I've been reading the mainstream reviews for Romain Gavras’s Sacrifice, and I am incredibly intrigued by the critical consensus. Most outlets (The New York Times, RogerEbert, Decider) are dismissing the second half of the movie as a "messy, tone-clashing fever dream." They complain that Chris Evans is acting in a goofy meta-comedy, Anya Taylor-Joy is acting in a deadpan psychological thriller, and John Malkovich’s late-game panic makes no narrative sense.

I think they completely missed the boat.

Sacrifice isn’t just a chaotic eco-satire; it is a meticulously structured psychological horror film about identity theft, trauma fabrication, and weaponized Dissociative Identity Disorder (DID) cultivation.

If you view the film through the lens of patriarchal brainwashing rather than simple religious fanaticism, the entire narrative locks into place perfectly. Here is the breakdown:

1. The Multi-Personality Brainwashing Framework

Critics point out that Joan (Anya Taylor-Joy) and her siblings share a bleached-blonde, hollowed-out, "feral folk" aesthetic, acting less like autonomous individuals and more like highly programmed tools.

The movie notes that their radicalization was triggered by "the fiery death of their mother". In extreme psychological abuse, childhood trauma is weaponized to fragment a developing psyche. Gunnar (John Malkovich) didn’t just raise a family; he and his academic peers engineered an assembly line.

They concluded that normal human psychology (hobbled by empathy, fear, and self-preservation) was too weak to make the hard choices required to save a dying planet. So, they systematically cultivated ultra-focused, compartmentalized "radical alters" capable of absolute, unblinking execution. The tonal clash critics hate is entirely intentional: Joan and her siblings operate in a highly controlled, deeply dissociated state where they can hijack a gala and execute hostages without a single flicker of human emotion.

1. Chris Evans as the Malleable Blank Slate

This theory perfectly bridges the gap to Mike Tyler (Chris Evans). In psychology, children are vulnerable to identity cultivation because they lack a rigid, fully integrated sense of self.

Due to immense fame, wealth, power, and a "no rules" Hollywood lifestyle, Mike’s emotional and psychological development has been completely arrested. He is a fully grown man, but mentally, he is a child. He is a hollow shell with zero identity outside of the characters he plays and the validation of his social media optics.

When his public breakdown strips that validation away, he becomes the perfect subject for programming. Joan doesn't break him with physical torture; she hooks his massive narcissistic savior complex. Because Mike already views himself as a heroic movie archetype, a cosmic prophecy doesn't sound insane to him—it sounds like a script written specifically for him.

1. The Volcano Ending is NOT Eco-Martyrdom

When Mike jumps into the volcano with Joan, it isn't an act of genuine environmental awakening. It is the ultimate, tragic manifestation of his programming.

Mike can no longer differentiate between a movie set and a lethal cult ritual. He treats the sacrifice as the ultimate third-act performance of his career. By destroying himself, his narcissistic ego finally achieves the permanent, immortal status he was terrified of losing. He dies thinking he is saving the world, completely blind to the fact that he was just a useful idiot used as fuel for someone else's machine.

1. John Malkovich’s "Survival Mode" is the Ultimate Warning

Gunnar designed the "Prophecy" and the eco-spiritual folklore as a control mechanism to keep his fractured creations pointed in the right direction. But he underestimated the absolute rigidity of the trauma he inflicted. Once a psyche is shattered and reprogrammed to believe it holds the key to cosmic salvation, it becomes a closed loop.

When the criteria for the "ultimate sacrifice" shifted to include Gunnar himself, the system didn't recognize its creator; it only recognized a variable that needed to be purged.

Malkovich's sudden transition into raw panic (which critics called a "bizarre tonal shift") is actually the most brilliant part of his arc. He isn't acting like a proud cult leader welcoming his children home; he is acting like a terrified programmer trapped in a room with an AI that just bypassed its safety overrides. All the lofty academic idealism of "saving the world" instantly evaporates, stripping him down to the most basic, primal human element: the raw instinct to survive.

Conclusion

Romain Gavras and co-writer Will Arbery didn't accidentally stumble into this. It is far too meticulous. Sacrifice is a multi-layered cautionary tale:

- Chris Evans represents the hollow, easily programmable modern consumer.

- Anya Taylor-Joy represents the terrifyingly efficient, weaponized output of extreme psychological engineering.

- John Malkovich represents the elite intelligentsia who thought they could play God with human nature, only to be consumed by their own creation.

Stop reading the surface-level reviews. This movie is a masterpiece of psychological horror disguised as a glossy Netflix satire.

What do you guys think? Did anyone else catch the heavy brainwashing subtext in the second act?

Spoilers, obviously.

I don't know enough about South Korean history, so this theory could be entirely invalid. But one thing I noticed was the number of signs referencing the Demilitarized Zone, and figured this explained why it seemed every household in the town was armed to the teeth; a history of distrust and preparedness would make sense for a town so close to the DMZ.

