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casualtheoriesandthoughts · 1 year

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Revisiting Religion in Final Fantasy X

I've been replaying Final Fantasy X recently, and it's been interesting to both play a game I loved growing up and in some ways grew up with as I replayed it several times over my life till now. I've since started studying religion and theology in grad school, and I started thinking about how much religion plays a role in FF games. FFX shows it most prominently, and it's certainly accepted by a pretty large part of the fanbase that the game is critical of religion.

That being said, I noticed something when Tidus arrives in Besaid, and encounters the Yevonite religion for the first time (and apparently religion in general). Tidus never really criticizes the temple or the teachings of Yevon, even though he's irreverent to the extent of breaking into the Cloister of Trials and admitting that he's never prayed before. He also remarks that he senses a "gentleness" coming from the aeon Valefor when Yuna summons her for the first time. Tidus isn't really hostile to religion, and even in latter parts of the game, he never criticizes Yuna or anyone else for believing in Yevon. He even gives Auron a little grief for not being more respectful in Guadosalam; and when the party falls to the lake bottom in Macalania, he says "Praise be to Yevon; that's what I would have said, if I was a follower of Yevon". This, despite having just witnessed easily the most blatant display of priestly corruption in Seymour's murder of his father. It's not to say that Tidus is sympathetic to Yevon, but more that his retrospective in Zanarkand isn't in the least marked by an animosity toward religious figures.

The reason I'm pointing all this out is that while it's true that FFX presents a narrative that is critical of religious figures in-universe, I've come to the conclusion that it would be mistake to assert that the game's basic posture is criticality towards religion. It's certainly not the extent to which such a position appears in Persona or Shin Megami Tensei games (which is a whole other conversation). In fact, I would go so far as to say that FFX actually is very pro-religion to an extent, but is more solidly critical of corruption and moral complacency. I see this most in Tidus and Yuna's relationship, as their growth as characters explains much about what core values and messages lie at the heart of the game.

Tidus, as the self-insert main character with a personality, is kind of like our lens on Spira. He is always very empathetic toward and considerate of Yuna's feelings about Yevon and the path of being a summoner. Yes, he doesn't know the truth about the Final Summoning till quite late, but he never denies what the pilgrimage does for the summoner. Even while not always jibing with its rules about machina, self-sacrifice and authority/tradition, Tidus doesn't deny the more basic religious beliefs of Yevonites. His retrospective narration doesn't really focus on religion at all, either.

To be fair, I might be stretching it a bit here, since the personal values of Yevonites are never truly explained beyond the necessity of the pilgrimage and a reverence for summoners. But what we do see: caring for the wounded, praying for others, the processing of death through the sending, and the way feelings are foregrounded in the reality of beings (ex. the dream of the fayth), tell us a lot about the religiosity of Spirans in general (and not even just Yevonites).

And really, what confirms my perspective more than anything else, is that because this is a fantasy RPG, all the magic and summoning is 100% real. There's no room to debate that summoning, mysticism and prayer are not essential parts of this society, in a way that directs all blame for suffering to human fallibility (such as in Mika, Seymour and Yu Yevon). Even post-Bevelle, Yuna's spirit is never broken, and even more so when the party fights Yunalesca. Yuna never ceases to be motivated by her determination to save Spira from Sin, to help people and to believe in her guardians to walk beside her. She continues to entreat the fayth at temples in spite of her wavering trust in the institution that sanctioned her pilgrimage in the first place. The fact that the fayth themselves are unconcerned with Yevon as an institution and continue to empower summoners should say a great deal, as they seem to enter into a kind of spiritual relationship with the summoner through prayer. In Auron's own words: "The fayth are the ones that give power to the summoners. Not the temples or the teachings."

That might seem like instrumentalization on Auron's part, but I think his resentment at some level has little to do with Yevon's teachings, and more to do with its duplicity in the face of immense tragedy and willingness to deceive the people with false hope. His faith Braska and Jecht, his past as a warrior monk and his troubled friendship with Kinoc all seem to point to Auron being disillusioned with Yevon for its complacency and moral bankruptcy than for the practices of faith and the effort of fighting against Sin/sin. Rikku too, despite being Al Bhed and routinely despised by Yevon, never actually feels a revulsion to Yevon's teachings but rather the way that people blithely accept others' sacrifice as a means to their own (temporary) happiness. I stress values and practices not because they're closely followed by everyone, but because Yevon's clergy doesn't fully assent to them themselves and feels free to delude the people. To me, that is the core conflict in FFX: dreams/hope VS nihilism/resignation.

