As we all know, Newt Scamander, leading magical zoologist, owns a bowtrickle that generally refuses to leave his pocket/person. We also know that bowtrickles only, ONLY, nest in trees of wand quality. This would mean that Picket the bowtrucklethinks that Newt is made of Wand worthy materials. The only known non-wood wand types are stone and BONE. This indicates that Newt either has a large magical reservoir within him, or that he is made of particularly pure natural elements. What are your thoughts?

Jurassic Park 3 durante esa película conocimos a la isla Sorna pero que pasó con esta?

Tengo una teoría de lo que le paso a la isla es que luego de la 3 película la isla sorna haya terminado igual que isla nublar en donde un volcán acabo con la isla hasta desaparecerla y por eso es que no la volvimos a ver.

Ok wait I dont know about you guys but do you know how to get to FreePlay now in dti or did they remove it

ok DTI stap trying to hide freeplay from me cause like I can’t find it all around the DTI map where it was before so can you explain please??

Mulan and Star Wars are both Disney... Shan Yu is a villain with yellow eyes... he draws power from anger... he wanted to kill a wise old guy who lives in what is essentially a temple (I know it's a "palace", but for the people who revere the emperor like a god, it might as well be a temple)... Shan Yu is a Sith Lord.

Yandu's crew got kicked out of the Ravagers for dealing with kids.

Peter was abducted as a kid.

All of Ego's past attempts failed, but with Peter, it finally worked.

My theory is that any of Ego's kids would have been able to channel the blue energy stuff if Ego had just waited until they were adults instead of testing them when they were kids, and that the only reason Peter was able to do it was because he wasn't eight freaking years old when he tried

Does anyone have any potential theories on events thar supposedly happened in the Toy Story universe that could have inspired the evil living toy genre we see today with the likes of Annabelle and Chucky?

Just watched Barbarian and believe that the rental management company plays an important role.

!The rental management company is aware of the situation with the Dad and The Mother, and supplies candidate “children” to them. In the scene where she wakes up to the door being open and we hear a woman screeching, this was The Mother coming out at night to “inspect” the guests as candidate new children. And she’s not a fan of Keith as we later learn. Whenever we hear interactions with the rental company they are unhelpful. When AJ goes to the management company, it’s a front. I don’t think the receptionist is aware, but she eludes to Bonnie as her boss. And I believe Bonnie is either an empathetic child who got away from the Barbary house or is similar to the homeless man who knows all about the situation and somehow does nothing about it.!<

My theory sprouted after i watched the episode "Looooove Bug", where Olie and Billy make a joke about girls being "gross", so i assumed they're gay. But then again, it's Disney, so i wouldn't be surprised if it was canon

Don't believe me? Here's the episode for you guys to see for yourselves:https://youtu.be/FwVdc\_q2eZs?feature=shared

Something I noticed, when I watched Frozen 2 for a rewrite of it I was doing back at the beginning of the year, and from rewatching the excellent Httyd trilogy, is that the first two Frozen films and the first two Httyd films, parallel one another in many ways.

For Httyd 1 and Frozen 1.

• The Plot involves a young introvert who is the outcast of his home. For Httyd, this is Hiccup, and for Frozen, it's Elsa.

• Both protagonist is hiding something magical from there world. For Httyd, this is Hiccup keeping the wounded Nightfury, Toothless, hidden from the other Vikings, for Frozen, it is Elsa keeping her powers a secret to protect her sister and the Kingdom.

• In both, the protagonist is seen as an outcasts and mocked for his or her imperfections. For Hiccup, it's not being the typical Viking, and being a "runt" in there eyes, and for Elsa, it's her ice powers that make people view her as a monster.

• Both of them reveal there magic at the worst possible times. For Httyd, it's near the end of the movie, when Hiccup tries convincing them thay Dragons aren't a threat, and tries proving this by attempting to pet the Monsterous Nightmare, only for something to go wrong due to his father's impatience, and Toothless coming to the rescue, exposing the truth, and for Elsa, it's earlier in the film, during her coronation, where after Anna pestures her maybe alittle too much, she unleashes her powers to the world, accidentally.

• However, this is where things shift, and Hiccup starts to become the Anna equivalent, while Toothless becomes the Elsa equivalent. As both characters are kept locked away from there friend, but escape to save them. For Hiccup, after a very painful and emotional argument between Hiccup and his father, Stoic, which ends with Stoic stating that Hiccup is not his son, Hiccup is left at Berk, while the other Vikings leave to the Dragon nest, Toothless locked up with them, and Hiccup has to go with Astrid and co. To save them. For Anna, after she returns to Arrendelle, Hans reveals his true colors, and leaves her to die, while Elsa is locked up in the Arrendelle dungeons.

• In the end however, the hero seemingly sacrifices his or herself for his or her friend and people, and while it seems like he or she is died, he or she ultimately survives and magic is accepted by the people. For Hiccup, he and Toothless defeated the Red Death, Hiccup nearly falls to his death, but is saved last minute by Toothless, though he loses a foot in the process, but Dragons and Viking now co-exists. While with Anna, prior to this, Elsa accidentally ice blasted her in the heart, and in the climax, Anna saves Elsa from Hans in her final moments, fully freezing to solid ice, however, she is brought back through Elsa's act of true love, and all the people forgive Elsa as she restores the kingdom to its former glory.

• Also, I forgot to mention, the hero (accidentally, in Frozens case) handicaps there would be friend at the beginning.

For Httyd 2 and Frozen 2. This one is admittedly not as detailed but there are still some similarities.

• The film involves are hero once again wanting to be free from there responsibilities and explore the world. This one is self-explanatory for both, if you have watched both films. Though, Hiccup switches back to be Elsa's equivalent.

• The Plot, involves there mother in some way and the past. For Httyd 2, it's Hiccups mom, Valka, were we learn she didn't actually die, and the Dragons took her to a hidden oasis, and for Frozen 2, it's Anna and Elsa's mom, Iduna, where we learn the truth of the past, of her being from Northuldra, and the Grandfather on Agnarrs side, not being as peaceful as they once thought.

• Also in both films they go to a magical place. For Hiccup, it's the Dragon nest where Valka has been living, and for Elsa, it's the Enchanted Forest where her mother lived as a child.

• However, while for most of the film, Hiccup has been Elsa equivalent, while Toothless, the Anna equivalent, it shifts again. As both heroes friends end up being taken over by the villain. For Toothless, he is mind controlled by Drago, leaving Hiccup behind with his deceased father, and in the case of Elsa, she ends up freezing to death in Atohallan, I think because of her grandfather's Dam, or her not confronting her true feelings or something, but I'm not sure. In any case, Anna is left alone with a dying Olaf.