Then I wondered: is there an allegory here?

Perhaps Earth itself is part of a DMZ between two alien factions, and there's a defection happening; the royal family is fleeing across the border. Or perhaps there's been a coup and the family is being pursued across the border by their military? Given the advanced nature of the aliens' technology I doubt it was downed by any human military.

Another interesting thing I noticed was the aliens' talk of fate, implying time travel. At the beginning of the movie the police chief requests backup from the rest of the police force, only to be told they're helping fight a wild fire, but we never see any sign of it. Maybe the fall of the Emperor's ship caused that wildfire to begin with?

Or perhaps wildfires are a seasonal occurrence in South Korea and I'm looking too much into this?

I was re watching The Dark Knight for the umpteenth time and couldn't help but notice something interesting about the way The Joker is written in the Dark Knight.

Any time he decides to get up close and personal to a victim, be in Gambol, Rachel or even Batman, he always says "do you know how I got these scars".

With each story being radically different from the next, in one story it stems from childhood trauma, the next an attempt to comfort his deformed wife. Non of it adds up into one concise narrative (like the Joker in the comics).

I believe that the person under all that make up, doesn't truly know how they got those scars either. I believe, after whatever traumatic event they went through, they kinda just woke up with them on.

I also believes' The Joker tells these stories to his victims in order to get himself to a point to where he is can do that. He is whatever, the moment needs him to be. If he picks someone out, he'll try to attach a story to whoever this person could be in his life, like a father, a mother or an angry girlfriend. He'll make a story up of how he was the victim of something horrific.

I think the Joker in the Dark Knight has his scars due to a botched suicide attempt that knocked all the memory out of him, but also left him alive with terrible scars around his mouth.

This is very poorly written but I hope you get what I'm trying to say.

Wanda used to manipulate “media” back in WandaVision - it was literally her tv show we and the SWORD agents were watching. I say that because it sets a precedent for magic in the MCU, more specifically magic users, being able to interact with technology.

When the “client” who hired Paladin hacks into his comms, and Paladin and Conk have an exchange wondering how the person was able to see what happened, somehow makes me feel like it’s magic in origins. Philomena can’t trace the signal with the voice or explain it, etc.

Wanda if dead or not really wouldn’t let that happen to her son Tommie if she was aware of it, let alone condone it to get Vision back.

Billy is a witch now and searching for his brother, maybe he realized that path was through his “dad”. But again if his end goal was to find his brother it would end when Paladin literally finds his brother on the quest.

So my theory is that, once more, it’s Agatha all along.

If I remember right she’s a ghost of some sort helping Billy find his brother… she has no qualms about…

Wait no it’s Doctor Doom come to collect The Vision just like he did the Hulk. Vision fits the profile of “people” Doom collects. Doom wouldn’t give a fuck about Tommie. Doom is magic and tech. And it’s be a nice tie in with the upcoming film, give Doom a bit more depth and possibly drive some people hyped for the movie to sub Disney+.

I apologize to those that love the Chronicles of Prydain books. I understand your frustrations. This isn't about the books. This is about the Disney movie. Let's agree to go from there.

THEORY

The ahem unnamed sorcerer king that was trapped by the gods in the Black Cauldron wrote the book of evil magic which Magnifico possessed and was consumed by.

The preface to the movie states the being trapped in the black cauldron was a "king so cruel and so evil that even the gods feared him."

Whoever wrote Magnifico's book had the knowledge and power to literally trap the heavens: stars. The author detailed how to capture, contain, and harness the power of a star. I think a -- presumably -- mortal with the ability to trap heaven would be cause enough for the gods to take notice and act to bring an end to said mortal.

And in the end, the same power that trapped the unnamed king would be the same power that trapped Magnifico, just in a different medium. Both of their spirits were trapped in objects. Magnifico was lucky enough to be trapped in an object with a mirrored reality, whereas the unnamed king was trapped in an immovable medium.

You may ask about the Horned King. The Horned King was just a pretender to the magic that both the unnamed king and Magnifico would wield. The Horned King's ambitions were set simply on the subjugation of the mortal world, whereas both the unnamed king and Magnifico dealt in the realm of the gods. The unnamed king did enough to piss them off, and Magnifico trapped and manipulated stars as well as dreams, wishes, and desires, which are also generally the purview of gods.

Bites The Dust is a very weird ability in the context of jojo, it operates very similarly to a requiem stand but with a few key differences. The arrow acted on it's own to pierce Kira, and gives him a third stand ability ontop of Killer Queen and Sheer Heart Attack. As with GER and SCR, it appears to give Kira the perfect ability to not get caught and live his happy quiet life. Kira is filled with overwhelming confidence not just because of the ability but because he believes fate is on his side and gave him this perfect ability. However this belief is misfounded as in JoJo fate will inevitably side with the forces of good and Kira got his comeuppance in the end

While Bites The Dust is Kira's stand, i think it was Hayato's will that caused the arrow to move, and in a way it was actually his ability. We know abilities can activate upon someone's death and I think when Kira killed Hayato, it activated some form of ghostly ability or pseudo-stand to ensure that Kira's defeat was ensured while making him think he was unbeatable. Hayato clearly has the apptitude to become a stand user, he understands stand combat without even being able to see them and develops an extremely powerful will to protect his mother from Kira.

