigid views and ways of living/seeing the world. He decides to mostly hang out with them and be at the bowling alley. He’s mostly spoken over and insulted by Walter too. I like to think he’s doing some of this intentionally, not speaking up too much to give away his inner self and draw too much attention to himself, but also I see it as a bit of atonement. He’s spent so much time taking lives that he’s willing to let himself be the butt of the joke.

As for other details, Donny’s friends don’t know much about him other than that he loves surfing, implying he keeps from revealing too much about himself or creating a fake life that can be poked into. I also saw that he’s often wearing different shirts at bowling that don’t have his name on, but the names of other people, maybe he’s secretly killing in private to let off the stress of being the butt monkey in public? Relapsing, resulting in karma dealing him the hand of a heart attack and his ashes not even making the ocean.

Obviously viewing Donny as a flat out serial killer isn’t in tune with the specific humour and writing of Big Lebowski and would change it, but it’s funny to think about.

The first time I heard this song I thought it was about divorced parents with kids getting remarried and these are their kids in the song. Like a Brady Bunch situation but with less kids.

I should preface that I’m not Korean, so I may be making some cultural guesses here.

In K-Pop Demon Hunters, Rumi knows who her mother was but not her father. She believes he must have been a demon because of the markings on her skin. As a child, she even asked Celine if her father was a demon — but Celine never confirmed or denied it. She only told Rumi to cover the markings.

Most people take this as proof that her father really was a demon. But what if that wasn’t the case? My theory is that Rumi’s father wasn’t a demon at all. It’s possible that Celine didn’t even know who he was. If I’m right, the patterns weren’t inherited from her parentage, but arose from something else entirely: cultural shame projected onto her from infancy.

From what I could find about historical Korean culture, children born under unfortunate circumstances — for example, outside of wedlock — could face judgment or whispers from the community. Losing a parent early was also considered unfortunate, and a child whose mother died giving birth might be seen as touched by bad fate. Even though it wasn’t the child’s fault, these circumstances could leave a lasting impression, shaping how shame was internalized long before a child could understand it.

We know her mother died while Rumi was still a baby, though we don’t know whether it was during childbirth or months later. That loss, combined with the uncertainty around her father — whether he was absent by choice, deceased, or simply unknown — meant Rumi grew up in a culture of unspoken rules; she was left in the dark, piecing together her own explanations.

As a child, Rumi noticed patterns on her skin, but she was always told to hide them and not speak of them. Later, as she learned to identify demons, she saw the similarities with her own markings and concluded that her father must be a demon — a belief she never questioned.

Rumi had patterns that resembled Gwi-Ma’s demons, but he wasn’t aware of her. Unlike the others, she didn’t carry personal guilt; the shame she felt came from her circumstances, imposed by society and reinforced in silence. The others’ shame was born from their own actions, which is what Gwi-Ma could sense — Rumi’s external, inherited shame was invisible to him.

Rumi wasn’t ‘cursed’ because of who her father was. Her tragedy is that she believed she was destined to be part demon. In reality, she was simply an unlucky girl with inherited shame — passed down from a culture that made Celine hide the truth from her.

What do you think? Does this interpretation fit with the way Korean culture is portrayed in the movie? I’d especially love to hear from Koreans on how this theory lands — and whether you see holes in it.

So I was watching No Way Home and I realised, every “cure” that happened to the characters that died on screen, is either countered by the time and place they were taken or it contributes to this own universes deaths. Effectively not changing anything about their situations.

So to start off, I noticed that the location of every “Visitor” that is located by spider-man/Strange is similar to where they were in their own universes from when they were plucked:

Otto Octavius - discovered by Spider-Man on the bridge next to the river he was operating his machine. “I had him in the palm of my hand, I was this close”

Electro - Found near an electrical grid similar to the one he was fighting Spider-Man at, in ASM2. ”I was whoopin Spider-Man’s ass, he’ll tell ya… and then he caused an overload, I was stuck in the grid absorbing data, I was about to turn into pure energy”

Lizard - Found in the sewers by Strange, in his universe he was working on his experiments in a sewer.

Green Goblin - Found in the city

Sandman - The only exception because he was taken from a time after the last of his universes movies

So if the locations they were taken from, do in fact correspond roughly to the time they were taken in their movies, then I believe that all of their “cures” (aside from sandman of course) are made ineffective and don’t change the outcomes we saw in their original movies.