• But in the end, the hero prevails, saves there friend, and with the friends help, the undo the villains schemes, saves the Kingdom, and the two become leaders of there own respective people. For Httyd 2, Hiccup is able to break Toothless out of his brainwashing, and together, they stop Drago and his pet Alpha dragon, and save Berk from his wrath. With Hiccup being made Chief of Berk, and Toothless becoming the new Alpha Dragon. While with Frozen, Anna destroys the Dam, unfreezing Elsa, and Elsa with help from that Water Horse, uses her magic to stop the wave of the Dam from destroying Arrendelle. Elsa becomes the 5th Spirit, and the new protector of the Enchanted Forest, while Anna becomes Arrendelle's new queen.

This leads me to believe that the third Frozen movies will have parallels to the Hidden World, as the Hidden World involved Hiccup and the gang, finding...well, the Hidden World, and the concept art for Frozen 3 shown at D23 sees Anna and Elsa travelling to a Hidden World of there own in the sky, more then likely Asgard or Valhalla. Also, Httyd 3 saw Toothless get a love interests in the Lightfury, and since Elsa has kindof been the Toothless equivalent (or at least Hiccup & Toothless and the two Frozen sisters have been swapping those roles throughout the films, though I think for the third film, Hiccup will now be strictly the Anna parallel, while Toothless will be strictly the Elsa parallel), you can guess what that means....Elsa may be getting a Boyfriend or Girlfriend in Frozen 3 and 4.

The heptapods say they need the humans help to defeat a threat they will face in 3,000 years. That threat is the AI which will eventually be defeated in the Butlerian Jihad.

The heptapods introduce humanity to a non-linear perception of time to nudge them toward the spiritual enlightenment and temporal awareness that will one day lead to the Spacing Guild, Bene Gesserit (which starts with Louise) and necessary abilities for a human victory.

Just got out of seeing Heretic which I really enjoyed. Major spoilers ahead. >!Sister Paxton is stabbed in the throat by Mr Reed and dies at the end of the move !<. I don't know if this is obvious but what happens to Sister Paxton is exactly what the prophet describes what she saw after she died and became resurrected.

1. She saw an angel - this being Sister Barnes
2. She saw white clouds - this being the snowy environment she enters after escaping the noise
3. She experienced derealisation - the butterfly on her finger

I thought this was clever foreshadowing and not sure if a theory or what was intended by the filmmakers. Great movie!

You know at the start of ratatouille, Remy is living in the house of an old lady. than when they serve the ratatouille to to Ego he gets flashbacks to when his mom served him ratatouille, what if that old lady was Egos mom

So i Just Bing watching the creepypasta series of newscapepro and It gives me alot of nostalgia and i had the theory of a possible chronological order that connects the creepypasta tò the SCP One Heres the order Watch the entire creepypasta series:this series Is essential tò the lore because in the First episode beard guy (dont Remember the name) found SCP documents that night have a possible connection that the foundation exist.in the finale of the series Corey and Ashley (i thinks there was even Jane) blown up the Slenderman mansion in the final scene we see that zalgo Is still alive. So in my correct theory zalgo Is the scarlet king Watch the scarlet king origin story episode from season 5 of the SCP series (ONLY ORIGIN STORY! So from 0:00 tò 2:07):this part Is essential tò understand the scarlet king Here tò Say that season 7 of the creepypasta series Is not canon at all! 3: Watch the young man episode from season 4 of the SCP series (4:01 tò 7:34):this Will make you understand SCP 106.is not essential so do whatever u want 4:Watch the SCP roleplay series:yes all season 1-4 and season 5 5:before starting the alice arc Watch dr clef origin story:this Will make you understand alice more 5:Watch dr bright origin story:this Is kinda essential information of dr bright when hes introduced but if you want u can Just skip This Is my chronological order theory.if i missed soemthing type down in the comments And i Will see you soon

Flaturin is never mentioned out loud in this recent cult classic, but it is advertised all over and we see many tubs of it laying around.

This food resembles some form of synthetic chile con queso (“nacho cheese”) mixed with margarine that people eat directly from the tub in one sitting. We see Frito the Lawyer eat it, as well as Rita in a later scene.

The name likely means “flattering” as said in a Southern or younger Western accent, “flatterin’.” (Though it does also look like “Flat Iron” or perhaps “Flatus + Urine”…)

What’s the sincerest form of flattery?

Imitation.

It’s an imitation dairy product that contains no milk or milk derivatives, yet tastes vaguely cheesy and buttery.

In a world with dead crops and a severe shortage of “French fries and burrito coverings”… what is Flaturin made from?

I’d assume that industrial food processing has gotten even more advanced in this universe. Macronutrients made from oil aren’t entirely out of the picture… but wouldn’t the oil have run out? Everyone outside of Monday Night Rehabilitation has an electric car.

Here’s another thought: Brawndo replaced water in nearly every context, including for watering crops, washing cars, and feeding babies as formula. I’d assume it’s used for showering too. Yet there’s one application where pure water was always used… the toilet.

Why the toilet? Why use pure water that could be used to make Brawndo in the toilet?

Because the few smart guys left when Flaturin was invented hid a major secret in plain sight… Flaturin is an imitation dairy-esque goo made from highly processed sewage. They need all the sulfur to leave some in for that cheesy meaty goodness, practically re-constitute the rest, and not have too much Brawndo to deal with and sweeten up the Flaturin, especially as water fountains pour extra Brawndo down the drain.

Uzumaki is about the sometimes insidious way one becomes enmeshed and entrenched in the culture of the small town they live in. You grow up there, things about it bother you, you don't like how you see people your age and the adults act. But you stay there, you live there. You start to normalize things, you ignore wailing sirens because they're always going off. You walk through the malicious storm of of your surroundings to take care of the people you love. Eventually, you are fully taken, and lay down next to everyone else, as it's your only option. Or you get out. LIKE SHUICHI SAID THEY SHOULD. I'm from a tiny town. I saw the way people acted. I didn't like it. So I got out. If I had stayed I'd have had to make my peace with it and get on with existence. Obviously this could apply to larger or smaller examples of group think, from friend-groups all the way up to nations, but I think the story best describes the influence of the particular culture of small towns.

