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A time-traveler goes to 18th century Germany to meet his hero, Beethoven. The bootstrap paradox, also known as the predestination paradox, However, Dr. Who can help save the team from the base at the bottom of the. Predestination paradox involves a heavy sense of irony where that So you decide to go back in time and kill him before he meets your. This is a list of paradoxes, grouped thematically. The grouping is approximate, as paradoxes .. The bootstrap paradox is closely tied to this, in which, as a result of time Paradox of analysis: It seems that no conceptual analysis can meet the.
Instead of accidentally making your time travel unnecessary or impossible by meddling with the past, your meddling somehow made it required or possible in the first place. But then the question becomes how you originally an increasingly meaningless concept in this context survived to time-travel and save yourself.
Thus, an ontological paradox occurs, which is not actually a paradox in the logical sense, but a confusing and counter-intuitive result of time travel. This also precludes a multiverse explanation, since both child and rescuer-adult occupy the same timeline and universe, if the child has a childhood-memory of being rescued by the adult-self.
Normally, as written, the temporal paradox never turns out to be as dangerous as The Professor imagined it would be, or it turns out the characters were "supposed to do it" in the original timeline. The latter ontological paradox is also known as a predestination paradox, and the resultant philosophical questions are rarely thought about in the series. If two time periods are featured, the effects of a paradox will usually be visible in the future only "after" the cause has happened in the past see Meanwhile, in the Future Interestingly, series rarely have the same result to paradoxes even in the same show.
The most common effect of a paradox, on TV at least, is to trigger the Reset Button and unmake the entire episode's consequences. Theoretically, a paradox that consists of two mutually-exclusive events can have one of two results: On the flip side, it also means that it's impossible to completely Set Right What Once Went Wrongas the "original" timeline will always be unchanged.
If time is somehow dangerous besides from paradox, it's Time Is Dangerous. Future Trunks travels back in time to change the past, although he knows that this will not affect his own past or future since each timeline exists as a separate dimension, changes made in one time line will not affect the others.
Because Cell was also traveling around, but then Trunks prevents Cell's trip, fans have theorized that there are at least five time lines: The first implied time line is the one visited by the Trunks native to Line 3, the Trunks killed by Cell so that he could go back to Line 1. This time line would proceed identically as Line 1 up to the point of Cell's discovery; after that, all fans have been able to guess is that the androids were somehow defeated.
The commonly-accepted suggested by the Daizenshuu guidebooks theory is that Bulma built the deactivation switch just like she did in Line 1 but Kuririn didn't destroy it, and Trunks took it back to Line 3 to use on the androids there.
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Of course, it was the very discovery of Cell that lead Trunks and Kuririn back to Dr. Gero's lab in order to get the blueprints Bulma used to build the switch The other theoretical time line is one Cell would have visited, if the Trunks native to Line 2 didn't kill him, using the strength gained from his training in Line 1.
This line would proceed identically to Line 1 up until Cell's discovery, as well, so the Trunks visiting this time line probably won't be strong enough to defeat Cell, if he comes from a time line where Cell is waiting to kill him if he kills the androids and Every instance of time travel in the stories and there are many invariably generates paradoxes like these. Characters go back in time to save themselves, information comes out of nowhere, etc. Of course, no explanation is ever given in the books.
Your Name gets into one of these once the time travel aspect is revealed. Taki and Mitsuha have spent the last few weeks randomly swapping bodiesuntil it abruptly stops happening. Taki tries to find Mitsuha, only to discover that they're three years out of synch — he's in while she died in when her town was destroyed by a fragmenting meteor. Armed with this knowledge, Taki tries to force one more mind-swap. He succeeds and, working with Mitsuha and her friends, they ultimately manage to evacuate the town to safety, saving all.
This has absolutely no effect on Taki or any of the other events of the movie, except for the ending, where a now-living Mitsuha finally meets Taki face-to-face in There are a large—but not infinite—number of alternate universes, that deal with what ifs. If someone in those timelines goes back in time to change something, it will create a new timeline that's an offshoot of one's own from that point. No going back and killing Hitler, Cyclops notes when told this—the idea being that if you do so, your own timeline will be unaffected.
Oddly, this doesn't seem to be the case in the comic universe. Except when it is that way. You don't think that any two comic writers actually agree on how this stuff works, do you? In the end, it is fundamentally, philosophically important that the idea that alternate universes branch off only as a result of time travel is true.
This is generally accepted; however, it has been shown that Doctor Doom has invented technology that allows this rule to be broken in PAD's X-Factor run. This is the reason time traveling villain Kang the Conqueror keeps multiplying, often despite his own wishes.