Notably, Bites the Dust leaves Kira without an active Stand Ability, ensures that Hayato can take multiple attempts to defeat Kira while keeping him in the dark on what Hayato knows or is able to plan. It resurects Hayato, ensures his mother stays alive, and encourages Kira to let him meet and talk with the gang which was instrumental in getting Kira to admit his identity to Josuke.

To be clear i do think Bites The Dust is Kira's third bomb and Hayato is not a stand user, instead the specifics of the power came not from Kira but Hayato's will to subvert fate and save his mother, enacted through the power of the Stand Arrow

Star Trek and Warhammer 40,000

The Humans in Star Trek follow similar wish based rules to "Da Orks" because humans also create a psychic gestalt field. This is the real reason that Starfleet sends out crewed ships and why they tend to be human crewed.

In other words: most Federation technology is pretty much based on magic and not science which is why the Holodeck doesn't always work like it should and why there are so many transporter "accidents".

Otherwise how come most ST technology wasn't invented or perfected until after the Federation was founded by Humans, Vulcans, Andorrians and Tellarites? Or how come Vulcans (a naturally Isolationist species*) even want to spend time with a species who they cannot stand the smell of and consider undisciplined and violent? Because they are quietly studying us!

*Vulcan 🖖 isolationists are a major faction (political party/tribe/nation?) in the 32nd century and have even resorted to at least attempting political violence in the past.

WARNING: Long Post (Summary in comment)

Without any delay, straight to point, ofcourse you have to remember or rewatch the movies if YOU want to be sure. I won't try to establish a timeline but just lay it out there.😁

First, who is said popularly(but never ever officially, specially not with current meaning)a Re-boot.

Craig Era:

FIRST It starts with a B&W scene, usually used to show past, the trailer teasers were advertised that way, 'past of your hero', it shows the actions that led to him gettin Double O status. Then it cuts/jump to colored scenes, LeChiffre the villain with blood tears and parkour scene where 007 is experienced enough to get annoyed by a rookie touching his ears.

Then after getting out of hospital, there is some time spend with Vesper, then after the line "the bitch is dead" and James checking the phone, we see Mr White getting shot in leg. WHICH opens up and continue in QOS opening titles, he is escaping gunfire car chase while kidnapping mr white. The movie takes place in 2008, which is atleast 1 year gap, So? there is again a timejump.

QOS, pre-title is very close to its main movie and ending. THEN

SECOND Skyfall 2012, takes place definatly after quite some time. It uses past/legacy and depends on it very hard. That is, to believe in the movie one have to know and have familiarity with character, as he is now a 'Old Dog'. We will cut of 'just nods/winks/homages' becasue there is limit to them, you have a object/car which is running and firing around becomes vital part of movie-in-universe. SO, whats there, Aston Martin with same number plate, M. knowing about the ejector seat(M, Q, Moneypenny have always been treated as regulars/stand-ins).

No its not the same car from Casino, THEN, Goldfinger, Thunderball have happened, there was a previous Q, old too, because 007 was surprised to see a young person and he says 'not exactly christmas', so he is used to high-gadgets. Without it all feels illegitimate, a movie have to have in-universe explaination, like Goldeneye opening scene of Aston drive, because they never deny it same guy.(They were trying to get same number plate in 1995 but legal problems).

Current-Time/Events were always just setting where the movies took place to tell the story.

So, craig's Bond have gone to Goldeneye, Thunderball, Goldeneye somehow-someway. As we see NTTD, we then know that he have even have The Living Daylights adventure.

If you notice, after Sam Mendes, there is so much emphasis on 'the world has changed, old ways etc.'. It all feels out of nowhere and without weight, if its not somehow, someway connected to previous movies.

OKAY, I won't enforce anything, I just put it out there what I saw as factual. That is they might have.

Connery Era:

What was the connection between Dr No and Russia With Love? A hidden organization's revenge. They were still more or less free. Goldfinger was completly free. Even Thunderball is standalone aside from the villain working. Bond is fighting them just from his side without much knowing about 'Spectre/Blofeld'. Until You Only Live Twice. Where he meets Blofeld for first time. You can't be sure how much time passes between each film.

Then, Lazenby Era On Her Majesty's Secret Service have another actor play the character, they thought that having their biggest villain yet is the best idea, and writers decided to lean on the book, making him meet here for first time, 'again'. So ONE/fan must overlook it, for his interests sake while making it as contextual as possible. Maybe one can RETCON and see that either he didn't see him face to face in YOLT or that YOLT takes place after OHMSS, and he meets again, but I will go with the previous option.