One of the main themes in Joker 2 is the Jungian idea of the "shadow" and how it represents humanity's worst nature. The shadow is the Joker clinging onto Arthur Fleck, as seen in the opening animation.

Throughout various points in the film, we see a creepy looking inmate in the background watching Arthur. We never see this inmate interacting with anyone or anyone noticing him. He is the "shadow."

When Arthur renounces the Joker and reclaims his identity, the amount of trauma he has experienced causes the shadow to take his mind over. We see this represented in the scene where he is stabbed by the "inmate." This is playing out in Arthur's mind. Arthur dies and the Joker takes over.

In the final scene of Joker 2019, Arthur is now fully morphed into the Joker. His hair is greying and he looks visibly older. He is describing everything that has happened to him up until that point, including the events of Joker 2. He comes to the realisation that his nemesis, Batman, whom he has fought for years at this point, is actually Bruce Wayne. He kills the psychiatrist he is talking to and prepares to escape Arkham once again. Joker 2019 ends on "The End" while Joker 2 doesn't.

En la película Cloverfield Monster del 2008 pudimos ver unos parásitos en la película y en la parte en que entran a una estación de tren las ratas salen corriendo de algo y vemos a los parásitos los cuales atacan a los protagonistas pero que son los parásitos?

Según mi teoría es que los parásitos que vimos en la película no sean realmente alienígenas por que se ven diferentes apartes no creo que sea el monstruo que mande a los parásitos ya que nunca se ve que los saque en la película problema en la secuela expliquen esto probablemente.

Episode 6 spoilers >!Tabitha in the end of the episode says shes seen those stones in one of her nightmares as a kid. Also. Randel if thats his name? idk bald guy with a scar in his face now. Anyway his reaction to seeing his face was a little overdramatic in my opinion, which makes me think that he cares about how he looks, a little too much, so could it be that it's been a nightmare of his, to look as hideous as he does now? ( which isn't even that bad to be honest)!<

Anyway my theory is that this place is a collection of everyone's nightmares. what do you all think?

In popular fictional media, mirrors are often used by writers for psychopaths to question their inner selves, such as in the first season of Dexter.

❝ Psychoanalysis recognises a concept of three orders: The symbolic, the imaginary and the real. In simple terms, our existence and our actions are the result of the interplay and tension between these three orders. The symbolic ties in with a theory by Claude Lévi-Strauss, who saw social life as structured by certain laws. These laws are in turn structured by language, which consists of elements, of attributions of meaning. Our everyday life thus resembles a symbolic network that is translated by language into laws that regulate everyday life. And the subject tries to define itself within this structure in which it is caught up. The so-called mirror stage describes the formation of the ego through identification with its reflection and belongs to the realm of the imaginary, the second great order. Here is just one example - as an illustration of what we often get to see in Dexter down to the smallest detail: Dexter looks at his reflection (think of the opening credits!) or is reflected in different surfaces, in search of himself. ❞

❝ When Dexter finds the dismembered Barbie doll in his fridge, her hand holds a small mirror in which his face is reflected. In psychoanalysis, the mirror stage refers to early childhood experiences where the child sees its image as a whole in the mirror for the first time (also in a figurative sense) and becomes excited because it had previously only seen parts of its body. This mirror image that he sees contradicts the experience of the fragmented body that he feels, i.e. the feeling that each part functions on its own and does not belong to a whole. This experience of wholeness is both a blessing and a curse, because the knowledge of it threatens the subject with its possible loss, with fragmentation. Although the subject feels strongly attracted to the figure, its image, it can feel a certain aggression towards its own reflection. However, this tension is resolved by the imaginary identification with the mirror image. The child ultimately celebrates its imaginary image. Nevertheless, it is precisely this imaginary that remains the area of radical alienation. ❞

This leads me to believe that Michael's bedroom window is symbolic of his own eyes. A window is mostly used for looking out into the wider world, no? But instead of using the window like any normal person would, he uses it to stare at himself, which may seem ironic since he's wearing a mask, but as we know, Micheal's true nature is reflected in his white, blank Shatner mask since his true face underneath is just a facade for the darkness behind it (see Dr. Loomis' famous “devil's eyes” monologue from the first movie). This is how Micheal sees the world in the DDG trilogy, he has a massive ego like any sociopath, and when he kills, he doesn't see your face, he sees his own emptiness, his own face. Michael Myers doesn't see himself as Michael Myers because this person is not his ideal self, he is convinced that he is the manifestation of the boogeyman legend turned blood and flesh.

Michael Myers’ inability to connect with the world can be analyzed through Lacan’s mirror stage, where his psyche failed to reconcile the disparity between his fragmented inner self and any idealized external self. After his initial murder as a child, his psyche was shattered, leaving him devoid of that cohesive identity that most people develop in the mirror stage. Instead of seeing himself as a whole being, he experiences himself as a series of fragmented drives, leading him to latch onto symbols (like the mask) that hide his chaotic internal self. His mask functions as both a defense against self-recognition and a rejection of symbolic connection to others, allowing him to kill as his sole form of interaction. Each mirror reflection and act of violence further separates him from any possible identity, leaving him eternally locked in a cycle of said fragmented, inhuman drives. THIS was what Laurie Strode was talking about when she stated quote: "The more he kills, the more he transcends into something else impossible to defeat."

This theory is basically proven in Halloween Ends. In the sewers, he has no windows, no lights, nothing to get some sort of reflection of himself (his childhood home and, more importantly, his sister's window were torn down by the city after his 2018 rampage). So what does he do? He takes his knife and carves his own face into a wall. But not his real face, but the Shatner mask. This shows why he's been so hyper-fixated on the mask since Halloween 2018, because it represents how he sees the world and with it himself. This Mask, or rather persona, is his ideal self and in his weakest moment in life, he almost seems to hide behind this idol of the boogeyman.

And what does Laurie do in his final moments when he's about to die? She holds a kitchen knife blade in front of his eyes and shows him his own reflection. And why? Because at that moment, perhaps for the first time in his life, he feels naked fear, fear for his life. Laurie unmasks him (in the truest sense of the word) and shows him the true reality of his situation. What he sees now is not an emotionless super-killer, his ideal self, but quote: “Just a man who is about to stop breathing”. Micheal Myers gets a taste of his own medicine, he sees and feels like his 40+ victims did in their final moments. Micheal Myers is no longer the boogeyman. He is defeated. This revelation literally kills him, as Laurie stabs him in the heart with the exact same knife and slits his wrists afterwards.