In this regard, Mika is the most obvious perversion of religious authority in his cynicism toward the living and the very reality of death itself. How can you take him seriously about being reconciled to Spira's being full of death, when he himself doesn't fully die? Yunalesca, more than even Mika, is the living/undead symbol of a kind of nihilistic morality that Spira has succumbed to in the face of tremendous despair (i.e. Sin). Seymour represents the darkest consequence of that nihilism: someone who would actually annihilate Spira in the belief that it would liberate its people. Yu Yevon is the origin of Spira's woes, and is literally a shadow of his hatred for Bevelle and the desire to protect Zanarkand. It's a pretty stark commentary on the way that an inability to be moral and care about others can twist the collective moral compass, and how true faith and hope (as in Yuna/Tidus) offers a way forward.

Even though the Final Summoning is "false hope" and one that covered up Spira's suffering, the fayth themselves continue to be present. When you revisit the fayth in each temple, it kind of affirms that Yuna (and Tidus, in a way, through his connection to Bahamut) does in fact have some kind spiritual purpose in fighting Sin. Heck, even the way that Belgemine sticks around in spite of having failed to defeat Sin, seems to drive home that faith and belief is important in the world of Spira. It makes it difficult (at least for me) to believe that the substantive spirituality of Yevon and Spira doesn't matter. And while there's more I could say about what FFX ultimately teaches about religion in a more theological way (esp. through the talk of dreams and the fayth), I think I'll leave it there for now.

#ffx #tidus #religion #finalfantasy #fantheories #video games

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lammfleisch · 2 years

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So people believe that this is actually Albert Wesker after he was rescued from the volcano of RE5.

I thought thats just a low Budget Tyrant of the new Show but it could be him (they are playing with the camera on him. His larger hand is actual a normal one with burned up flesh). + i heard lots of stuff that the show is Canon and (could?) Happens after the games.

Maybe the whole show is about a random Father of two girls. He got involved with the wrong people, maybe the connection of RE7, and they rescued this real Wesker.

He got the moldshit injected and uses Lance Wesker until his Body is fully healed.

True or bullshit, it made the show a little more interesting. I wanted to ditch it but now i will watch it i guess.

#resident evil #videogames #horror #netflix #fantheories #albert wesker #capcom #sony #resident evil 5 #resident Evil 7 #movie opinions #tv show #horror show #zombie #creepy #resident evil 4

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knittingwithhighlighters · 2 years

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Shower thought

So if Ryder from Paw Patrols is a 10-year-old human who manages a group of animals in rescue missions, does that mean....Ryder is a Pokémon trainer??

#can you tell i just listened to the new film theory episode #yes you can #ryder #paw patrol #pokemon #pokémon #nintendo #game freak #gaming #video games #theory #theories #fan theory #fan theories #fantheory #fantheories #crossover #cross over #crossovers

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taqato-alim · 6 months

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Analysis of: "If I Ran Marvel..." entertainment commentary/criticism by Dan Murrell

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In the following text the term "document" refers to the subtitles of the video.

Summary of the discussion:

The genre of the document is entertainment commentary/criticism based on its informal, analytical tone and focus on the MCU.

It demonstrates strong knowledge of its subject matter and presents its critique in an engaging, well-structured manner.

The perspective presented is an idealistic, constructive vision from a passionate fan's perspective.

Some arguments could be strengthened by addressing counterarguments and alternative views more directly.

Implementing the proposals may benefit fans and creative talent most but risks short-term financial impacts.

Strategies like enforced rewatching or divorcing business from creativity have limitations and risks.

Moderate, balanced approaches that consider stakeholders and complexity may have higher chances of success.

The author's personality seems to be that of an creative, enthusiastic visionary focused on improvements.

Overall evaluations found reasoned arguments but also opportunities to qualify statements, address challenges, and strengthen logical reasoning and evidence.

Here is a summary of the document in bullet points:

The speaker is pretending to be Kevin Feige, head of Marvel Studios, and discussing what they would do if they were put in charge of Marvel

They would stop all current production except for projects already in late stages, and re-evaluate planned projects

Everyone at Marvel would rewatch all previous MCU movies to analyze what worked and didn't work

Future projects would go back to focusing on individual heroes and their stories before setting up larger crossovers

All ideas would be eligible for exploration without being ruled out due to past failures or other factors

Creative decisions would not be based on marketing or financial factors like release dates

Major characters like the Avengers would be given a break from team-up movies

New focus would be on rebooting properties like Fantastic Four, X-Men, and Spider-Man

The multiverse concept introduced in movies would be fully leveraged through one-off crossover projects

Budgets would match projects' actual needs rather than being excessively large by default

Reshoots would only be used to improve existing projects, not rewrite entire scripts late in production

Future plans would slowly be hinted at without being rigidly locked in

No more than 3 movies and 3 Disney+ shows would be released per year to avoid oversaturation

Based on the content and style of the document, I would classify its genre as entertainment commentary/criticism.

Some evidence that supports this:

The speaker is providing their perspective and commentary on Marvel Studios and the MCU, criticizing some past direction and offering suggested changes.

It has an informal and conversational tone, but analyzes creative decisions and business strategies in detail like a film critique might.

