#Doomsday theory

[emrambling]

Reddit is cooking and they summed it up perfectly what I have in mind for Boblena and Sentry in the future and especially in Doomsday!

[mimir-anoshe]

"Why do we fall?"

SPOILERS for Thunderbolts* and Theorising for Doomsday. If you don't want either don't read. Contains discussion on suicidal themes TW.

So guys what if... And it's a big IF 'cause ducking hell there's so many characters in this damn Doomsday movie, but GOD would it be poetically beautiful storytelling...

I think, in Doomsday at some point Yelena is going to fall to her death.

Yikes, right?

Either trying to stop something and accidentally getting thrown off a cliff/building/space ship or more likely... in some sacrificial play. Just like Nat, because what are their stories if not poetically entangled tragedies? The rise and fall of mythical heroes with human hearts and broken souls, like two ships passing in the night. They miss each other, separated paragraphs on a page, but the rhyme remains the same. One epic poem. The same story, though I'm hoping Yelena's has a different ending.

And it's going to play into the crux of Bobs story in Doomsday, or atleast the "False Victory" in his heroes journey and Yelena's symbolic death and rebirth (or very literal), which will lead into Secret Wars.

Why do I think this other than the character angst of it all? Well...

Theory?? A poetic wish?

(Fanfiction? A hope... somebody please write this, I would but I don't have a lot of time. This fandom already feeds me so well).

Yelena is as stubborn as Nat, if not more. Whatever reason - I think it has to do with the anchor being of 616 but that's a different theory for another time - she believes she has to do it alone. She has to jump. She has to fall. Because at that point everyone else has failed. Nobody else is coming to save the day. Its on her, or at least she thinks it is. This is the last shot, and she doesn't have super strength or speed or the ability to fly. But she has this. She can do this. She can give this.

She has to be the hero, just like her sister. Choose the fall so everyone else can rise back up and win the day. Even if she loses. Even if it means her life is the cost.

That's what a goalie does right? Falls in order to stop the team from losing. Leaps. Makes the sacrifice. When everyone else fails, they're the one everyone falls back onto. Either they hold that line, or all is lost... Dooms day. And in her mind, what's her life compared to that of the multiverse. What's her life compared to the lives of her new family?

Nat did it, made the ultimate sacrifice. Scored the goal, or stopped one from going in. Not only to save everyone, but especially to save her found family. The people she loves. And heartbreakingly, to save Yelena.

Yelena is painfully aware of that, and Nat never gave her the option to do the same in return. I do wonder if a part of Yelena was angry or bitter at that. Grief can feel like that, especially when it comes to suicide. Like the person made their choice, but in doing so, took others choices away. Even if that's illogical, and unfair, even if thaty person saved the Universe, those feelings are still real.

Part of Thunderbolts* themes - if subtle - is Yelena living in the shadow of her sister's sacrifice. The legend of her heroism. Like Bob lives in the shadow of his own Void and his fear of unleashing it again. A big theme, it seems, going into Doomsday.

She's trying to follow in her footsteps. Trying to do better. Be the hero. To fill that emptiness with purpose, the same as her sister. Bob is afraid of being a hero because of the Void, Yelena is afraid of not being any kind of hero at all. Because of Natasha.

In Thunderbolts* she falls off that building into a "void" at the beginning of the movie, foreshadowing her stepping into the actual Void near the end.

Foreshadow is a very ironic verb in this case for both of them.

She stepped forward, knowing that there was a very real chance she was never coming back. It was actually incredibly reckless, with no regard for her own safety. It was not unreasonable to say she could've died right there. Even Bucky calls it out in the text "What if she's dead?"

She bets it all based off of one small moment earlier where Bob saw her past in the void and Yelena experienced a shame room for the first time... (I could talk for days about her void room being THE ONLY ONE WHERE BOB IS PHYSICALLY PRESENT but I'll save it for another midnight meta fest). But she does it, because she wanted to save him, to bring him home, in the way she wanted to bring Natasha home but never could.

Those scenes do several things for the story and work on a few different levels in terms of symbolism, character and theme.