Next, Diamonds Are Forever, Bond is very eager to find Blofeld in the pre-title sequence. More angry and hard hitting. Ofcourse he can't kill someone out of personal vendetta. He in the end(of pre-title sequence of DAF) 'kills' Blofeld, his anger cools down and he moves on. Some time have probably past between that and main movie. Where Blofeld once more? make a absurd plan/revenge/ escape?-probably as he returns in FYEO. We will get to that.

Moore Era:

So, it starts with Live And Let Die, Bond is an expert and experienced agent here, as he seems to be at more ease and less taking things personally(not that he don't have personal feelings involved).

The Man With The Golden Gun, The Spy Who Loved Me, Moonraker, then For Your Eyes Only, here Bond have become experienced, and have made admirors/adversaries(Scarmanga etc.)

In FYEO, pre-title sequence we see, him standing infront of Tracy's grave, that prooves that event of OHMSS, somewhere. THEN octopussy, never say never again, a view to a kill, living daylights. (I will tell about NSNA and TLD later).

Dalton Era:

In Living Daylights, Bond feels more youthfull, doesn't he? then in Licence To Kill he is more mature, ofcourse he never a rookie. But definatly that. So in LTK its mentioned that he was infact married 'but that was long ago'. THEN

Brosnan Era:

Goldeneye film starts with pre-title sequence which takes place 9 YEARS before actual movie, where he iss accused of being a 'relic of certain war'. A dinasour. So that equal to being over-expert. Lot of experience.

There is no factual detial of when the next movies take place and how much gap is between each of them. I personally don't find him old or that-old looking in either Tomorrow Never Dies and The World Is Not Enough until Die Another Day. If I remeber correctl he have little white hairs. There is ofcourse him being in korean prision torture. 14 months.

Other thing, Bond was re-evaluated in 1995 movie, while he was taken a job as trainer or retired and then called back and re-trained in Never Say Never Again, I know non-eon. but Fatima Blush😍

SO THAT IS THAT.

Now, you can see many timejumps and undefined gaps between movies, or in movies themselves. Again, if ONE chooses or get interested in making a as valid and profitable to ONE's personal desires of/from James Bond 007 movie franchise, he or she may, in this case like me see and choose:

[Spectre 2015, NttD 2021 are complete blunders, some of Skyfall too(like not saving Severine, making Moneypenny field agent, idiot of a Q, M dying), even QOS which I love, some part of it too(like not well executed and written,i.e. not bringing back formula and still whining about vesper.), OR any part of the movie which contridict what you want or probable continuity, can be cleared in portions, like he won't completly meet Blofeld in YOLT.]

This all could be cleared in as part of Fever Dream that Bond suffers in Die Another Day torture sequence, even that movie itself is seemingly 'over-the-top' becasue of Bond's unhealthy state.

OKAY, I would do this that is remove 2015 and 2021 movies almost completly and etc. than loose my liking of 'same old james bond'. That is I will treat CR2006 and QOS kind of prequels. LALD taking place between them as it was next novel after casino, along with TND, as it have have new kind of villain. Dr No is the first mission after 'that black and white scene and getting double o'.

TLD(youth feel) can take place after DN, same goes for FRWL, as it is immidiate spectre's revenge.

after quantum, movies like from Goldfinger, Goldeneye's Arkangel, Thunderball, YOLT, OHMSS, etc. could take place.

From TMWTGG, TSWLM, MR, FYEO(after OHMSS), TWINE, GE, AVTAK, LTK(after FYEO). SF(severine is saved, M don't die, just retires, q is not idiot, moneypenny is just desk worker).

Octopussy(Bond have been working long enough, that a 'victim' of his, daughter has became a danger),

NSNA after sometime.

There is lot of space where next james bond movie(s) could take place, they just have to follow the formula, make standalone-episodic, balance of campy and gritty. In first movie they can make joke about Moneypenny killing Bond, nightmare of having child and replaced, few refrences to past films, like dusty files of {skyfall, arkangel, dr no, moonraker, scanchez, thunderball etc.} and move on, with next movies simply being normal james bond movies.

END

Its fun to imagine its same Bond fighting and going through adventures of moonraker, living daylights, dr no, you only live twice, thunderball, live and let die, octopussy, the world is not enough, skyfall, quantum etc. Its a reason I like him, a kind of unsaid immortal feel, a forever friend. Different times and places.

Ofcourse one must know and accept that not one single James Bond movie actually follow any timeline/storyline/continuity, NO not even skyfall, quantum of solace, spectre, nttd, No not at all. Its just a FACT. Same goes for each actors.

One must take them as stories, and if interest there make a storyline by himself.

The logo and titile is by me for a james bond movie. FAREWELL, it will be my last post. for a long time atleast on bond or on reddit.

First off, yes this theory is based on Steve Buscemi playing both parts, but the more I’ve thought of this, the more things line up.