Micheal looking into Corey's eyes and infecting him with evil relates to this symbolism. Maybe that was really the only time Micheal used his eyes, that window, not to look at himself, but beyond, at Corey. Maybe he never did that before, which is why Loomis only saw it as a black void, but in Corey's case, “And when you stare long into an abyss, the abyss stares into you too,” Micheal's gaze must have not only seen the material world and Corey, but penetrated right into Corey's soul. Maybe Michael spared him because it was the first time Micheal had successfully connected emotionally, symbolically, with someone.

Or, as  stated, quote: "With Corey, Michael saw a reflection of himself: An outcast despised by the world. Michael looked into Corey's eyes and saw his own eyes looking back at him. He related to Corey because he saw himself in Corey".>!​!<

I came across this post that dipped into the topic already, and wanted to provide my own perspective on the theory. See the OP here: https://www.reddit.com/r/FanTheories/s/52mV39vOmN

Anakin Skywalker, dubbed the Chosen One by the Jedi Council, and described in Jedi archives as the one that will bring balance to the Force, is often criticized for failing to fulfill such prophecy in his eventual turn to the Dark Side. However, I, like many others, theorize that he succeeded in bringing balance to the Force - just not the way the Jedi had interpreted. When Yoda suggests the prophecy may have been misread, I think it has a deeper meaning than we're led to believe.

Lucas states that the original intent of bring balance was to "destroy" the Sith, which were viewed as a disease to the Force. In a more philosophical interpretation, this could mean that balance is the existence of both light and dark harmoniously, and keeping the Dark Side at bay, not necessarily eradicating it would suggest "peace" or balance in the Force. The Jedi we see on film are jaded, dogmatic, and arrogant. One of the last true Jedi, adhering to the traditional Jedi ways of balance was Quigon Jin. When he died, it created a significant ripple in what balance was left by this point. The Jedi had grown substantially in numbers and also contributed to the festering Sith by teaching Jedi to avoid the Dark Side entirely, while simultaneously stating that fear is the path to the Dark Side.... even though they avoided it in a way that resembled fear. Multiple fallen Jedi such as Dooku and Anakin saw the hypocrisy the Jedi had become and sought their own version of virtue.

With countless Jedi and an ever-looming Sith always creeping its way in, it was clear that prior to Anakin, there was already imbalance in the Force. The moment Anakin struck down Windu to save Palpatine, he did not FAIL the prophecy, he just... delayed it. He was already on the path to completing the prophecy anyway. The great Jedi purge, although terrible on a societal scale, contributed massively to the balance being restored. No longer were the light dominant Jedi ruling the Force. Prior to the purge, the Jedi made the Force unbalanced by having too much light and naively avoiding the dark. Following the purge, only a handful of both light and dark avatars remained. In film, there are exactly two of each by the start of A New Hope: Palpatine and Vader on the Dark Side, Yoda and Obi-Wan on the Light Side. Although this is still not balanced, as the Dark Side ruling the galaxy meant that a once light dominant galaxy was now dark dominant. Still not balanced.

When Luke is introduced, he is but a vessel for Anakin to fulfill the prophecy. When Luke is able to defeat Vader, this provides Anakin to resurface, and allows him the opportunity to finally fulfill the prophecy. By this point, Yoda and Obi-Wan are both dead, leaving literally just dark side dominance. Then, when Vader throws Palpatine down the reactor shaft, he simultaneously defeats the Emperor AND Darth Vader, which now leaves just Luke as the avatar of the Force. There are no more light dominant Jedi, there are no more dark dominant Sith, just Luke.

As we know, Luke goes on to become an avatar of both light and dark. A true representative of balance in the Force. This is the balance that was forseen in prophecy. Anakin DID bring balance to the Force... it just wasn't interpreted correctly by the Jedi. Curious others' thoughts.

Gandolfini was so impressed by Brad Pitt’s coolness he recruited him into the world of the mob and hitman life. As they age into veteran status, Gandolfini starts slipping and Pitt has to put an end to his old mentor’s story.

So, after watching Abigail (2024), I want to believe that this movie is a direct continuation of Let Me In (2010). There’s a recurring theme between the two films of characters who wear different identities, hiding their true selves. I want to explore this theme and how it connects Owen from Let Me In to the character of Kristof Lazar, who we see in Abigail. Fair warning: it requires suspending a bit of disbelief, but stay with me.

I think there is a combined story about why we hide our true identities and how it changes us.

First, there’s Abigail herself: a centuries-old vampire forever trapped in the appearance of a twelve-year-old. She embodies this concept, but her caretakers and others around her seem to mirror it in their own ways too. Take the old man at the beginning of Let Me In, who pretends to be her father. He’s worn down, weary, still hopelessly in love with Abigail. Yet, when he goes out to kill for her, he covers himself with a thick black plastic mask. It’s like he’s forcing himself into this facade of strength, trying to be someone he’s not—an image of power for Abigail, even as his actual weakness frustrates her. He eventually melts his own face off when he gets caught.

Then we have Owen, a neglected and bullied kid, literally putting on a mask when we first see him to fantasize about taking revenge, brandishing a knife and emasculating the bullies in his mind. But Let Me In slowly reveals a shift in him. He starts to assert an identity that isn’t hidden behind a mask or multiple layers of clothes. He demonstrates a strength and ruthlessness that could ultimately lead him to becoming Kristof. Owen, the weak child, becomes the discarded mask of Kristof Lazar, the psychopath that was always there.

In Abigail, Ana (aka Joey) is yet another example. Forced into the criminal world by her morphine addiction, she’s given the alias “Joey" at the start of Abigail, almost like a criminal mask she’s forced to wear. She carries this weight of shame, hiding behind her “Joey” identity until Abigail rips it away, sending Ana on a path to reclaim identity as a mother by the film’s end.

And then there’s Adam (aka Frank), a character who wants to be seen as an authority—a cop, an experienced criminal, and later, even as a vampire. Lambert gives him the alias “Frank,” the de facto leader of the Ratpack. He presents himself as in control, but it’s clear he’s anything but. When it seems like he’s won and is about to kill Abigail, we find out that she’s the one in power, showing him just how little control he actually has. She even tells him that “it takes a long time” to master his newfound powers, exposing his act for what it is.