It harkens back to her sacrificing herself in Black Widow to kill Dreykov, exploding and falling to what she thinks is her death. Both that and her falling in Thunderbolts* were meant to be visual and thematic parallels to Nat sacrificing herself in Endgame by committing suicide. Falling to her death. Nat gets to save Yelena in Black Widow, but Yelena didn't get to save Nat in Endgame. Like Clint said, she was better, and so she got to make the choice. Clint couldn't save her from her own choice, and neither could Yelena. And they both have to find a way to live with that.

Its also an overarching visual metaphor for the mental health themes that are so important in this movie. Themes of loneliness, depression and suicide. Themes that apply to every character in the movie, but in terms of the movies thematic heart, are specifically a binary between Bob and Yelena. Those feelings of emptiness, of loneliness. Of a Void.

Yelena: "What is even the point of all this?"

Bob: "Then I remember that nothing matters..."

Both of their arcs are connected to themes of suicide, or suicidal tendencies, and finding a reason to live. To keep going, even if its for each other. Everything about Yelena's mission at the start of the movie is akin to a passive non-verbal suicidal ideation, not actively trying to kill herself but also not being careful or respectful of her own life. Same as Bob in the vault, they parallel each other in those ways. It's the "Meh. Guess I'll just bumble on but if I die, no big deal" mentality. It breaks my heart.

Though, unlike Bob who has the toxic Valentina whispering in his ear, spurring on his later manic episode (Bipolar represent). Instead, Yelena has Alexei to help her see that in the darkness, there is a light. It doesn't drive out the darkness, but it makes it lighter. Warmer. Brighter. If the Void in all of us is a dark mirror that reflects our own negative views of ourselves, our perceived mistakes, guilt, regrets, shame, then Alexei's line about "you need other people to see the good" is about the loved ones in our life being mirrors of light. Where we see the flaws in ourselves, the reason we need each other is because we can act as mirrors that reflect the good in others.

Its like what Natasha said about the avengers in Endgame.

"They made me better."

Other people can see the best versions of ourselves, and when we see it through them, it allows us to see ourselves in a more eclectic, realistic and positive way that can help us escape the illogical doubt and shame of our void.

And because Yelena sees that in herself through her Dad, and from her sister who was a light in her life - a symbol of hope and redemption - she can then be that mirror for Bob. Cue Yelena and Bob seeing each other/communicating through a mirror, because they are both deuteragonists and foils for one another. The Void is Bobs dark mirror. Yelena is Bobs mirror of light. Same in the way that Yelena has her own darkness, and Bob becomes a beacon of goodness and light in her world that she strives to protect.

Yes there's the nihilism of her walking into that void, a version in her head that her suffering, her loneliness, her "pointless" existence can end. There might even be a relief in that for her. But it's overshadowed by a hope. A hope that she can reach through that despair, those feelings of unworthiness, and save somebody. To be the sunrise to somebody else's endless night. Because she couldn't be there to save Nat, she was going to be damned sure she leaped over that edge and fell into that Void to catch Bob. And in doing so, save a part of herself she thought had died with Natasha.

Which brings me back to Doomsday.

Yelena is the Avengers "Goalie." She was in Thunderbolts* and that theme will continue into Doomsday, I'm sure of it. The one who brings everyone together, who lights up the room.

"I want to be the one everyone can rely on if they make a mistake."

-Alexei quoting 5 year old Yelena.

Its such a beautiful message for a character, and I thought I loved Yelena before this movie... Boy do I love her now. Yelena is the one everyone can rely on, who will catch everyone when they fall down. When they make a mistake. From Sam Wilson, to Carol Danvers, to the Reed Richards... To John, to Alexei, to Ava, to Bucky... to Bob. No matter what it costs her. But if she's catching everyone when they fall, who's going to catch her?