Reservoir Dogs has Mr. Pink (played by Steve Buscemi) as a fast talking, sleazy criminal based out of LA whose real name isn’t known. The film ends with him making off with the diamonds, but his fate is unknown. Here’s the pitch:

After escaping narrowly, he finds himself encountering the cops, manages to escape, but drops the diamonds and runs off now penniless. Despite the botch, he was never caught and no one learned of his real name, making him easy to lay low. Scared and traumatized, Mr. Pink decides to lay low in Venice Beach, and starts hanging out with some bums and goes by his real name, Theodore “Donny” Kerabatsos. This is where The Big Lebowski comes into play. In The Big Lebowski, Donny is a quiet, slow brained guy who is not only mild mannered, but downright scared of conflict and gets tense when Walter starts acting crazy.

This could be many things, but for the theory let’s say it’s that of a guy who narrowly escaped the criminal underworld and is trying to not be recognized, hence why he hangs out with bums and just bowls all day. By the film’s ending, Donny has a heart attack after being confronted by gangs and violence for the first time in years; his PTSD from his life of crime catches up to him and he dies from the stress of it all. During the scenes after Donny’s death, it’s shown that The Dude and Walter didn’t really know much about Donny which makes sense if he was a criminal; he didn’t want his past to be known and neither Walter or Jeff knew him long enough to know of his past life, not to mention they probably just never asked him any questions about it. The story of Theodore “Donny” Kerbatsos ends with his fear and paranoia being the literal death of him, even though he was the only one out of that group from Reservoir Dogs to never get caught or killed.

In the Simpsons movie Maggie uses the sinkhole to go in and out of the dome and even points that out to the family to help them escape Springfield

So despite being a baby she knew about sinkholes and how to use them

At the end of the movie after destroying the dome Homer and Bart are confronted by russ cargill at gun point , he is then defeated by Maggie who appears out of nowhere and drops a rock on him

So how did Maggie get from the kiddos of Springfield to the outskirts in minutes without Mather noticing

Only explanation is that she used other sinkholes to get to that location to save Homer and Bart then immediately headed back

Some time ago I made a theory saying that the Megatron from the Covenant of Primus could have been an earlier version of Megatronus because I always thought that the Megatron from that book wasn't just G1 Megatron and because I always believed that he was more than just a representation of BW Megatron, even thought he never existed in G1, but this was before I read the G2 comics and the Aligned book, which I personally consider to be the true middle between G1 and Beast Wars, and it was on those comics and book that I discovered about Liege Maximo and how he was the first "Megatronus" in the franchise, and because of that, I reformulated my theory and decided to explain it on these points:

1 - Liege was literally created by Primus to represent evil, to create a balance between good and evil on the universe, and this fits perfectly with the Megatron from the covenant of primus(and fits better than Megatronus on my opinion), who is treated as a representation of evil, like how Lucifer is for the Bible.

2 - One of the quotes from the Covenant of Primus is "And a mighty warrior came down from the sky, and a rainbow was upon his head, and his feet as pillars of fire. And the Great Dragon was cast out onto the Earth, and his followers were cast out with him." and if we are considering that Megatron is Liege Maximo, this could actually explain some events that were mentioned in G2, because there, it's said that Liege Maximo have hidden himself because he didn't wanted to just be a pawn of Primus, he wanted to be a God just like him, and that's why he decided to create his own army outside of the Decepticons, and this quote would explain what happened and why he never appeared on G1 or in Cybertron, the mighty warrior(probably the first Prime who was created with him) discovered that he was using a forbidden way of reproduction(which we see in G2) to create his soldiers and they fought together and in the end, Liege was exiled from Cybertron together with his army and that's why he and his army live in another place outside of Cybetron. And as for him beign called The Great Dragon, while we don't see him exactly transforming into one, his overall appearance is much more organic and feral than other Transformers, even resembling a dragon(specially Porunga from DBZ, lol), but the nickname would be much more metaphorical.

3 - Him beign called Megatron would probably be more of a nickname that the first Prime, Primus and his followers gave to him, since we always saw that Megatron is much more of a name similar to Satan, something that represents evil, it's like how Megatronus was called the Fallen in other media, but this would also explain Megatron's name in G1, since he was created by the Decepticons to be their perfect leader, and since he was created using Liege's essence, the name Megatron would really fit with him.

4 - Tematically, Liege would really fit with BW Megatron, since, while he created the original Decepticons, Liege didn't cared for them, he just wanted to become a God and even tried to kill them together with the Autobots, and this is exactly what BW Megatron is, he says that he wanted to make the Predacons be the ones rulling over Cybertron, but he just wanted to be a God, to be the one commanding Cybertron, we always see him beating up and even killing his soldiers and in Beast Machines, he stoled everyone's sparks in Cybertron, including from Predacons that would have joined him, exactly how Liege Maximo would have done.