The Big Hurdle: Owen as “Father”

One of the trickiest parts of this theory is that Kristof, by Abigail (2024), is an older, more powerful vampire than Abigail. Abigail states that he turned her into a vampire, they played with the idea of having Kristof be an alias of Dracula, having Kristof declare that he killed Dracula 200 years ago. Much of this I can write off as non-cannon, since it wasn’t filmed, but, as I’ll discuss later, I think Kristof’s line can easily be explained if he is only 51 years old.

I’ll also note here that my understanding is that Abby was about 250 years old in 1983 and Abigail is about 300 years old in 2024.

If Kristof really were her father, that would leave Owen out of the picture entirely. But I’d argue that Kristof is Owen—only he’s evolved and, honestly, broken by the end. If we assume that Kristof’s “father" act is an act or dissociative identity that is crafted to distance himself from his past as a weakling or her teenage “boyfriend,” the pieces start fitting together.

Let’s Start with Owen’s Transformation.

At the end of Let Me In, we have 12-year-old Owen who’s now run away with his vampire “girlfriend” Abby, who’s agreed to “go steady” with him. By this point, he’s already crossed a serious line—he’s helped Abby with multiple murders, including the killing of a police detective who might have represented a father figure to him. (Fun side note: Elias Koteas also voiced Owen’s dad, possibly hinting that Owen’s relationship with this “protector” role is deeply fractured.)

From the start, Owen is desperate for strength. He fantasized about overpowering his bullies, even wielding a knife and staring himself down in the mirror. He takes an interest in self-defense in response to Abby telling him he must fightpack, so I imagine that he’d keep building his strength to protect Abby and, possibly more importantly, himself. Now that he’s living on society’s fringes, Owen’s adaptation to a life of violence only becomes easier and his reliance on aliases becomes natural. And here’s where I think things get interesting.

Imagine the backdrop: it’s the 1980s, and America’s inner cities are battling the crack epidemic, federal authorities are starting to make inroads into established organized crime, while the Cold War spills over into proxy wars in Central and South America. Owen would likely find himself getting pulled into this criminal underworld, whether out of necessity or fascination with violence. I’d say that by his late teens, Owen’s involvement has probably extended into the international drug trade, smuggling, and all the chaos of the Reagan-era drug wars. Abby might find herself bewildered by these rapid cultural and economic shifts, still adjusting to a world of globalization and technology.

It might be this time that the assassin Valdez first appears. Perhaps one of Owen’s aliases. Abby would not be happy with the increased risk that Owen’s criminal ventures bring, but perhaps she loves the thrill partaking in a hunt, perhaps she cared enough to brutally murder several Sandinistas when he got in over his head instead of abandoning him. Either way, Owen is an active participant in the most violent criminal organizations by his late teens.

Abby’s acceptance of Owen’s descent into violence, I’d argue, isn’t out of indifference. For the first time, she’s partnered with a caretaker who’s also a psychopath—a caretaker who provides for her better than anyone ever has. But, of course, Abby’s M.O. is to subtly nudge these boys from a “boyfriend” to a more familial role, like a brother or father figure. With Owen, though, she may have underestimated the extent to which he is willing to push or change himself.

As the Cold War ends, Owen (now in his 20s) has experienced enough brutalizing violence to start detaching from his old self. The name “Kristof Lazar” might just be one of several identities that he adopted during this time. As he uses his Owen identity less and less that identity becomes associated with weakness, shame, femininity and everything that he hated about himself.

And here’s the irony: Abby’s very efforts to push Owen into the role of pretend father backfires. The identity of Owen is so hurt by this implicit rejection and so ill suited as a father figure that Kristof becomes an unrestrained, dominant identity who dismisses everything soft, weak, and vulnerable about Owen. Abby, meanwhile, reminds him of his old self—innocent, lonely, vulnerable, dependent, and emasculated. This creates a dichotomy in Kristof, with him both wanting to protect Abby, yet seeing her as a symbol of everything he hates.

Abby's persona of weakness, used so often to create sympathy or lure victims into a false sense of security only anger Kristof. Their interactions become intense battles of wills, with him only responding to her angry; animalistic vampire voice or only showing affection as gestures of appreciation for her killing their enemies. It’s even possible that Abby takes on the name “Abigail” to reinforce a sense of strength, mirroring Kristof’s self-perception of strength to preserve as much of the power dynamic as she could. (Apparently Alisha Weir called the frightened, kidnapped child version of her character “Abby," and the alpha predator “Abigail," approaching the character as two entirely separate people)

Here’s where I think Owen starts a complete dissociation. Kristof becomes his “strong,” brutal persona, a patriarchal figure who has always existed and is totally separate from “Owen.” Meanwhile, Abby moves along, primarily engaging this new identity while watching the young boy she used to control transform into a mercenary and criminal powerhouse across Eastern Europe, Central Africa, and beyond.

By the 2000s, the Kristof persona dominates, and he’s crafted an empire that operates with ruthless efficiency. Abby, though frustrated with the changing dynamic and her reduced influence, may accept this darker version of her protector because he’s giving her something she’s never had before—absolute freedom. The Lazar criminal empire covers for Abby as she occasionally hunts for sport, her messes neatly cleaned up by Kristof’s lackeys. This “freedom” comes at a cost, though: Kristof’s total dismissal of everything he sees as vulnerable, weak, and feminine including the incredibly powerful and dangerous vampire..

By the 2010s, Owen is all but buried. The Kristof persona is his true identity, existing in a violent patriarchal role. For him, Abigail’s strength and brutality are no longer impressive—they’re useful assets.

And Abigail? She’s finally lost her hold over Kristof, the lines of manipulation long blurred and overwritten by his descent into complete ruthlessness and their shared recreational violence. The power balance has shifted. Whether for strategic reasons or nostalgia, Abigail decides to turn Kristof into a vampire in the 2010s.

Kristof, now a vampire, is an inversion of Abigail's past caretaker. The crucial difference between Kristof and her earlier servants is that he’s created his own empire, and it’s in his image, not Abby’s. She may now look at him as a powerful, even terrifying partner, all while the Owen in him lingers as a painful reminder of a lost identity. Abigail’s contributions to the rise of the Lazar criminal empire are completely overshadowed by Kristof’s need for power and control.

In Abigail, we see another attempt by Abigail to gain a new protector, one who she can control. She can no longer rely on lonely misfits to grow up and care for her. She’s enjoyed the freedom to hunt and the thrill of adventure with Kristof, yet she accidentally made a rival to her power. She needs someone she can control and groom to take Kristof’s place, either as head of the criminal underworld or maybe just as a companion who will be there for her.