When Bob falls in this movie into the lifts "void" its Yelena who catches him. Saves him. When Bob metaphorically "falls down" and the Void begins to consume the light, she catches him. Holds him. Shows him he's not alone. And I have a feeling in those 14 months when he's had moments of darkness, when the entire worlds been against him because of the potential threat the void poses including Sam Wilsons Avengers, she's been his biggest supporter, biggest defender alongside the other Thunderbolts* (or New Avengerz lmao), and the one who catches him when he falls down. The one he relies on.

So in Doomsday, after he spends most of the movie suppressing his powers as the Sentry because of his fear of the Void, of hurting people... There will be a moment where Yelena makes a choice. Where because of that choice, she falls. And Bob as he is, hiding from his powers, can only watch as she falls into another Void. To her death. So Bob comes to the height of his arc, and has to make a choice too.

Let the girl he loves fall and save the world from the potential threat of the void and Doom using that power. Or rise above his fear, and catch her. Be a hero, even if it means potentially dooming the world and worlds beyond.

I believe this is the moment in the movie where Bob finally stops stalling and acts, whether through choice or instinct (though I hope he makes an active choice to save her). It would bring the symbolism of both Yelen and Bob falling into the void full circle, also resolving the tragedy of Clint being forced to drop Natasha and Yelena having to live with her sisters choices. This time Black Widow doesn't have to die to save everyone by falling to her death. This time, someones there to catch her, with Bob rising above his own darkness to do it.

Now it could go one of two ways, either Bob manages to catch her before she hits the ground and dies which is what I think will happen. There's also a version in my head where she falls and dies, Bob comes onto the scene or watches it happen without being able to help, and then turns into the Sentry to heal her/resurrect her. Which I believe, the more power he uses the more likely the Void is to take over, and healing/resurrection is the fastest way for that to happen. So instead of physically catching her, he metaphorically catches her falling into death, and in doing so, becomes lost in the Void (keep wanting to type Void Sauce lmao; lost in the void sauce) afterwards to the point that not even Yelena can pull him back out this time. Enter Doom and whatever bullshit he has up his sleeve to use the void and or manipulate that power/Bob, or even completely strip Bob of his powers altogether.

The gist of it is, as foreshadowed in the Thunderbolts* movie...

Yelena will fall, and Bob will catch her. Finishing off the poem of Natasha and Yelena's story not with a tragic cut off, but hope, allowing Yelena to live on and do the things Natasha never got to. The life that Natasha gave her when she was snapped back. And in the same breath Bob will finally truly accept his power and responsibility as the Sentry, overcoming his fear to save the girl who saved him.

All before it comes crashing down. Yelena may be the catalyst that saves the Avengers and also Dooms them. Enter... The madness that is my mind making up theories for secret wars...

God what has Thunderbolts*, Bob and Yelena done to me? I haven't written meta like this in yonks, or been this excited about Marvel in a long time, outside of the comics at least. I'm expecting to be disappointed, hell all of my above theories could be completely off mark, they just make sense to me because of their character arcs and what I would consider a well-written story. Amazing foreshadowing if that is the case. But honestly, the fact they gave us this gem? I will love this movie and the fandom creativity that comes out of it forever, even if Doomsday once again drags me back into my apathetic marvel era.

Here's to hoping.

"Why do we fall Bruce? So we can learn to pick ourselves up."

-Thomas Wayne, the Dark Knight.

[daisyswift3]

Posting this thread here bc it perfectly summarizes my thoughts on this theory and I want to reference it later

[lil-cherubim]

HALLOOO WHOVIANS! I HAVE THOUGHTS!!

So remember that there was this thing: (also can anyone ell me where this from? Or who made it? I wanna give credit)

YEAH? Eveyone was all like:

"Oh its a ring! He was gonna propose to rose wah wahw😭🫠🥹"

And thats a good assumption but what I wanna know is why?! Why did the doctor made its function?

Then I had the thought!

What if it failed because the energy it was supposed to dampen is something else? What if he meant to give it to someone who was also covered in energy stuff? What if after doomsday, the doctor in denial, while he rushes to find a way to get her back, he made this tiny thing so when he did get her back, he wont lose her again?

And yes.. What if this ring was supposed to belongs to another lost bride?