In the third episode of the series, Frieren remarks that Fern has grown taller than her but is puzzled why she isn't growing herself when they have the same diet. I've seen it posited that elves are just shorter and Kraft is an outlier or that female elves specifically are short, but that doesn't make sense why Frieren wouldn't realize these things.

My theory is simple: Both Frieren and Serie have been stunted by suppressing their mana. It's basically the life energy of living beings, so holding it back for so long has a physical impact on them.

Then why aren't Fern and Flamme impacted? It's a skill that takes years to master, so they both were presumably done growing by the time they got to that level. Meanwhile, elves are ageless, so it's safe to assume that they take longer to grow. Both Serie and Frieren may have had the time to become pros at suppressing the mana before they were done growing.

Basically, Frieren and Serie have an issue that nobody knows anything about because it's so specific to their race and skill set.

Those who saw the show know how Cory wanted to be an accountant in BMW (except for Wheels when he wanted to be a clown) but became a teacher instead in GMW

My theory is Cory was an accountant for a year or two but became disillusioned with it because he felt he wasn't putting what Feeny taught him to use and after 9/11 he saw kids growing up without guidance because they lost their parents in the tragedy and the best way to help them and put Feeny's lessons to use was to be a teacher to teach them to the next generation. Topanga was hesitant because it was less money and she was in law school so they agreed he'd stick with it till the end of the school year and if he still felt that way by the end of the school year, she would support him in this endeavor

1. Light Yagami - Pride

Kira himself. The main character and main villain of Death Note. He kills criminals to try and create what he thinks is an ideal world and views himself as a God. He kills Lind L. Tailor simply because he said Kira was evil (thus bruising his ego), and thinks that those who oppose him are the ones who are truly evil. He also on multiple occasions reveals that he is Kira to his victims right before they die (Raye Pember, Naomi, L, and Near; although Near survived), he wants them to know he was the one who beat them.

1. Misa Amane - Lust

The second Kira. Every action she takes is done to try and win Light's love, or even just his acknowledgement. She does whatever he asks even when it's to her own detriment in a vain attempt to gain his affection.

1. Higuchi and the Yotsuba group - Greed

The third Kira. Only kills for money and power. The criminals they kill are just to hide the fact that they are offing their competitors to increase their profits.

1. Mello - Envy

L's potential successor. Takes on the Kira case only because he wants to prove he's better than Near. He can't stand Near and refuses to work with him even though Near was perfectly willing to do so. At the end he even sacrifices himself to prove that Near missed something that would've gotten him killed otherwise.

1. Kiyomi Takada - Sloth

Kiras spokesperson. Is only ever a pawn in everyone else's plans. Was chosen by Mikami as Kiras spokesperson without really doing anything to earn the position, was made a go between for him and Light were she simply relayed messages, and was kidnapped by Mello to disrupt and uncover Lights plan. Simply put she never takes any real proactive action or does anything she wasn't ordered to by someone else. Plus she didn't even pick the people she killed with her pages of the Death Note. Even when she killed Mello she was following Lights orders.

Ironic then that she gives the announcement that Kira would start killing people who don't contribute when her job could've been done by a carrier pigeon.

1. Teru Mikami - Wrath

The fourth Kira. A prosecutor with a very Draconian, scorched Earth sense of justice. Convinced himself that his own mom deserved to die because she didn't want him to keep standing up to his school bullies if it meant he would continue getting hurt. Is the most enthusiastic of all the Kira's while killing people (DELETE! DELETE! DELETE!!! DELETE!!!! DELETE! DELETE!!!!!).

In his mind death is the only response to any act of evil, no matter how small.

1. Ryuk - Gluttony

The Shinigami. Does everything because he wants more. More to do in life, more entertainment, more things to find interesting, and obviously more apples.

Apples which he eats at every opportunity despite him experiencing severe withdrawal symptoms whenever he stops eating them.

For Ryuk too much is never enough.

In "ONLY THE PUREST MAY MOUNT ME", Kevin takes several life-changing oaths at the whim of an ill-intentioned Pegasus. Specifically:

• No killing
• No keeping treasure; he must give it to those in need
• No drinking alcohol
• No cursing
• No sex/masturbation

It's possible that the Barbarian has also taken these oaths just for shits and giggles, or at the very least abides by them because of his own principles. I'm sure it's whichever one is funnier; I'm not sure which.

• "MONSTER MASH" confirms that he made all of his victims drink immortality potions, to give them the chance to make better choices. He literally CAN'T kill them.
• In "DRAGON BALOOZA" he fills the dragon's bowels with treasure, then turns it into a piñata so that the local village gets all of it.
• When he first meets Kevin in "BBQ ORC", he is also drinking milk and comments that Kevin made a good choice ordering it.
• Please correct me if I missed anything, but I don't think he has EVER said a swear word in the entire series. This is the one that could destroy the whole theory.
• Sex/masturbation hasn't been shown for Youtube TOS reasons, but I'm guessing he could have survived the Succubus in "DINNER DATE" if he wanted to.