It references specific movies, shows, characters and storylines from the MCU to support points, demonstrating knowledge of the material being discussed.

The purpose seems to be entertainment and starting a discussion about Marvel, rather than strictly informative like a work of journalism might be.

It is posted on a YouTube channel focused on movie reviews and commentary, suggesting this genre of entertainment commentary.

The style is presenting an imagined scenario ("What if I ran Marvel?") which invites critique and debate, rather than stating facts.

So in summary, while it touches on business and creative aspects, the primary genre is entertainment commentary/criticism - evaluating and opining on a popular media franchise from the perspective of a knowledgeable fan. The target audience seems to be other passionate MCU fans.

Based on the information and perspective presented in the document, here is an evaluation of the situation of the MCU:

Both critical and commercial success appear to be declining based on specific films and shows cited as disappointments. Data supports box office declines.

Fan enthusiasm may be drifting as well, supported by need to "rekindle passion" and make properties essential viewing again.

Overly relying on crossovers and large-scale team up movies risks repetition and dilution of character/story importance.

Quantity over quality with high output may be saturating the market and lowering demand. Movie theater struggles support this view.

Lack of strong singular hero/property focus risks characters becoming generic cogs in a machine vs compelling individuals.

Reshoot-heavy production implies some planning/writing flaws as creative process extends into costly post-production.

However, some high points still exist like Spiderman:NWH suggesting market potential remains if executed correctly.

Overall, while still a lucrative franchise, credible evidence suggests the MCU is facing serious challenges to sustained quality, audience appetite and cultural relevance if course is not corrected. The diagnosis seems a reasonably accurate portrayal of real issues potentially facing the shared universe model long term.

Here are some of the key stakeholders that could be affected by the proposals in this document and an evaluation of the impacts:

Marvel/Disney executives - Major changes proposed could impact business strategy and planning. Both risks and rewards discussed if creativity/quality improve.

MCU creative team (writers, directors, producers) - Freer creativity suggested but also pressure to meet loftier goals. Potential for burnout with tighter limits and "rewatch week".

MCU actors - Less steady work opportunities with fewer projects in production at once. But potentially more beloved/compelling roles.

Movie theater chains - Potential upside if proposed changes boost box office. But risks with fewer guaranteed tentpoles spread evenly year-round.

Marvel fans - Clear prioritization of fan experience/satisfaction. Proposals aim to rekindle passion and demand for future projects.

General moviegoing public - Broader relevance depends on commercial success of proposed changes appealing beyond hardcore fans.

Disney+ subscribers - Suggested emphasis on quality over quantity for streaming shows impacts service value proposition.

Overall, while challenging stakeholders like executives, the proposals generally seem aimed at prioritizing the sustainment of creative talent/passion and enhancing theater and audience experiences long-term. However, precise impacts would depend greatly on execution of ambitious vision discussed. Risks and rewards seem reasonably balanced across parties.

Here is an evaluation of the idea of everyone at Marvel rewatching all previous MCU movies:

Potential benefits:

Provides a holistic perspective on the entire narrative across films/shows that individual projects may lack in isolation.

Allows identification of broader tonal, character, and storytelling trends across the universe at a macro-level.

Encourages collaborative analysis and discussion that incorporates varied roles/viewpoints within the company.

May surface insights not apparent from single viewings or strictly relying on past analyses/reviews.

Potential limitations:

Time intensive process that could hamper ongoing work for creatives and executives with full schedules.

Subjective interpretations may vary significantly between individuals affecting consensus.

Earlier films may appear dated and be reevaluated through a modern lens rather than context of release.

Difficult to systematically catalog learnings in an actionable creative brief from such a marathon.

Risks of fatigue, diminishing returns on later rewatches in a binge format.

Overall, a rewatch endeavor could yield some dividends but may be challenging to implement effectively across a large company in a tangible way that directly guides future plans. A more targeted, facilitated analysis amongst key creative roles may prove more fruitful.

Here is an evaluation of the idea of creative decisions not being based on marketing or financial factors:

Potential benefits:

Allows creative vision/storytelling to take priority over commercial imperatives which could improve artistic quality.

Reduces risk of projects being rushed or altered purely to serve release date/marketing windows.

Gives filmmakers more freedom which may increase job satisfaction and ability to attract top talent.

Potential limitations:

Removes important business considerations that impact investment decisions and revenue/profitability.

Release schedule and marketing strategies are still major factors for audience awareness and box office potential.

May lead to disjointed long-term planning without any business oversight of creative output levels.

Difficult to execute fully given scale of MCU as a major commercial operation rather than solely an artistic endeavor.

Risk of ballooning budgets without fiscal responsibility or rationale for release timing/pacing.

Overall, striving for more balance between creative and commercial priorities rather than a total divorce from business realities may be a more pragmatic approach for a blockbuster franchise operation. Some coordination is likely still needed.