[giveamadeuschohisownmovie]

Conspiracy theory: Since Nicolas Cage was in talks to reprise his role as Johnny Blaze in “Deadpool and Wolverine”, what if the reason why this didn’t happen was because Marvel Studios already had plans for him to return in “Doomsday” or “Secret Wars”?

As for why Marvel Studios gave the greenlight to the other cameos, if I had to guess -

Elektra = probably didn’t care since the Elektra movie has been forgotten by now

Blade = they’re working on a new Blade, so they figured it wouldn’t hurt to have the classic Blade appear here as a fun little throwback/wink to the audience

Gambit = also didn’t care, especially since Channing Tatum’s movie was never made

Johnny Storm = they’re working on a new Fantastic Four and had no plans to revisit this version of the team

(Side note: if true, this wouldn’t be the first time Marvel Studios has been tight-lipped with Ghost Rider. Apparently, Agents of SHIELD originally planned to use Johnny Blaze for season 4, but were told to use Robbie Reyes instead)

[me-buckys-version]

What if short hair bucky (catfa, tfatws) was a reference to a bucky where he like had someone and trusted someone (Steve, sam) then long hair bucky would be like... when he was betrayed and like bad times bc its not them who named themselves new avengers it was val right? Bc they were jncredibly confused when there was the press and all in the end so that woukd be steve-endgame, sam-thunderbolts (like bad times cos Steve left him lol and Sam sued him) PLUS SEBASTIAN CUT HIS HAIR WHICH MEANS WE COULD POTENTIALLY HAVE SHORT HAIR BUCKY FOR DOOMSDAY BC HE HAD THE THUNDERBOLTS BC- there's the poster of thunderbolts where buckys shadow is iron man bc they're the new avengers and each of them embodies one of the og avengers right? And in civil war Steve said that the avengers were for tony more so than him- so tony bucky avengers new avengers which is far fetched asf and way too referenced to the og avengers... if it were the Russian brothers it would be totally plausible tho- but still. So imagine it's not him that dies but it's the thunderbolts that somehow get lost to him bc doomsday is the prequel to secret wars, they're like iw and endgame (I think bc it's giving that vibe ig- idk but it's plausible) then he grows out his hair again and plays a Steve-like role in secret wars bc he has to get them back- it's insane and way too much ref to og avengers but it's just a though

[armoured-iron-geek]

Calling it now that Thor will throw Mjolnir behind him during a battle.

But the hammer doesn't return to him when he calls it.

Because Loki caught it and is holding it up.

Brothers reunited, the sun shining upon them and all that good shit.

[threatened-stars]

I love him so much I hope he gets worse

OMNICIDE BY STARLIGHT

[cleabellanov]

Hello I’m randomly back after almost two months 😀

(Spoilers for what if season 3)

THE WATCHER HAS HIS OWN WATCHERS?

Ok don’t mind the capital letters, I kind of expected this in season 3 to be honest

Being three of them, I can’t help but think of the TVA, and the “Time Keepers” (or space lizards, if ykyk).

So, what if Kang aka He Who Remains got the idea from these watchers? And, before he installed himself at the end of time, he had to fight them off first, because they wouldn’t allow a multiversal war between his variants?

Or, spinning off the classical “which was first: chicken or eggs?” question, what if we got it wrong all this time, and The Watcher (watchers?) are constructed after The Time Keepers, therefore after He Who Remains, too?

What if it all goes back to the beginning, like a circle/ snake eating its own tail (ouroborous reference) the God of Stories “built” them with the idea of keeping the branches in order? Could that be possible? I know at the end of season 2 we saw the tree of life in the series, but I have no idea in what measure it’s connected to the one WE know. For all it’s worth, there might even be several trees of life, leaving us with infinite branches.

What if the watcher swore his oath to some robots controlled by the time keepers, controlled by the TVA, controlled by one big liar? Oh it feels like I’m talking nonsense

Oh or the most plausible of all, I have no idea what is going on (I never do) ! I just ponder a lot of questions.