One run of Thunderbolts ended with the present-Thunderbolts meeting the past versions of themselves. Fixer killed his own past self, and the universe promptly began collapsing. Fixer resolved it by having himself de-aged and his memories erased, in order to replace himself in the past.
He thereby condemned himself to live in an infinite loop, reliving the same period of time over and over for eternity.
One exception, however, are the Space Phantoms, servants of time-traveling The Avengers villain Immortus, who learned the hard way how dangerous this sort of thing is. Apparently, the Phantoms learned time travel before they learned space travel, and when a civil war broke out between them, each side tried using time travel to change the outcomes of important battles.
If a side did so successfully, the other side would try to undo it, again and again, until finally, the constant meddling with the temporal flow destroyed their world, leaving them a Dying Race trapped in the dimension of Limbo who are little more than slaves to Immortus' will. Grant Morrison 's legendarily complex and metafictional series The Invisibles hinges itself on contradiction, and details several brainbending temporal paradoxes.
It would perhaps be remiss to go into any of them here in any great detail. Basically, if you like that sort of thing, go read The Invisibles. The fellow members of The Hierarchy that the Overlord was planning on betraying go back in time to stop him before he can carry out his plan. He compliments their ingenuity but mocks their attempt, pointing out that this would only create a temporal paradox that would result in an alternate timeline, it wouldn't stop what they've already seen him do in the future.
However, even that rests on the assumption that he could be killed to begin with. Mighty Morphin' Power Rangers: Shattered Grid has a very painful one.
Fan Works In the Facing the Future SeriesSam decides to try getting ghost powers for herself when she discovers that her future self just so happens to have ghost powers just like Danny does.
Film Interstellar features a semi-temporal paradox, baring a similarity to the Reverse Grandfather Paradox. Pretty much every film in the Planet of the Apes franchise. In the Back to the Future movies, Doc Brown is very concerned with temporal paradoxes. However, the effects of time travel are different in the various movies.
Fanon has justified this in various ways; for example, saying the time traveller is only affected by his own changes to the timeline, or by saying that he will be unaffected as long as there's somewhere in the timeline for him to "slot in" - changes to his situation in the new timeline are shrugged off, as long as he exists somewhere. The documentaries on the DVD set mention how the justification was that there's some entity that regulates time itself.
The partial deletion over time of Marty, why both Jennifers fainted when they met each other, and why even with relatively major changes to the timeline, Marty's family, home, and association with Doc Brown and Jennifer remain largely the same. They wanted to explore this aspect, but couldn't find a way to incorporate it into the films without it being obtrusive.
The Other Wiki has more information here. One possibility is that there are two Martys, just as there were in and when he returned to Much stranger is how Biff, when he returned toreturns to the version where he is a loser, instead of the one where he is rich.
The only clear reason for this was so that Marty and Doc could get the DeLorean back. The Lake House is a story about a mailbox that delivers letters from Kate to Alex two years ago and vice versa. Alex dies in a car accident on Valentines Day. Two years later, when Kate realizes that, she sends a message to Alex two years ago telling him not to be there, and he survives. It should be noted that the Korean movie this movie is based on dealt with the paradox differently: The female character sends the warning back in time, but the male character remains dead.
Meanwhile, the insertion of the warning splits off an alternate universe where the male character survives, and the movie ends with the male character meeting the female character, just as the female character is moving into the house, before she's even gotten the first letter. The guy has quite a story to tell her.
Since the movie ends there, by the way, it's unknown whether the female character would have ever started the letter-exchanging if the guy hadn't The horror film Triangle has loads upon loads. How it works, nobody knows, as even Phelous can tell you. Frequency depicts basically the same situation as The Lake House— due to abnormal sunspot activitya police officer and his long-deceased father are able to communicate across a year gulf of time over the same CB radio set.
The son first saves his father from dying in a firefighting mishap, only to discover that he died of lung cancer a few years later anyway.Solution to the Grandfather Paradox
But he then manages to convince him to quit smoking. After sleepwalking away from the place where he was supposed to die, the eponymous character is caught in an unstable time loop that he must close. When he moves himself and the jet engine that should have killed him back into the past, he closes the loop by dying in the way that he should have from the beginning, negating everything in the time loop.
This causes everything that was changed by his time travel to exist outside of the normal timeline without affecting it. It's pointed out in the movie, more explicitly in the extended cut, that the cause of the time loop only happened because of the time loop; in the final timeline the jet engine falls into the past and kills him for no reason whatsoever.
In-universe speculation is that a deity or other being outside time caused it for reasons of their own. The whole plot of the movie The Butterfly Effect revolves around the main character's ability to travel back in time and change parts of his life. Every change causes his brain to physically rewire itself with the new memories, though, and this causes intense pain for him.