Here’s my theory on why that is, with their individual scenarios:

The Lizard - Taken from when he was experimenting with his formula in the sewers.

Lizards mentality doesn’t show he regrets his decision for changing into a lizard, so he would just take the formula that he already has prepared in the sewer.

Electro - Taken from when he was absorbing energy fighting spider-man, the device used to “cure” him is described to only “absorb all the energy in his body” Electro even states he’s “all tapped out” once the device was completely integrated to his bio-electrical system.

For Electro I have two possibilities: Electro would be placed back in the grid and the device on his chest would overload resulting in him being charged again. \ Or Electro would be electrocuted to death by not having his electric absorbing abilities and thus sealing his fate.

Otto Octavius taken during his fight with spider-man, his specific moment was described as when he “had Spider-man by the throat”

In this scene during Spider-Man 2, Otto released spider-man shortly after a speech from spider-man, he then realises he still has control of his arms upon returning to his universe, finishes Spider-Man’s quote about “doing what’s best for mankind” and sacrifices himself containing his machine.

Green Goblin (this one is my favourite) - Taken during the fight with Spider-man in the alley. When returned to his universe “cured”, he still has a psychological “darker half” but no longer possesses his physical attributes. The exact moment he returns, he realises he no longer has super strength and can’t take full punches from Spider-Man. So he takes off his mask and reveals who he is to Spider-Man, to prevent further attacks. Then he pleads to Spider-Man and tries to distract him by gracing his moral code, so that his glider can stab him from behind. The “Oh…” that Green Goblin utters before he is impaled fits nicely since he sees his fate is unchanged from Otto’s description.

Sandman doesn’t get one of these because the time he was taken from was not during any of his universes movies.

So yeah I think Strange was right… their fates are sealed, and from a meta perspective I think the writers intentionally had “No Way Home” contribute to the other universes movies with how well these events line up. Obviously it can’t be a perfect transition since the original movies weren’t intended to be related.

Summary: the “cures” to each character, either is reversed or contributes to their own deaths/ defeats and doesn’t actually change anything about their fate.

I have been wondering this for a few years now. Angel does look a lot like Peg. Not completely of course, but enough that she could be her mother if another very different looking dog were her father. Angel being born on the street would also make sense as she refer to families "taking her in". I don't think she'd say that if she been in a pet shop or home to start with. Unfortunately, if this is true Tramp is the most likely father, and the fact is none of the characters have worked this out. Chances are Angel doesn't know who her father is. She may never find out. After all we don't know what happened to Peg. Just a theory of mine.

I’ve been thinking a lot about the "Penitent Man" challenge from Indiana Jones and the Last Crusade, especially the second blade that almost slices Indy’s head off when he kneels. While watching this scene, a thought occurred to me: Could this blade be referencing Islamic prayer, particularly sujood, the act of kneeling and bowing the head in reverence to God done by the Muslim faithful?

It seems plausible when you consider the historical context. The knight guarding the Holy Grail in the film is from the era of the Crusades when European Christian knights battled against Islamic forces over control of the Holy Land. Given that context, it’s fascinating to think that the traps inside the Grail temple might have been created with the intention to ward of non-Christians, especially Muslims who lived around the area close to the Grail temple.

In Islamic tradition, bowing the head during prayer is a key gesture of submission to God. If Indy was Muslim and bowed his head while kneeling, he would’ve been sliced by the second blade.

What do you think?

Like, obviously it's kinda the future since there's Matrix-style VR and sentient AI (arguably they're all AI, but that's a separate theory). But a lot of these "Black Mirror" style stories aren't that far in the future. I think this one is a lot further along in the future than originally thought.

I'm thinking it's further along than originally thought, mostly because Jax's reference to Breaking Bad and how only Zooble seemed to catch on. So it has to be far enough in the future that Breaking Bad is kindnof obscure. Zooble was a bartender and tattoo artist, so they might be more familiar with obscure/older media. Ragatha had no idea what Jax was talking about. If it's anywhere close to modern day, then Ragatha would need to be extremely sheltered to have never seen or heard of Breaking Bad.

Also note that Zooble is the only one to react to the Breaking Bad reference, and Jax seemed genuinely surprised that they caught on so fast. And the way Zooble said it. "I know what you're referencing." Sounds to me like something someone would say if the reference is obscure and not something everybody knows.