There is a high possibility I’ll delete this after tomorrow’s episode because it might just sound stupid after some revelations but I’ll see 🤷🏻‍♀️

[emrambling]

So the latest leaks for Doomsday are pretty insane and reinforce my feeling for Boblena. As Bob is going to play a huge part in this movie and it's almost guaranteed 😭

But I think Yelena too will be a big part of it. You have to take the leaks with grains of salt because we don't know what the final product will be. But I'm excited!!!! 🫠🫠🫠

More Bob's backstory, more void, more angst.

I also have a little part of me that's scared. They better not screw this up.

[lexxicona]

Okay but what if in Doomsday Dr. Doom somehow absorbs Bob’s Sentry/Void powers and then breaks Bob’s neck and plunges everyone into their shame rooms while he builds BattleWorld?

Russo Bros don’t you dare pull with Bob what you did with Vision I swear to god

[daisyswift3]

The New Romantics

I am going to be making a series of related posts that I think will help explain the WHY behind all these cryptic messages and riddles and this "cross in poetry" or rabbit hole that the tortured poets created. This post is the first one in this series and it will be focusing on what I believe are the origins of this rabbit hole. For the past several yrs, gaylors and other fan bases have been analyzing the cryptic messages and easter eggs in Taylor and her friends' art. We have found countless connections, patterns, and foretellings, and most of us agree that Taylor and the other tortured poets are using red herrings and smoke and mirrors to distract the "fans" and general public while simultaneously breadcrumbing and gaslighting us true fans (The Blame Game). Many of us believe this is all part of the "performance art" or play the tortured poets are conducting but not many ppl have attempted to explain why they would go to such extremes and make up such elaborate lies. I am going to give my theory on what I believe is the reason for all the confusion and gaslighting and breadcrumbing—a theory of everything if you will.

As I stated in this post, I believe that everything goes back to the 1989 era. I think the reason why Taylor keeps drawing attention to the 1989 era is bc this era marks the beginning of the rabbit hole/mass coming out plan/revolution. This would explain this very interesting poem/riddle we received all the way back in Jan 2023 which highlighted Taylor's New Year's Eve performance on Dec 31, 2014 in Times Square where she sang Welcome To New York and Shake It Off ⬇️

I think it's very possible Taylor has been planning some sort of revolution since the beginning of her career. Change and Long Live are the main reason why I believe this.

While many gaylors believe that Taylor started writing in a more abstract, allegorical, metaphorical way during the folklore and evermore eras, I think that Taylor has actually been writing in allegorical and metaphorical form this entire time. Many of these songs are of course abt literal relationships, but I also think many of them use literary devices like personification and symbolism. I think it's possible she used her personal experience w/ relationships or observed relationships in various types of media and channeled those feelings into allegories, metaphors, and symbolism; so even though many of her songs may sound like they are abt romantic relationships, they are actually allegories for other types of relationships like the relationship between artists and fans or between artists and the industry/Hollywood or between the artist and themselves. So she's essentially using romantic relationships and her specific experiences as an artist as frameworks to write abt much more general things. A great example of this is Gregory Alan Isakov's song Amsterdam. On the surface, it sounds like a typical love song, but if you dig deeper you'll find that it's actually a song abt the city of Amsterdam, the capital of the Netherlands, and he is using personification to talk abt Amsterdam as if it were a lover.

So going back to Change and Long Live, if you view these songs through an allegorical lens, they can easily be interpreted as being anthems for queer rights and equality. The Genius annotations for these songs say that they're abt the challenges Taylor, her record label, and her band faced in the industry and how they were able to overcome those challenges and become successful. I believe this is definitely a valid interpretation of these songs (I mean this is what Taylor said these songs are abt), but I also believe it's possible Taylor turned this experience into an allegory so that it's not just abt climbing the charts and winning awards, it's also abt queer ppl and other oppressed groups shattering glass ceilings, making revolutionary changes to society, and getting equal rights. She's essentially drawing parallels between her experience as an artist having a breakout moment and oppressed ppl having their breakout moment and winning despite being underdogs.