Here is an evaluation of leveraging the multiverse through one-off crossover projects:

Potential benefits:

Allows for fresh matchups and stories not possible in main continuity. Could excite fans.

Provides opportunities to utilize beloved characters in new contexts.

Lowers risk profile of each project since success is not essential to larger narrative.

Testing ground for ideas that could inform future plans if successful.

Potential limitations:

May dilute importance and impact of crossovers if overused in a non-essential format.

Risk of disjointedness or lacking synergies if not carefully coordinated long-term.

Securing rights agreements across studios/IPs adds complexities for partnerships.

Each project requires full development/production which strains resources if not managed carefully.

Demand uncertain without obvious connection to ongoing story or characters audiences follow regularly.

Overall, one-offs could work if used judiciously to build hype but Marvel's strengths have been longform storytelling. Leveraging the multiverse most effectively may require balance between self-contained projects and those driving a larger narrative. Strategic coordination would still be needed.

Here is an evaluation of the idea of limited reshoots only for improvement rather than rewriting:

Potential benefits:

Ensures scripts are thoroughly developed before filming begins, avoiding costly structural issues late in the process.

Promotes a properly planned, organized production cycle rather than rushing aspects.

Filmmakers and actors will be executing a cohesive vision developed during pre-production.

Budgets and schedules can be managed better without unpredictable late additions.

Potential limitations:

Allows less flexibility to course-correct major flaws discovered during post-production editing.

Risk that minor polishing reshoots still spiral into excessive workload if not tightly controlled.

Creative flexibility is limited even if some rewriting could genuinely strengthen a project.

May stifle innovation that occasionally occurs through non-linear creative processes.

Overall, striving for more thoroughly developed scripts makes sense, but a total ban on any rewriting could also hinder improvement in some cases. Clear guidelines and oversight would help strike a balance between structure and flexibility.

Here is an evaluation of releasing no more than 3 movies and 3 Disney+ shows per year:

Potential benefits:

Reduces risk of audience fatigue/loss of excitement from an overabundance of cross-promoted content.

Forces higher selective curation and spacing to boost desirability/hype of individual projects.

More development time may improve creative quality by avoiding strained pipelines.

Fewer concurrent productions means capacity for higher budgets on focused projects.

Potential limitations:

Revenue stream becomes less predictable with fewer guaranteed annual tentpoles/shows.

Talent/resources are not fully utilized if pipelines are intentionally kept under capacity.

Third-party platforms may see the MCU as less integral/impactful with reduced exclusive output.

Risk that some creatives will seek work elsewhere if opportunities are more limited.

Overall, moderation does seem prudent given quality concerns, but a total threshold may be overly restrictive and limit commercial upside if demand remains high. Flexibility based on monitored audience reactions could be balanced.

Here is an evaluation of who may profit and not profit from the ideas presented in the document:

Potentially profit:

Fans/general audience - With a renewed focus on quality storytelling and characters, engagement and enjoyment could increase.

Creative talent - Greater freedom and emphasis on original concepts may boost job satisfaction.

Marvel/Disney (long term) - Improved quality leading to enduring fan passion and box office could outweigh short term risks.

Potentially not profit:

Marvel/Disney (short term) - Fewer guaranteed tentpoles annually means less predictable revenue streams in transition.

Movie theaters - Loss of volume of assured blockbuster content could dampen box office until demand is reinvigorated.

Product/retail partners - Slower pace of new films/shows impacts merchandising and licensing opportunities.

Shareholders - Short term financial impacts from changes may not be welcomed on balance sheets.

Executives - Significant shifts in strategy open the company up to increased risks in an unstable period.

Overall, while creative talent and fans stand to benefit most, corporate stakeholders prefer stability. The proposal aims for long term profits but transitions inherently carry risks disrupting business as usual in the short term for those prioritizing predictable revenue. Quality improvements may eventually outweigh all costs if successfully executed.

Based on the content and style of the document, I would characterize the perspective it presents as:

Passionate fan perspective: The speaker clearly loves the MCU and wants it to succeed long-term, coming from a place of fandom rather than detached analysis.

Constructive criticism: While identifying flaws, the goal seems to be offering solutions to get Marvel back on track rather than just negativity.

Engaged viewer perspective: References experiences watching the movies/shows, critiquing them as an attentive audience member invested in the quality of storytelling.

Idealistic creative vision: The proposals imagine envisioning Marvel with unlimited resources/freedom, advocating for ambitious creative risks rather than just fiscal prudence.

Skepticism of current plans/direction: Implying recent strategy drift led to failures, wanting a return tobasics that made early movies so beloved.

Optimism for potential future: Tone is one of hope that Marvel can regain past glories with right leadership, not pronouncing the franchise doomed.