Lambert is a middleman in the Lazar organic and she turns him into a vampire in 2022. Perhaps she thought she would make Kristof jealous or be able to groom Lambert into a more suitable companion and servant. We will juxtapose the two vampires Abigail created later.

Abigail’s cycle of manipulation continues in Abigail. This time, it’s characters like Ana/Joey and Adam/Frank who get tangled in Abigail’s web. Ana, in a way, mirrors Owen—struggling with her identity and trying to reclaim her true self. Adam’s character might represent a twisted echo of Kristof, becoming a vampire but lacking the self-control or depth to manage it.

At the start of Abigail we see that Abigail is not in hiding like she was in Let Me In. It is all the other characters who are hiding in the beginning. After Abigail is captured she begins her manipulation with Joey (Ana) yet the connection between Joey and Abigail was real, despite Abigail's actions and stories being an act. Joey is perhaps the first person who genuinely cared for Abigail in a long while. This mutual vulnerability allowed Abigail's defenses to come down, creating a genuine bond.

What's interesting is how Ana's experience with Abigail mirrors Owen's early relationship with Abby but diverges in crucial ways. While Owen chooses Abby over his family which will inevitably lead down a dark path, Ana finds redemption by choosing to reconnect with her son. Her genuine connection with Abigail leads to both characters revealing parts of their true selves and Abigail choosing to spare Ana.

This suggests that, unlike with Owen, Abigail allows herself to form a genuine bond without relying on manipulation. It could be a sign of her growth or perhaps a moment of vulnerability she hasn't experienced since her early days with Owen when she allowed him to take dangerous actions she would never have approved of with earlier servants..

Ana is the one who exposes the true nature of her companions early in the movie by seeing through the bravado. Later, when Abigail is captured she takes it a step further and reveals that she is intimately familiar with each character’s history, yet she chooses to maintain the “Joey” identity in late interactions with Ana.

At the end we have several vampires to consider. I will treat Owen and Kristof as one person, because they are for this theory, and Lambert and Adam as one person, for thematic reasons.

Relationship with Owen/Kristoff:

Abigail meets Owen when he's a vulnerable, bullied child. She presents herself as a lonely girl, fostering a deep emotional bond. Owen is drawn to her, and she manipulates his need for connection to secure his assistance in acquiring blood. As Owen grows older, he becomes more violent and entrenched in criminal activities, eventually adopting the Kristof Lazar persona. Abigail's attempt to mold him into a father figure backfires as Kristof becomes a ruthless crime lord who despises vulnerability—qualities he associates with both his former self and Abigail’s “Abby” persona.

Their relationship shifts from one of manipulator and manipulated to adversaries in a complex power struggle. Kristof's disdain for weakness leads him to clash with Abigail as he seeks to exert control over his life, yet there's an underlying bond that neither can fully sever. Abigail's decision to turn Kristof into a vampire is a desperate attempt to regain influence or reconnect with the Owen she once knew. However, it only amplifies Kristof's power and autonomy, further destabilizing their relationship. Their relationship becomes a twisted amalgamation of resentment, dependency, and unspoken affection. They are locked in a conflict where they no longer need each other yet cannot completely escape the lingering habits of their old codependent behaviors.

The ultimate twist is that Kristof may still feel a need to be needed by Abigail. When he says, “I came when you needed me,” it’s definitely not about her fight with Adam.

Relationship with Lambert and Adam:

Seeking to fill the void left by Kristof's detachment, Abigail turns Lambert into a vampire in 2022. She aims to create a loyal servant who can be controlled, perhaps believing she can avoid the mistakes made with Owen/Kristof. Lambert, however, resents being subservient to “a little girl and her daddy.” He plots to overthrow them, revealing that Abigail's manipulation has once again led to unintended consequences. Adam (Frank), turned by Lambert, embodies unchecked ambition and a thirst for power without understanding its true nature.

Unlike with Owen, there is no deep emotional bond between Abigail and Lambert or Adam. Their relationships are transactional, lacking the history and complexity that existed with Owen/Kristof. Both Lambert and Adam's betrayals highlight the pitfalls of Abigail's manipulative strategies. Her attempts to control powerful individuals without genuine connection result in direct threats to her safety and empire.

Relationship with Ana:

Abigail initially manipulates Ana by posing as a helpless kidnapping victim. However, Ana's ability to see through facades allows her to connect with Abigail on a deeper level. As the story progresses, both characters reveal truths about themselves. Ana shares her struggles with addiction and motherhood, while Abigail shows glimpses of her true self beyond the manipulative exterior.

Unlike Owen or Lambert, Ana chooses a path of redemption, seeking to reconnect with her son and rejecting the criminal life. Abigail, recognizing the sincerity in Ana, chooses to spare her, breaking her usual pattern of manipulation leading to destruction. Their relationship stands in contrast to Abigail's other interactions. It is built on genuine understanding rather than manipulation, offering a glimmer of hope for both characters to find some semblance of peace.

Abigail's relationship with Owen/Kristof is deeply rooted but marred by manipulation and power struggles. With Lambert and Adam, the lack of emotional connection leads to outright betrayal. Ana represents a different path, where genuine connection allows for mutual growth. Abigail's attempts to control Owen and Lambert through manipulation and empowerment result in unintended and dangerous outcomes. In contrast, her openness with Ana leads to a more positive resolution.

Owen/Kristof's identity crisis affects his relationship with Abigail, as he grapples with his past and present selves. Lambert and Adam's lack of depth prevents them from understanding the complexities of power. Ana's self-awareness enables her to break free from her destructive patterns.

The potential reconciliation between Abigail and Kristof at the end of Abigail carries significant implications for both characters and the overarching themes of identity, power, and redemption. When Kristof says, “I came when you needed me,” it signals a recognition of their enduring connection despite years of conflict. This line harks back to their initial relationship, suggesting that beneath the layers of resentment, there's still a bond.

Both Abigail and Kristof have worn masks—literal and metaphorical—to protect themselves. Their reconciliation might represent a willingness to lower these defenses and confront their true selves. Abigail's statement that “[Ana] was here when you weren't" exposes her feelings of abandonment and need. Kristof's protective response suggests he still cares, allowing space for genuine emotion.

I like to think that Abigail and Kristof turn a page in their relationship, embracing who the other has become. Abigail accepts that Kristof can be a partner instead of a servant or rival Kristof accepting that Abigail, though no longer needing protection the same way she used to, still needs companionship, and he does.

Kristof's claim to have lived “countless years" might be him telling Abigail that he'll accept the role of “father" and pretend to be more powerful than her.