(x)

This could be what Jack Antonoff was referring to when he tweeted this:

"So they slowly over the course of a career let the world know." This to me sounds like playing the long game. Strategically making chess moves and taking 2 steps forward, 3 steps back and then 4 steps forward, 1 step back. It’s like the queen’s gambit. It’s a calculated risk that involves sacrificing a pawn to gain control of the board. When you’re a pawn in the system or someone in an oppressed group, the only way you can win against the powers that be is by beating them at their own game. Unfortunately, this means you will have to do things that are very out of character for you and that do not align w/ your true morals or values (The Circus -> “you contort your integrity into something so unrecognizable, the guests gasp in horror yet always come back for more”). Bc the narcissists you’re fighting against are cut-throat and ruthless and will cross any boundary necessary in order to get on top and gain control, you also have to take on some of these qualities. BUT what ultimately matters in this court of public opinion is your INTENTIONS (TTPD epilogue -> “As you might all unfortunately recall I had been struck with a case of a restricted humanity which explains my plea here today of temporary insanity”). Yes Taylor and the other tortured poets gaslight, lie, beard, use PR, and do questionable things, but WHY do they do those things? What is the reason? Are they doing it just for fun or bc they think they’re invincible and can get away w/ anything? NO. They’re doing it bc the evil ppl they’re trying to take down are snakes who like to play 4D chess. They’re doing it bc they have to. It’s a game of empaths vs narcissists/manipulators/abusers; it’s survival of the smartest. Plus the tortured poets are trying to reach an audience of 8 billion ppl which means they are greatly outnumbered and need allies. This is where us true fans come in. They need us to be the dandelion seeds that spread hope and light (x)(x)(x). “Katniss Everdeen, the girl who was on fire, you have provided a spark that, left unattended, may grow to an inferno that destroys Panem” (x). Yellow Flicker Beat -> the 9-27-19 & 4-1-20 ♠️ messages. Gracie's mom posted this story on 11-11-24 ⬇️

“As the longest midnight passes, Daylight inches near. Each indistinguishable from the last, But together contrasts through years.”

“Unraveling is precarious, Each inevitable delicate strand.” // “Be as clever as a god, Translating seeds of hope, There's purpose in confusion, Slowly untangling the many ropes.” // “Be wary of distraction, yearn not just for the grand ta-da, but heed the hushed murmurs that precede it. The real story unfolds not in the boom, but in the sigh, the slow unraveling like a magician's silk, frayed thread by thread…The real drama, the heartbreaking beauty of it all, unfolds not in a grand finale, but in the quiet unraveling.” // “Under the velvet cloak of the theatre, the magician weaves a tapestry of wonder. Not with nimble fingers, but with whispered tales, each thread meticulously laid, leaving the audience breathless and beguiled.” // "She'll patch up your tapestry that I shred" // “Your braids like a pattern” // “I’m combing through the braids of lies” // “Dutiful daughter, all my plans were laid, tendrils tucked into a woven braid”

In other words, they’re using the boiling frog method. The changes happen so gradually that the frog (the fans and general public) doesn’t realize they’re happening until it’s too late and it’s cooked to death. Taylor started by switching genres; she moved from country to pop music which allowed her to express herself more freely since country music fans tend to be more conservative and closed-minded. Then she started becoming more explicitly queer and glass closeting. The 1989 songs Welcome To New York, Out Of The Woods, and Wonderland have queer coded lyrics like “you can want who you want, boys and boys and girls and girls,” “the rest of the world was black and white but we were in screaming color,” and “too in love to think straight.” Rep had songs like Dress, Gorgeous, and Don’t Blame Me which are very queer coded. The Lover era was essentially a coming out bc what straight person would make rainbows and gay pride the aesthetic of their album?? (Not saying you can’t be an ally but centering yourself in the community in that way if you’re not queer yourself is very questionable). Then she wrote songs like betty, seven, illicit affairs, dorothea, ivy, gold rush, tolerate it, cowboy like me, The Very First Night, Lavender Haze, Hits Different, But Daddy I Love Him, Peter, and Robin which are incredibly loud and make it obvious she’s queer and has been in a relationship w/ Karlie this whole time (since March 2014 according to kaylor lore).