In summary, the perspective presented can be characterized as an engaged, passionate fan's idealistic creative vision for Marvel - criticizing respectfully from a place of love for the universe, rather than detached or antagonistic analysis. The goal seems to advocate constructively for maximizing future storytelling quality and audience enthusiasm.

Based on the style and content of the document, here is my analysis of the likely personality type of the author:

Idealist/visionary - They see possibilities and propose ambitious, big-picture changes to optimize long-term creative potential.

Passionate/enthusiastic - The author clearly loves Marvel deeply and wants the absolute best, evidenced by emotion and detail in critique.

Creative/innovative - Solutions demonstrate divergent, imaginative thinking beyond standard industry practices.

Persuasive/articulate - Able to synthesize vast knowledge and advocate coherently for their reformed vision.

Analytical/detail-oriented - Supports points by precisely referencing specific MCU elements and story decisions.

Constructive/solutions-focused - Goal seems to improve Marvel rather than just criticize; offers a path forward.

Leader/initiator type - Envisions self in top creative role making bold moves, not staying stationary.

Overall, these tendencies suggest a personality tending toward traits like extraversion, intuition, thinking and judging on the Myers-Briggs scale - someone energized by conceptualizing innovative improvements and advocating them persuasively to enact change. A visionary Idealist/ENTJ type best captures the apparent attributes.

Here is an evaluation of the quality of reasoning presented in the document:

Provides specific examples and evidence from past MCU works to support many claims about what has worked/not worked creatively. This gives arguments more factual basis.

Clearly lays out a full vision for reform with 12 numbered action items, giving it structural logic and comprehensive quality rather than vague assertions.

Qualifies some statements with reasonable caveats about flexibility and openness to new ideas, showing awareness of complexity.

Makes intuitive rationales for why proposed changes could have intended effects, like boosting demand through reduced output or focusing resources.

However, some arguments could be strengthened by addressing alternative views more directly or providing additional evidence from film/biz studies.

Limited acknowledgment of potential difficulties or unintended consequences of ambitious proposals being put into practice.

Reasoning is strongest when sticking to creative/storytelling aspects versus some industry/financial claims with unknown variables.

Overall, while passionately argued from a perspective of expertise, the quality of reasoning is good but could be improved by more directly grappling with counterarguments, acknowledging complexity, and providing broader evidence/data to support some conclusions presented as fact. The vision is cogently laid out but its practical feasibility relies on some logical leaps.

Here are some potential logical fallacies present in the document:

Argument from inconsistent premises: The author argues both for being less restricted by rigid future plans but also says Marvel should "call their shot" with 5-7 year game plans, which seems internally inconsistent.

Slippery slope: It argues reshoots have become overused creative crutch, implying this will inevitably lead to declining quality, without proving that logical step.

Anecdotal evidence: Cites one critic/audience-disliked film as proof reshoots don't work, without broader evidence this strategy won't ever succeed.

Hasty generalization: Suggests quality issues are due to overproduction while only citing specific recent movies as evidence without a larger sample.

Appeal to authority: Proposes having actors/filmmakers involved in "rewatch week" as if their subjective views would determine flaws/strengths objectively.

False dichotomy: Acting as if a creative vs marketing focus is an either/or choice when there may be balance or middle grounds.

Overgeneralization: Assumes fan dissatisfaction means the Multiverse hasn't been fully leveraged yet, when individual projects' quality and audience reception vary.

While providing impassioned perspective, the author's arguments could be strengthened by addressing some of these potential logical inconsistencies and gaps in evidence/reasoning. The perspectives advocated may ultimately be reasonable but aren't proven absolutely or exhaustively through the methods of logic and argumentation presented here.

Here is an evaluation of the document based on common criteria for entertainment commentary/criticism genre:

Knowledge/Expertise of Subject Matter: The speaker clearly has in-depth knowledge of the MCU movies, shows and storylines, demonstrating expertise in referencing and analyzing specific creative choices.

Persuasiveness of Arguments: Tost points are well-supported by providing examples from MCU works and logical reasoning. A few arguments could be stronger (e.g. budget section).

Engagement with Audience: Informal, conversational tone keeps it engaging. Imagining "running Marvel" invites audience participation over dry critique.

Creativity/Originality of Perspective: While drawing on common fan critiques, synthesizing all into a cohesive vision for change shows creative thought beyond routine reactions.

Structure and Organization: Clear introduction, body organized by numbered proposals, conclusion thanking sponsor - flows well for listeners/viewers.

Quality of Writing: Writing is clear and accessible without being simplistic. Able to tackle complex creative/business topics understandably.

Entertainment/Enjoyability Factor: Passionately presented critique should appeal strongly to fellow MCU fans seeking more engaging discussion of their interest.

In summary, the document demonstrates strong knowledge of its subject and presents its critique in an entertaining, engaging and well-structured manner that invites thoughtful discussion - scoring highly based on this genre's typical evaluation criteria.