Or he's so crazy he believes it.

Or he really is an ancient vampire and these characters aren't the same.

So, you know how in Pizza Tower, there’s a small TV in the upper-right corner? Well, what if there was a camera recording Peppino and had his jounery throughout the Pizza Tower turned into a TV series? Okay, now that sounds crazy, but there’s more than just the TV.

In the final level, The Crumbling Tower Of Pizza, one of the backgrounds has the appearance of a director’s room, with buttons, a chair, a megaphone, and a TV filled with static. And the TV is nearly the exact same color as the TV in the upper-right corner.

Also, both Gnome Forest and The Pig City, you get to play as Gustavo and Brick (the rat). But look at what happens when you swap from Peppino to Gustavo and Brick. When you touch the sign that swaps who you play as, it briefly shows this: a pink screen with Gustavo and Brick’s head, and has 7 simple words: “The Gustavo And Brick The Rat Hour”, kinda like how other TV shows has “The [INSERT SIDE CHARACTER HERE] hour” or whatever.

Now, look at the 2nd boss, The Vigilante. Now look at the foreground and background. They’re a stage. A wooden stage. The clouds are cardboard and hung by string, there’s a cardboard cutout of a cowboy that falls from the stage, even the text at the end that says “prepare to draw” is made of cardboard.

Now, this last piece may be a bit of a stretch, but you might wanna hear me out. Why would a tower have an entire beach inside of it? Heck, there’s a bunch of other places you couldn’t fit inside a large tower. A war zone, a space station, ancient ruins, a FREAKIN’ SEWER SYSTEM ON THE 4TH FLOOR?! Well, what if, and again, this is a stretch, these aren’t actually real, but in fact, a stage designed to make the show more interesting. It could explain why we go into literal SPACE in Deep Dish 9.

So, yeah, it’s very possible Peppino was recorded and had the footage turned into a TV show. At least, it would‘ve if the Pizza Tower didn’t fall, along with everything inside it.

I don’t have an insane amount of evidence for this but I do absolutely believe that Jack had the Shining. For instance, he can see and interact with ghosts in the hotel. Danny is shown to be capable of this too, presumably due to his shine. Jack is repeatedly shown talking to Lloyd the bartender and Delbert Grady, some interpret this as part of his insanity but I think him having the shine is more thematically relevant and interesting. This might be a reach but I believe his insanity may have been caused due to a clash between his shine and the spirits at the hotel. That is why he is insane but still in control of his actions. Danny perhaps had an easier time dealing with it because he was aware of his shine. I know it’s all a bit of a reach but I think it’s quite interesting

so this theory’s kind of stupid, but I felt it would be kind off an interesting theory as to why we don’t see other guppies besides stylee and zooli. In short, my theory is that the guppies are all orphans, and that school they go too is actually a conservation sanctuary to help keep the guppy race alive. As for the main reason we don’t see other guppies, is because they are hunted for their skin which was believed to be able to cure anything if you just rubbed it on a sick person (again this is stupid, but there is the myth of rhino horns being able to cure erectile dysfunction on earth). do too the poaching, the guppy race began to fall to only a few individuals, which includes Molly, gill, goby, deema, onna, nonny, and the new introduced zooli. Including stylee, who is probably famous for being rare, and while not abused she is used as a tool for her management too sell her likeness too other companies.

What do you think?.

Evidence:

• Plankton’s lab has complex machines, unusual specimens, and advanced technology far beyond what a struggling restaurant would require.
• Karen, the supercomputer, seems less like a regular piece of equipment and more like a piece of research machinery—possibly for biological experiments or surveillance.
• Plankton’s sporadic interest in the Krabby Patty formula may be part of his cover to distract others from his true activities as he researches strange phenomena in Bikini Bottom.
• Plankton’s lab is filled with high-tech equipment and experimental devices, suggesting it functions more like a research facility than a struggling restaurant. For instance, his machines can create holograms, modify biology (as seen when he accidentally clones himself), and even control minds. These devices are far beyond the needs of a simple diner.
  • Karen, his AI supercomputer, operates like an advanced scientific tool capable of strategizing, analyzing, and monitoring Plankton’s surroundings. Her technology could serve not just as a restaurant assistant but as a research tool designed to study life forms or collect intelligence.
  • Plankton’s obsession with the Krabby Patty formula is oddly specific. His true interest might not be in the Krabby Patty itself but in the unusual properties of its ingredients, especially if it contains something valuable or unique to Bikini Bottom. This research could be camouflaged by his “restaurant” efforts, which allow him to experiment openly without suspicion.

Evidence:

• Patrick’s intelligence varies wildly between episodes. He is capable of deep insights in episodes like "Big Pink Loser," but other times, he's nearly non-functional.
• The metallic sounds that often accompany Patrick’s movements could hint at some kind of device controlling or monitoring him.
• In “Patrick SmartPants,” he suddenly gains intelligence after a head injury, suggesting his brain is being actively regulated. Could this be a remote-controlled mechanism from some organization?
• Patrick’s intelligence is wildly inconsistent, from being nearly catatonic to delivering surprising insights. In “Big Pink Loser,” he manages to match SpongeBob’s efforts, showing an ability to learn quickly, yet in other episodes, he can barely function. This variance could be explained by interference from a mind-control device altering his behavior.
• Patrick’s head injuries often reset his intelligence levels, such as in “Patrick SmartPants,” where a head injury suddenly increases his intellect. This supports the theory that his intelligence is being regulated, potentially through neural interference or an external control device embedded in his brain.
• Patrick’s behavior often shifts abruptly when specific triggers are introduced, such as food or Squidward’s presence. The sounds accompanying him—subtle, almost mechanical sounds—could indicate the influence of a remote control mechanism that’s constantly adjusting his responses.