Going back to the Jan 2023 poem, there are many interesting easter eggs in this poem. As I said before, I believe the 1989 era is actually the origin of this rabbit hole of cross referenceable songs, poems, movies, and shows. I believe Taylor might’ve titled it “1989” (Taylor’s birth yr) bc this album was the BIRTH of the rabbit hole (this could also explain why Wonderland is included on it). It could also represent a REBIRTH and NEW beginnings which connects to what I said in this post.

I don’t think it’s a coincidence that the album begins w/ Welcome To NEW York and ends w/ NEW Romantics (on the deluxe edition). Moving to New York was a new beginning and fresh start for her bc she was able to be her authentic queer self there (you can want who you want). And in a more allegorical sense, this album was a new beginning bc it was when the New Romantics aka the Tortured Poets started executing their mass coming out plan or revolution that likely would’ve been revealed around 2019-2020 had the mastersheist and some other roadblocks not happened requiring them to pivot and abandon ship (1st and 3rd 🎃 message, 2019 failed coming out). I believe that the original plan was to do the big reveal or “atomic bomb drop” on NEW Year’s Day 2020 (or maybe on NYD of an earlier yr if all the setbacks and roadblocks hadn’t happened). This would explain the New Year’s Eve performance in Times Square as well as the surprise songs and 1989 TV announcement on 8-9-23 when Karlie “Betty” Kloss was in the audience. She performed New Year’s Day and New Romantics as surprise songs bc the New Romantics/Tortured Poets are going to make a second attempt to drop the atomic bomb and crash the party like a record scratch on New Year’s Day at the end of this yr (the reticent volcano).

As I mentioned in this post and this post, capital letters are a huge part of this puzzle. The impossible puzzle is actually solvable if you use the capital letters on the back which allow you to piece it together in sections.

(x)

(x)

(a)ugust, (b)etty, (c)ardigan -> the alphabet + teenage love triangle where (a) is the “fans’” perspective, (b) is James’s/Peter’s perspective, and (c) is Betty’s/Wendy’s perspective; Camden, Augusta, Rockland (CAR) -> 3 songs on Gracie’s album TIWIFL which are the names of 3 towns in Maine which is where Gracie’s family is from -> CARdigan, “car again,” Getaway Car, the hero’s journey, Augusta/Augustine/August girl in the teenage love triangle; Cassandra, Peter, Robin, Guilty as Sin? -> CPR(G) -> Charlie Puth Golden Retriever -> the capital G in the 2-20-24 🌋 message and 4-11-24 🎁 message -> “I stopped CPR after all it’s no use”; Sabrina Carpenter’s Please Please Please which we all theorized is abt TK and the PR/bearding circus (Sabrina is a big part of this rabbit hole like Gracie) -> PPPizza (Hey Stephen mood board) -> “Hi (13, 31) Peter Pan - T” secret message in Gracie’s Mess It Up mv -> PR, PR, PR, PUBLISH! message from 🎁 anon -> Gracie wearing a jacket w/ a P and 13 on it (x).