Here are some ways the document could be improved:

Cite additional evidence/data to strengthen some claims, like box office trends or surveys of fan opinion.

Directly address potential counterarguments or limitations to proposals more thoroughly.

Qualify some definitive statements as opinions rather than presented as irrefutable facts.

Provide more context on the current MCU situation beyond just citing recent projects.

Suggest metrics for evaluating success of changes implemented to provide accountability.

Consider including a section on stakeholder buy-in/realistic implementation challenges.

Structure some sections with more focused subheadings for easier digestion.

Lighten the criticism in places with acknowledgement of past successes too.

Proofread for typos, formatting or structural consistency throughout.

Consider a conclusion that reaffirms vision rather than just thanking sponsor.

Include references/citations to allow verification of some references made.

Overall, while passionately argued, strengthening logical reasoning, adding nuance, qualifying statements and tightening structure/flow would help make the proposals even more persuasive and solution-oriented for stakeholders.

gataigWd88DwWhEih1FU

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mtgacentral · 7 months

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#Amonkhet #Avacyn #fantheories #Guildpact #IzzetLeague #LilianaVess #Magic:TheGathering #MTG #MTGlore #MTGplanes #MTGstories #NotableFanTheories #Planeswalkers #Ravnica #ShadowsOverInnistrad

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littlered454 · 8 months

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Why I think Taylor will *not* put 123 LGB in Delicate TV

So, as we all know, taylor will be releasing reputation tv, most likely after 1989. And a lot of people have been hoping she will add the iconic 123, LGB. But i don't think she's going to do that. Taylor thinks long and hard about what she does. She probably knows that a lot of fans do NOT want her to add the 123lgb. This means if she does add it, then a lot of people will not listen to Taylor's version. the ultimate goal is for scooter braun to stop making money off of her. I believe she will not add it in delicate tv, but she will make a concert edition which has the 123lgb in it. thank u for coming to my ted talk.

#swiftie #taylor swift #ts #tswift #fantheories #swiftietheories #delicate #delicate tv #reputation #reputation tv #cause you know that it's delicate #del-i-cate #i likeeeeeeeee you

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knowitallcorner · 1 year

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बचपन के आम GAMES जिनके पीछे चुपी है डरावनी हकीकत | The Grim Reality of Childhood Games

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meiishu · 1 year

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i absolutely love how funny it is that damian fell for anya immediately after she punched him and put him in his place its hilarious and adorable and i love him so much

but thinking about it makes me sad BECAUSE

damian has never had anyone in his life who really genuinely cares about him passionately. when we see donovan interact with damian during the first meeting episode, donovan treats damian almost like an underling. a pawn, someone who’s a tool in the game he’s playing, but someone who he genuinely doesn’t know. hell, donovan even explicitly states that “children are like strangers” when damian is literally standing right there to hear it. and, when damian finally works up the courage to tell his father about his school life and his father says the most dismissive “keep that up” statement, damian’s face literally lights up and he’s so, so, so happy that he has his father’s approval over something he’s done (even though it’s barely an approval or anything)

and i was rewatching the clip where anya decks damian in the face because funny and it got me thinking. in school, damian has his friends who call him master -- probably because he wants to use his family name to feel as important as his dad and his brother are -- and his classmates all seem to “like” him. but their “like” is tied to damian’s father’s name and his family. so when anya is indifferent to him, he doesn’t get why, and so he pushes her, craving some kind of emotion from her. when she finally snaps and decks him in the face, she had a strong enough feeling towards him to want to deck him in the face. it wasn’t respect or fake, it was genuine frustration she felt for him. paired with her tear-filled apology, with a genuine-sounding plea that she didn’t mean to hurt him and that she wanted to be his friend, really moved damian because no one in his life had ever had that much emotion towards him, which likely is why following her apology, damian blushes and we see the beginning of his crush take form.

we don’t know damian’s relation to his mother yet, but judging by what she says to yor, she feels similarly to her husband. he’s had some contact with demetrius, who warned damian not to get his hopes up for their father to meet up with him. but he and demetrius don’t seem particularly close, even if they’re close-er than damian is with his parents.

damian craves attention for himself and his actions -- not his family's name. yeah he uses it to get attention (IE. his classmates) but it doesn’t stick with him the way that anya’s disinterest did. when anya notices things about him (even things that annoy her or that she makes fun of) she is noticing him, and that’s why damian fell so hard for anya and why his crush is so intense. he feels a huge spike of serotonin when anya acknowledges him because he’s damian, not because he’s damian desmond son of donovan desmond, which makes his heart flutter and him crave anya’s attention even if he’s a tsundere about it

...which also means that if he ever finds out about the mission (!!!) and how anya was only trying to get close to him so her dad could get to his dad, well, it’ll hurt him a lot.

tldr; fuck donovan desmond i hate him

#maven speaks #spy x family #damian desmond #sorry i am just in my feelings about damian tonight i guess #desmond family #spy family #damianya #fantheories

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enthusispastic · 6 months

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Did you guys know that they made a whole musical about the neighborhood watch guy from Nerdy Prudes Must Die??? It's like, pretty good too

#nerdy prudes must die #npmd #starkid #team starkid #the guy who didn't like musicals #paul matthews #my total fantheory weird idea is that pokotho was behind the whole thing woag could you imagine?