With the likely many deaths and despair around the end of Doomsday, and the likely set up of Battleworld and shenanigans in Secret Wars… I think Jeff will be introduced. Here’s why, and yes, it’s mostly about marketing and merchandise.

Story-wise:

Given the dour tone of Doomsday we’re expecting, and a likely “they lose” ending, I think Jeff will get introduced as part of Battleworld (assuming they adapt that element).

Akin to Ant-Man’s appearance in Endgame helping buoy the mood of the story and represent comic relief, I think Jeff will fill a similar role. A goofy walking shark who can also work as a plot device given how his comic stories tend to get very strange.

Marketing wise, it makes a lot of sense as Jeff has shot up in fame since Marvel Rivals. Marvel exec Brad Winderbaum previously said Jeff would get introduced to the MCU. Disney would probably love him in live-action having seen the success of similar cute characters like Groot who has since been put on basically every piece of merchandise imaginable as baby groot.

The popularity of him I’m nearly certain is going to result in him appearing in a film sooner rather than later. A character who sells stacks of skins in Rivals and is increasingly getting merchandise is a goldmine for Disney. Given the last decade of Disney has been attempts to milk every last scent out of Grogu, there’s no way this isn’t on their radar.

I think to myself What If the Final Destination franchise takes place in the Death Note Universe and the being that’s Giving the Visions to each of the protagonists of the Final Destination franchise is actually a Rogue Shinigami trying to save there lives and the Death entity that comes to kill them is actually a Shinigami sent by the Shinigami King to hunt down the survivors that were supposed to die in the deadly disaster they were supposed to die in because they cheated their intended fate

Sophia and Max were married for a very short time by likely only a few weeks, so they separate for their marriage like it never happened, not divorce especially having their last dance together at the end of that part 2 episode and a fan speculation of what is not shown would be likely those two having a walk on that beach and sleeping together at her house one last time that night. So here’s a fan-speculation tale:

Sophia and Max's marriage was always more of a stubborn one than a marriage. A few weeks, a few good zingers and a realization that love doesn't always mean you should live together.
After that final dance at the end of Part 2, they don’t hurry. The music is still playing, but they had start walking off.
They take the long way on the beach down on the sand and hold hands. No big speeches. Sophia being herself complains about the sand getting everywhere, and Max laughs and says that was her problem, she always has wanted to bring the beach home with her.
They talk about Sicily, about the years before and about how strange it is to get a second chance to say goodbye properly, not in anger at all.
By the time they get to her house, Dorothy, Blanche and Rose have already gone to bed.
Sophia unlocks the front door as quietly as she can. Max whispers, "Should I...?"
And Sophia, for once not making a joke, just says, "Stay. Just tonight."
Not because they want to rewind the marriage. But because they want to end it the right way.
They go to her bedroom, sit on the edge of her bed, talk a little longer and hold hands the way people do when they know every spot and wrinkle. There is a lot of history in that room and no need to perform it.
They spend that last night together not as a married couple, but as two people who have loved each other but wasn’t for long and finally get to be tender about it. One last night of closeness of being in the same bed and listening to each other breathe while sleeping.
The kitchen is bright and Blanche comes in first in her robe, ready to be scandalous, then stops dead because Max is at the table in yesterday's clothes with Sophia, drinking coffee out of Rose's favorite mug with the little strawberries on it.
Then Dorothy comes in. Then Rose.
No one says anything for a good ten seconds. Sophia looks at Max.
She is the one to bring a conversation up.
"Sit," she says.
So they sit. Dorothy pours herself coffee like she's preparing for bad news.
Max clears his throat. He's a showman, but not this morning. "Your mother and I talked," he says to Dorothy. "Long talk."
Sophia picks it up. "We decided no more pizza kitchen. No more Max and Sophia working there after that big fire."
Rose looks confused, "But... you just got married?"
"We were married," Sophia says, sharp but not unkind. "For three weeks. Which in human years feels like it’s about twenty years of the kind of fighting we do."
Max smiles at that. "She's right. We love each other. We always did. But we don't belong in the same kitchen anymore. Literally and... you know."
He looks down at his hands. "My grandson in New York. I haven't seen him since he was this big." He holds his hand about two feet off the floor. "My family is there. It's time I go home."
Dorothy understands instantly. That's what gets her. "Ma?"
Sophia waves it off before Dorothy can make it a big Dorothy Speech. "Don't. It's good. It's what we want. We had our dance, we had our walk, we had our talk. Now he goes to New York, I stay here with you girls and torment you until one of us dies. Which, knowing you, will be me."
She says it like a joke but her eyes are wet.
After breakfast — Rose's eggs, which Max says are surprisingly good — it's time.
Max’s luggage is already by the front door.
Goodbye in that house is never quiet.
Dorothy hugs him like he is her stepfather which didn’t even last long. Rose hugs him like he's leaving forever and he is, making her cry. Blanche shakes his hand and then hugs him anyway because she's herself.
Sophia walks him out the door. No long scene.
Outside, he kisses her on the forehead. Not romantic. Familiar. The kind you give someone you've known since you were both kids stealing figs.
Max: "Take care of yourself, darling."
Sophia: "You too, you old crook. Don't get lost."
Max: "I won't."
He goes off and doesn't look back. Sophia knows that about him.
She stands there until the taxi arrives.
After that, she goes back inside, closes the door, goes in the kitchen and says, "Alright, who left their dishes in the sink?"
And that's how she and Max have left it. Not divorced with papers and shouting. Just... separate ways. With the last dance still counting for the marriage having gotten annulled.