The first 🫚 message we got emphasized certain words and letters such as SNL, NEW, TIME, and P (see this post which decodes it). SNL connects to the SNL sketch from Sabrina’s pov where she is encouraging ppl to speculate on her sexuality bc she is intentionally doing very obviously gay things but everyone still thinks she’s straight. She’s dropping breadcrumbs or small queer coded easter eggs and then entire loaves of bread or very explicitly queer easter eggs. And this connects to The Blame Game poem in For now she slumbers where the breadcrumb trail represents this rabbit hole of connections which is the present/gift that 🎁 anon mentioned. “You have tied up your emotions with a big fancy ribbon” = present/gift 🎁. NEW is related to Welcome To New York, New Romantics, new beginnings, New Year’s Eve/Day, and the going anon messages w/ 🆕. Halsey’s Badlands album (released in 2015, “friends have friends of friends,” “I am the line of poetry you read years ago, but cannot remember distinctly enough to cite”) fits perfectly into this puzzle and it has songs like Castle, NEW Americana, and Hurricane which all seem like allegories for this revolution which will affect politics, the music industry, and stan culture. Re Hurricane: I think Bed Stuy is code for the music industry -> “There's a place way down in Bed Stuy where a boy lives behind bricks, He's got an eye for girls who are 18 and he turns them out like tricks” // “In the age of him she wished she was 30” // “Got your whole life ahead of you, you’re only 19, but I fear that they already got all the best parts of me” // “And I damn sure never would’ve danced with the devil at 19…Give me back my girlhood, it was mine first.” 1989 and Badlands are both BLUE albums and they have very similar messages abt making revolutionary cultural and societal changes -> Miss Americana, a political song, has the lyrics “we’re so sad we paint the town BLUE” and Cruel Summer, which is on the same album as Miss Americana, has the lyrics “And it's NEW, the shape of your body, It's BLUE, the feeling I've got.” The revolution is the thing that is NEW and BLUE. “The blue will remain true” or true blue 💙🌧️ (see this clip of Taylor talking abt hoax) -> Unfailingly genuine and loyal; being able to see past RED hair(ings)/herrings, illusions, and bait and switches (🫚 ginger = RED head/chaos/glitch/blood moon). I think another thing the blue and red might symbolize is the 2-party system we have in the US where blue = democrat and red = republican 🇺🇸 (Miss Americana and New Americana). TIME in all caps connects to the clock imagery in Midnights and TTPD (5th, 9th, and 11th 🎃 messages)(x)(x) and to the TIME person of the year article (see this post). The P by itself is related to everything I talked abt in the previous paragraph.

The last thing I want to analyze is the atomic bomb/Oppenheimer/doomsday clock connections. @corneliastvendor did a great job explaining some of these connections in this post and I want to expand on this theory. I highly recommend reading through this thread as well ⬇️

“5 4 3 2 1, Happy New Year” -> tick tick tick BOOM 🔥🌋🧨. Other gaylors have pointed out that The Great War on Midnights could be a reference to WW1 (this could allegorically represent the first coming out attempt, the 2019 failed coming out). This was obviously followed by WW2 which was when Oppenheimer developed the atomic bomb (this might represent the second coming out attempt; 2022-2025 is 3 yrs, Midnights was released Oct 2022). As I said before, I think this rabbit hole of connections has been in the works since at least 2014; and I think Taylor has been slowly involving more and more of the entertainment industry over the past decade -> “Friends have friends of friends. I, for one, love my friends and their friends. I wonder if you know any of them?” My theory is that by around 2019-2020 most of the entertainment industry had joined in on this mass movement/revolution. Therefore, most of the movies, TV shows, and albums that have come out since then are a part of this rabbit hole and can be cross referenced. I believe that Oppenheimer (2023) is one of them. I don’t think it’s a coincidence that Taylor released Midnights in Oct 2022 which has supernova (death of a star), WW1/WW2, and doomsday clock motifs and themes and then we received a very interesting poem in Jan 2023 using these same exact motifs and themes and then Oppenheimer (2023) was released a few months later on July 21, 2023.

“And the tears fell in synchronicity with the score.” There were articles published back in 2022 abt Taylor writing the script for and directing her own movie. Well I think this “cross in poetry”/giant group project/TTPD IS the movie and we’re watching it right now (x)(x). It’s called Project Acorn bc…it’s nuts.

[randomwholocker]

theory: dark phoenix is the end of the story in the post-dofp timeline logan and new mutants are in their own universe and deadpool & wolverine is deadpool & wolverine so yeah and therefore cherik happy-ish ending canon and iron man 4 and doomsday are whatever they are idk this is kind of a stupid theory

[wilder-fangirl]

[ijustreallylikecaptainamericaok]

Sooo... some Sam & Scott and Scott & Ava crumbs incoming? Please, please, please?

Though given the rest of the cast list this has "potential Endgame or 1602 scenario" written all over it, but ehhh... as usual, I'll take what I can get.