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thoughtspresso · 9 months

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Aqua plans to die.

And his death will be necessary to take Kamiki down.

While the full details of Aqua’s revenge plan isn’t entirely clear to all of us yet, his intention to place himself in danger as he tries to take Kamiki down is a very clear, and very crucial part of the plot that he anticipates.

Before we can dive into how Aqua is going to achieve his revenge, we need to back up a little bit and understand who he is as a person, how he makes decisions, and what he personally wants.

What is Aqua’s Goal?

From a top-level view, Aqua has a singular emotional goal:

Aqua wishes to take responsibility for the deaths of his mothers.

Aqua/Gorou absolutely believes that after two lives of the same thing, that he was the common denominator. He was the fault his mothers both died, because he was useless and helpless. Had he never been conceived, and more crucially, if his mothers did not have to lie about his existence, they would have both stayed alive. If Gorou’s mom didn’t have to conceal the pregnancy from her parents, or did not have one at all, she would have lived a long life. He believes that perhaps his second chance at life was to save Ai, but he was paralyzed and helpless during her murder. He blames himself for Ai’s death too.

This is a driving force in Aqua’s character, and informs all of his decision making, even to the detriment of his own plans most times. It leads us to his supplementary goal:

Aqua wants to keep the people he loves safe.

Whether it was shielding Ruby from entertainment or making sure she’s in a safe agency with good group members, or Akane not going too far in enacting his revenge plot for him, or Kana from steering clear of a career-ending love scandal, Aqua’s key traumas has led him to feel compelled to take action and do whatever it takes to save people if he had the power to do so.

Here is a breakdown of Aqua’s plans, and some key questions we have to ask about each one.

1. Why make a movie called The 15-Year Lie? And what is “Ai’s true wish”?

I have reason to believe that Ai’s DVD for Aqua would have either been a message about wishing to be loved truly and be hated with full honesty for the person she really was, that she wanted her actual self to be revealed to people. In line with that, I think Aqua’s DVD included Gotanda’s original documentary for the B-Komachi dome event. Which is why Gotanda tried to defend Aqua's decision to reveal her secret in chapter 112, and why in chapter 108 Gotanda says about the script that “this is finally my time to fulfill that promise.”

2. What does he mean by “using Arima Kana”?

There were theories circulating that the person who texted Frill Shiranui could have been Aqua, trying to get her to encourage Ruby to play the role of Ai in the film. However, that couldn’t be any farther from the truth. As we know, Aqua was saying that Gotanda should “grow up” and understand that the most important thing for a movie is to succeed commercially first before we talk about artistic value.

If Aqua had full control over the situation, he would have just straight up casted Akane. After all, that was what he initially proposed, and even contacted her for it despite saying he’ll never have anything to do with her again. What he needed, more than anything, was for the film to succeed commercially. And with the headlining actress no longer (a) the most famous celebrity of their generation, or (b) the heralded genius of their generation, Aqua has no other options.

Except: Arima Kana.

I think the aspect of him using her or manipulating her is mainly to encourage her publicity activities. He’ll be encouraging her to do well in her work to garner more star power for the movie to really be a success, and for her to help his sister be the perfect lead for the show. He’s also going to bank on the idea that Kana will do things for him because she has a crush on him, which he only realized in Chapter 102 after Mem-cho points it out, that he can pursuade Kana to get out of the way of his revenge plot if necessary to keep her safe or place her in the spotlight to attract people’s attention for the movie.

While unlikely, he might even encourage her to stay on a little longer until Ruby gets to the Dome performance.

Or, and maybe this is my shipping delulu talking, but it can also be that he’ll try to just be around her frequently to garner media attention about their relationship. In this way, keeping her close without actually dating her could serve a dual purpose: get people talking about them and the movie, but also make sure that Kana stays safe and nobody makes a rumor of pairing her up with anybody else.

Lastly, also not super likely but another option could be to convince her to headline the show, and play Ai in Ruby’s stead.

3. Why does Kaburagi say that the film is bordering on illegal?

This is a truly crucial piece to unveiling Aqua’s plot. We know Kaburagi likes producing shows that include good-looking young people, and that seems to be his main strategy for raking in young audiences and cashing out.

So why would he have hesitated, even for a second, on a plan to cast the top talent of this young generation, on the biggest news Japan has been talking about, handed to him by a first-hand source--the son of Ai himself?

On all accounts, this would have been the perfect formula for a smash success. So why would Kaburagi say things like, “do you have enough evidence”, when everybody already knew about the University student stalker that murdered her? What was so controversial?