Also note that it's implied that Pomni got into the circus by putting on a VR set in an abandoned building. So not only do we have sentient AI and the Matrix, but this tech is old enough to be abandoned in some obscure building.

My hunch? Could be 2100s.

TL;DR: Tony’s GPS might have been syncing to the flow of time in each branch, which is why Cap could return the Stones “on time.”

I’ve rewatched Endgame a few times and one tiny thing nagged me: if the Avengers remove Stones from past timelines, those timelines continue moving. So how does Steve manage to return stones to the exact moment they were taken, when hours/days have passed in the main timeline? Shouldn’t those branch universes now be ahead?

My theory: Tony’s little GPS thing wasn’t just logging dates. It mapped the flow of time in each branch — like a multiversal time-dilation tracker. It could detect whether a branch’s time was running faster/slower and then sync Cap’s re-entry to the original moment. In-universe, that’d explain how Steve never misses the right moment and prevents branching.

Real-world analogy: gravity changes time rates (black holes), so why couldn’t different branches have slightly different “time flows”? Seems like something Tony would plan for. If this is what he built, it’s arguably even more impressive than we realized.

Curious for counterpoints — is there any MCU rule that kills this idea? Or does it just make Tony even more of a genius/monster?

Season 2 ended with Sweet Tooth being beaten to a pulp by Minion while a huge crowd looked on, his prone body dragged away by... um... someone. It's confirmed he did not actually die, but to a lot of onlookers it probably looked like he had. This guess is about what comes next for him.

It's been argued that most of the competitors in Season 2 of Twisted Metal actually did get what they wished for, though in a warped way. Chuckie Floop got to experience flight (before he hit the ground), Frostbite got to feel warmth (until the burns killed her), and so on.

Although we've seen that Sweet Tooth never actually made a proper wish during his testimonial (and doesn't even seem to believe in Calypso's power to grant them), he joined the tournament in the first place so he could become the world's most famous killer. I propose that this desire will be fulfilled, but will become just as twisted.

Indeed, Sweet Tooth's battle at the arena will have made him famous across the Divided States... but following his disappearance, his legacy will be subjected to the ultimate indignity: being taken over by a bunch of cheap, uninspired pretenders. I further propose that this will be a way for the show to introduce their own takes on franchise concepts like Dark Tooth (a Sweet Tooth copycat with goth overtones) or Gold Tooth (a Sweet Tooth copycat who's way too fond of rapper-style bling), or even Small Brawl's Mime (a Sweet Tooth copycat who's a parody of oversexualized costumes).

Listen this whole Bando Stone thing is not a movie it is Atlanta Season 5 in disguise and the reason nobody sees it is because Donald Glover already told us Atlanta would never end cleanly it would dissolve into something else. Look at how the show ended with Earn and Paper Boi sitting in this liminal space between dream logic and reality. Season 4 was basically a soft reboot of Season 1 with the European arc closed out. So what’s left? The apocalypse.

Bando Stone is Earn. Period. He just stripped away the name. The musician trapped in a broken world with a child and a woman isn’t some new sci-fi premise it’s literally what Earn has been since Season 1 episode 1. He has a daughter. He has a partner he can’t quite connect with. He lives in a wasteland of America that’s crumbling. Monsters? Those are just Atlanta turned inside out. Remember Teddy Perkins. Remember the alligator man. Those were monsters too.

And the reason the trailer looks so “fake” is because that’s exactly how Atlanta played with format. One week it was a black-and-white documentary. One week it was a horror short. One week it was a bottle episode in a mall. Of course Season 5 would be marketed as a blockbuster movie trailer that never comes out. That is the joke. That is the art. That is the punishment for people who only half paid attention.

You think Donald Glover dropped his last Gambino album at the same time by accident? No. It’s the Atlanta finale twice over. He is closing out the rap alter ego in the same gesture as Earn closing out his story. Bando Stone is Earn’s dreamscape. It’s Paper Boi’s paranoia. It’s Van’s surreal wandering. It’s Darius straight up walking us into the void. This is Season 5 and it’s hiding in plain sight.

And if the film never releases that’s the point too. Atlanta was always about absence as much as presence. The absence of justice. The absence of clarity. The absence of a “real” narrative payoff. You waiting for Bando Stone is the new version of you waiting for Atlanta Season 5. Congratulations you are in it right now.