1. First off, why would the British Museum even have a miniature bird's eye view diorama of the Ancient Roman city of Pompeii in the tragic volcanic eruption that destroyed the city in the first place because the museum has zero dioramas or mannequins in real life, and not even the wax Sir Lancelot that is there exists in real life?
2. Why is the Greek and Roman Gallery for the British Museum that Jed and Oct landed in the lower level for the British Museum, and not on the first floor that the heroes were visiting?
3. Why did the volcanic eruption for Pompeii depicted in that diorama even happen? The real-life volcanic eruption for the volcano near Pompeii consisted of smoke and ash and not lava and magma, I am pretty sure the writers either never bothered to investigate the real-life history for Pompeii or decided to add the lava to make the scene more humorous.
4. How was Dexter even able to put the lava out with his urine and why did the volcano even erupt lava to begin with, it was supposed to be fake, and how would all the lava and magma from the volcano reset when the diorama returns to its daytime position in sunrise? I am pretty sure the diorama did have the volcano come off as like a toy erupting fake lava and magma in the form of orange goo or slime as part of the display showing the Romans ran away and it would retreat back into the volcano once its done. The tablet made the purple goo and slime real lava and magma.

Also the people would smell capuchin monkey urine in the diorama by sunrise when the museum reopens unless it disappears as well.

If I ever wrote a reboot of the Night at the Museum franchise as "Night at the Museum of Natural History" (And Art Museum)" set at the Field Museum and Art Institute of Chicago it would include a miniature diorama of the Maya city of Joya de Ceren and it would make it more faithful to the real life city.

Everything about the Na'vi seems just a bit off in juxtaposition to their environment. I'm of the mind that they were once a very technologically advanced civilization. However, just as with Earth, they let it go to their heads and they destroyed the planet and wars ravaged the people until a highly advanced ai that they built took over.

Eywa is a rogue ai that triggered nuclear warfare to wipe out the majority of the old world Na'vi while keeping just enough to breed or sourced eggs/sperm to create frozen embryos that would be ready for the new world. After thousands of years of terraforming Pandora back into a hospitable "natural" paradise, she reintroduced the Na'vi.

Why else would eywa (who is essentially a giant mushroom/fungus network) know about permanent structures, wheeled vehicles, and ore forging. Her three laws are too specific and we're not told that she's ever been off planet. Would also help her goals to present herself as a deity before the Na'vi. The new population would have no knowledge of their past history thus accepting this as fact...they have no other frame of reference.

The Na'vi are shown to be highly intelligent. If not for the three laws they'd be way more advanced in the several thousand years they've existed on Pandora. A perfect example is the wind traders–they just barely skirt past the restrictions with their way of life.

Eywa the rogue ai turned god is deliberately keeping the Na'vi just primitive enough to prevent the cycle of destruction from beginning again.

The Three Laws of Eywa:

• You shall not set stone upon stone

• Neither shall you use the turning wheel

• Nor use the metals of the ground

Hai Guyz,

So I was watching the 90s stage play on YouTube where Ash's mother Delilah mentioned having a brief relationship with the leader of Team Rocket, Giovanni.

Jesse, James, and Meowth are literally never successful at their job but Giovanni keeps them on the payroll. This has me thinking, why keep them on the payroll given they are literally never successful?

It then came to me. Giovanni is Ash's father. He hired Jesse, James, and Meowth to look after them. However, they pretend to be criminals to throw off Ash.

Here is my evidence:

1.) They want his Pikachu for reasons.

2.) They spend exorbitant amounts of money catching wild Pokemon in a world where most Pokemon are easily bred.

3.) Despite being incompetent, they are never arrested.

4.) They show up to Ash's Pokemon matches even when his mother doesn't.

After looking at DC X Sonic (2025 Comic Book Crossover) alongside it’s sequel DC X Sonic: Metal Legion (2026 Comic Book Crossover) I thought to myself what if the Sonic the Hedgehog franchise takes place on one of the many Earths of the DC Multiverse since it’s said in DC X Sonic (2025 Comic Book Crossover) alongside it’s sequel DC X Sonic: Metal Legion (2026 Comic Book Crossover) that Sonic’s World (AKA Sonic’s World is Sonic’s Earth) takes place on a separate Earth from the main DC Universe