Evidence:

• SpongeBob treats each Krabby Patty as an individual creation, constantly obsessing over its perfection. In “Just One Bite,” he shows unparalleled care for how Krabby Patties are made, far beyond any regular fry cook.
• Mr. Krabs’ obsession with profits and loyalty to SpongeBob implies that SpongeBob may be responsible for ensuring the Krabby Patty's quality and reputation, not simply cooking.
• The Krabby Patty formula is kept secret, but SpongeBob is entrusted with it. Why give it to a fry cook? If he’s actually in quality control, this would make sense—he needs the formula to ensure product standards.
• SpongeBob’s dedication to making Krabby Patties perfect goes far beyond that of a standard employee. In the episode “Krusty Krab Training Video,” he recites detailed steps to make the “perfect patty,” showing an almost encyclopedic knowledge of the process and ingredients. This suggests a deeper responsibility, such as ensuring the quality and reputation of the Krusty Krab’s sole product.
• Mr. Krabs’ trust in SpongeBob is absolute, yet he treats every other employee as expendable. This special treatment indicates SpongeBob may be critical to Krusty Krab’s success, possibly as an internal auditor. His rigorous standards imply that he could be checking for consistency to maintain the Krabby Patty's reputation across Bikini Bottom.
• The secret Krabby Patty formula is only known to Mr. Krabs and SpongeBob, raising the question: why would a “fry cook” need such sensitive knowledge? If SpongeBob’s real duty is to uphold the Krabby Patty’s quality, access to the formula would be essential.

Theory Premise

SpongeBob SquarePants is not just an innocent fry cook but is actually a highly trained undercover agent who has been assigned to Bikini Bottom for a top-secret mission. His goofy, overly happy personality is a cover for his real abilities and purpose.

Evidence

1. SpongeBob's Ability to Master Any Skill Instantly
   • In multiple episodes, we see SpongeBob quickly mastering different skills and professions. For example:
     • In "Krusty Krab Training Video," he has extensive knowledge of Krabby Patty-making techniques, a level of knowledge that feels almost military in discipline.
     • In "MuscleBob BuffPants," he manages to grow muscle and increase his physical strength, if only temporarily, to accomplish a goal.
     • In "Spy Buddies," SpongeBob shows aptitude with high-tech gadgetry, akin to a spy’s skill set.
   • This suggests he has had comprehensive training across multiple disciplines, a requirement for secret agents who often go undercover in various roles.
2. Access to Advanced Technology
   • The episode “Spy Buddies” introduces gadgets that are usually restricted to secret agents: from tracking devices to explosive briefcases. His comfort with these gadgets suggests prior training.
   • Sandy’s inventions, particularly in her lab, provide SpongeBob with technology that mirrors the kind spies and agents would use. SpongeBob’s ease in working with her tech could hint at familiarity due to previous missions.
3. Suspicious Origins and Ambiguous Background
   • Little is known about SpongeBob’s life before Bikini Bottom, and he doesn’t appear to have family nearby. His parents, who live in a different city, never elaborate on his upbringing, which leaves much of his childhood unknown.
   • SpongeBob's home—a pineapple—is unique in Bikini Bottom. It may not just be a quirky choice; it could be an intentionally placed “safe house” stocked with supplies, including his snail, Gary, who might be his surveillance partner.
   • His closest friends (Patrick, Sandy, and Squidward) cover a spectrum of personality types and intelligence levels, allowing SpongeBob to blend in and test various reactions, possibly for intelligence-gathering purposes.
4. Behavior and Mental Resilience
   • Despite frequent ridicule, SpongeBob maintains unbreakable optimism and resilience. This could be a psychological coping mechanism, cultivated by rigorous training to withstand any emotional or physical hardship.
   • His consistent kindness and moral fortitude could be part of a deep-seated belief in his mission and maintaining his cover—remaining inconspicuous and approachable. His extreme patience, especially with Squidward, may stem from his training in tolerance and maintaining emotional control in tense situations.
5. Mysterious Missions and the "Special Assignment" Concept
   • SpongeBob frequently takes on unusual tasks, which could be interpreted as special assignments or smaller missions to test his problem-solving under pressure:
     • In “The Great Snail Race,” SpongeBob pushes Gary to perform in a race, indicating his ability to coach and push others under a high-stress scenario.
     • His strange encounters with the French narrator, who could be a handler providing updates on his mission, hint at ongoing communication with a secret organization.
   • His employment at the Krusty Krab, a financially struggling restaurant, doesn’t make much sense given his many talents. However, if he’s an undercover agent, it would be the perfect cover for him to keep an eye on the people of Bikini Bottom.
6. Frequent Presence of Conspiracy-Related Characters
   • SpongeBob has recurring interactions with Mrs. Puff, Plankton, and Squilliam Fancyson, all characters with murky backgrounds or questionable motives. The constant friction between him and these characters might be part of his job, analyzing potential threats within Bikini Bottom.
   • Plankton, who’s constantly scheming to steal the Krabby Patty formula, could be SpongeBob’s primary target—a figure under government surveillance due to his suspicious inventions and activities.
7. Bikini Bottom’s Location Near a Nuclear Testing Site
   • Bikini Bottom’s origin story (being located near the Bikini Atoll nuclear test site) adds a darker layer to the theory. It could be that SpongeBob is investigating strange occurrences or mutated creatures resulting from the fallout.
   • SpongeBob’s “innocent” observations of Bikini Bottom life could be surveillance for the effects of this environment on its inhabitants. His bubbly personality helps him interact with these possibly altered creatures without raising suspicion.

Conclusion

SpongeBob SquarePants is more than just a cheerful sponge who loves Jelly fishing and flipping patties. He’s an undercover agent tasked with observing the strange inhabitants of Bikini Bottom, ensuring that any dangerous secrets remain within the city. His seemingly innocent life, relentless optimism, and uncanny skills are all part of an elaborate cover, allowing him to monitor Bikini Bottom’s residents—and especially Plankton—on a mission that’s much bigger than it appears.

In any given pokemon game, you are given a choice of 1 of 3 pokemon to begin your journey- known as starter pokemon. It is the only time in the game (internally) in which you have the opportunity to obtain them. My theory posits these pokemon are not native to the regions the games take place in. Here is the evidence that supports this:

1. You cannot catch any of the starters in the wild. You will never find them in any route or habitat. Using the Pokédex on a starter Pokémon’s profile will confirm this.

2. The Starter Pokemon are almost always given to you by researchers, with the rare exceptions being incredibly high profile, well connected people or people working on behalf of the researchers.

3. The people who give you these pokemon state themselves that the Starter Pokemon are rare.

4. You rarely, if ever, encounter other trainer NPCs that have starter pokemon themselves. If you do, it’s notable.

5. Starter Pokemon are standardized in their distribution. They are always of three typings; grass, water, and fire, share the same abilities, and are always 3 stage evolution lines. Each fit a certain profile that make them candidates for distribution.

My head canon is that these specific pokemon lines are identified, selected and imported for use by researchers, who sometimes will give them to their assistants as well, which is how the main protagonist end up with them. However this is admittedly speculation on my part as there’s no way to prove it.