Unless, when they said Aqua will play the culprit, they didn’t mean the Ryosuke.

They meant he was playing Hikaru Kamiki.

Here’s what we know about the film, and what I think Aqua is trying to do:

1. Portray Kamiki in the worst possible way and destroy his reputation.

The 15-Year Lie will be a biopic about Ai’s life from when she was starting out as an idol. Ai will be portrayed as a poor girl abandoned by her parents, searching for the true meaning of love. We know that this framing will be part of Ai’s characterization because of the scenes where Ruby struggled the most:

In the search for love, they will show her falling for a young man and talented actor at Theatre Lalalai--that being Hikaru Kamiki. Once he gets Ai pregnant, he abandons her, and she runs off to the countryside to hide from the press. When Ai asked him to come visit her, Kamiki, in wanting to protect his career, attempted to send out a stalker. A few years later, seeing his kids wotagei on social media, he manages to find them again and kill Ai.

It is a complete and utter character assasination of Hikaru Kamiki, and while revealing Ai as a flawed person, draws for the sympathy of the viewers to love Ai for who she truly is. Which is exactly why Gotanda keeps insisting for Ruby to play the role, even when Aqua and Kaburagi have sensible recommendations for Akane and Frill.

At that moment, when Ai dies, Aqua will reveal his face, and openly declare that it was his father who orchestrated it all. Then he might even portray his father murdering Ryosuke himself, instead of the suicide that was reported in the media.

2. Aqua will use himself to bait his father out, and force Kamiki’s hand to kill Aqua.

The main reason why Aqua finds it necessary for the film to be a commercial success is because he needs the general public to be one hundred percent in agreement that Hikaru Kamiki is an evil man that deserves to be jailed. (Whether or not he reveals his name in the film, which he could but doesn’t need to.) This public lynching is his first control.

But here’s the thing: Kamiki didn’t directly murder Himekawa Airi and Hoshino Ai himself. At this point in time, Aqua is not aware of Katayose Yura’s murder either. And there is no evidence that connects Uehara Seijirou and Ryosuke’s suicides as murders by Kamiki’s hands.

And on top of all that, when these things happened, Kamiki was fully a minor.

Akane’s fears and interpretation was that Aqua would murder his own father because it’s the only form of revenge he could enact himself.

But she’s wrong, there’s one more thing Aqua could do: make Kamiki commit murder again. If he kills Aqua, there will now be a murder that the public agrees without a doubt was done by Kamiki himself.

He can go to jail once and for all, or he can also get stabbed by an angry fan--Aqua doesn’t care. All he cares about is that it’s a sure win, and it’s over forever. He launches his sister’s career into the spotlight, he keeps everybody safe, and he atones for the death of his mothers with his own life.

In summary: Aqua plans to get killed by his father, so that an actual murder has occurred for which he could be jailed or publicly ostracized or even killed.

And here’s why I think Aqua will fail:

Aqua’s assumptions about his father are incorrect.

He believes that Kamiki’s reason for killing Ai was because her pregnancy would ruin his reputation and career as a rising actor. That’s why Aqua tries to hit him there. And he believes defaming him might provoke him to get killed.

But I don’t think Kamiki cared about his reputation at all anymore. He left his career as an actor behind after Kindaichi kicked him out of Lalalai, and went on to graduate from Faculty of Science. He never went back in front of the spotlight, instead opening a talent agency around the exact time he believed his kids might be joining the industry.

I have reason to believe that Kamiki thinks murdering Airi and Ai was to protect his children or some other great act of justice against his rapist(s). And that even killing Katayose Yura was done because he didn’t want a liar like her to take the spotlight that was supposedly for his daughter Ruby.

I don’t think Kamiki will harm Aqua.

But I do think he will come forward and expose himself and his twisted justification, and he might even openly give interviews to the media.

Instead, I do believe Kamiki might pay attention to Kana’s honest acting--something he’s never seen before in a person, and try to get close to her somehow. And if Kamiki’s name is not revealed, and if the theories are true that Frill works for Kamiki’s agency, he might recruit Kana to join him.

All this is to say, get Kana out of this manga. Somebody, please save her.

#oshi no ko #oshi no ko spoilers #onk spoilers #onk fantheories #oshi no ko fan theories #Hoshino Aqua #Aqua Hoshino #Arima Kana #Kurokawa Akane #Hoshino Ruby #ruby hoshino #Hikaru Kamiki #Character Analysis #If you're reading these tags please know that Aqua is like Edward Cullen planning to walk in front of the Volturi in broad daylight #And Arima Kana is Bella driving a yellow sports car in full speed trying to not get him murdered #But seriously he blames himself so much we should get Robert P to play him in the live action good god #The Chuunibyou is strong with this one #These are the gambles #I am allowed to be incorrect

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