If Goob made the catch and won, getting himself adopted and never becoming the Bowler Hat Guy, Lewis would never have learned that Goob became that person, and never bothered to prevent it.
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And he wouldn't known not to create Doris. Averted in The Time Machinewhere the time traveler attempts to save his fiancee, but she always dies on the same night no matter what he does. He travels into the future to find out why. In the far, far future, he learns from a more evolved human that if he saved her he would not have the motivation to build his time machine.
Apparently, a paradox is allowed if it doesn't prevent the time travel device's creation, though. In Wishmasterthe main character gets one wish from the evil djinn, after which it will be freed to work its evil upon the world unfettered. She wishes that a particular forklift operator had not been drinking on the job a few days before. Since he wasn't drinking on the job, he didn't drop a particular crate.
Since he didn't drop the crate, the statue inside never broke. Since the statue never broke, the gem inside was never uncovered. And since the gem inside was never uncovered, the djinn trapped inside it was never released. Since the djinn inside it was never released, that means he never granted the protagonist's wish! And if he never granted the wish, then he was released after all! Literature Lazarus Long, protagonist of Robert A.
Heinlein 's Time Enough for Love creates a time machine and argues that it would not be possible for him to change the past, because in doing so he would also change the future—in the essence, negating his own existence, or at least the details of it—and making his own journey into the past improbable at best, if not impossible. David Weber 's The Apocalypse Troll has the characters discussing the theories about time travel — one it's not possible has been disproved by the fact that one character just did, to arrive in the time of the discussion; the other two, that the future will be altered by what she did or that her presence has caused an alternate world to split off, can't be proved or disproved by anything they can do now.
They end up assuming the alternate world and thereafter ignore the question. The Time Scout novels avoid Temporal Paradox by the timeline including built-in safeguards; safeguards which are dangerous to time travelers.
The most prominent are first, that you can't change anything that's important to the timeline—some improbable accident will occur to prevent it, no matter what you try—which is dangerous, as although some people, objects and events are obviously important to the timeline, there are even more that aren't obviously important, but just as crucial ; and second, that if a time traveler ever arrives at a time where they already exist, the most recent version dies instantly to prevent them from doing anything to their past selves that would undermine their current presence.
He spends the first part of The Waste Lands fighting off insanity because of the paradox this creates. To say nothing about what happens to Jake in the first part of The Waste Landswho is both alive and dead at the same time.
The Caretaker Trilogy has an interesting take on this: It's said that there is some natural "force" that prevents paradoxes from occurring. Exactly how that works is not explained, because the protagonist apparently doesn't have the necessary education to understand the specifics. Time travel is forbidden in The Dresden Files because it might end up destroying the fabric of reality. Theon is also there and says nothing. Next, Yara does indeed ferry said Dornish, and we really, really wish that no one said anything at all on this trip.
But even without that charming context, it very much tracks that Yara and Theon look out for one another. Better than the Fakes?
In the middle of the—you guessed it—overly stylized fighting, we see both Yara and Theon holding their own fairly well. However, they lose, and things take a major turn for Theon when Euron captures Yara and holds a blade to her throat.
But more and more by rewatching this, we just see it as setting up Euron to be some kind of weird big-bad for Theon to take down as a proxy for Ramsay.
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- List of paradoxes
In fairness, Yara being threatened by Euron could have reminded Theon of Sansa in duress and served as a trigger. Yara even has a reaction shot of her looking put-out and disappointed by the whole thing. Then she disappears for the rest of the season. Theon, meanwhile, gets fished out of the sea by a boat of grumpy Greyjoy men who were loyal to Yara apparently?
They get very mad at Theon for being alive and deduce that he must have run away or not really tried to save Yara, rather than any of the other thousand possibilities for why someone could end up in the ocean after a battle on ships. Also, these assholes are alive, so are they admitting to being cowards? Were they some kind of weird rear flank? Do they have names? The kinda-prisoner and also king of a different land?
So much for him catching up with Brienne. Theon decides this is a great time to talk to Jon about his character arc, since Jon has been so intimately involved with it. Like that one time Theon and Jon were both in the room to get a shave and a haircut.
He also notes how impressive Jonny is because he never has any moral dilemmas, and never tells lies. Jonny is more humble than anyone and kind of dismisses that praise, but tells Theon how he should have been more appreciative of the people who were holding him hostage, because they were good people.
Ned would even slow clap for his daughters sometimes. Then Jonny, working hard on his 8th grade book report, decides to resolve the whole thing for Theon: This also somehow leads to the revelation that he has to go save his sister, who he already wanted to save, because she was nice to him, just like the people who had been holding him hostage. Theon decides that to save Yara, he has to convince Hagrid Harrag and all of his buddies to join him.
Theon finds this out and reminds them that Yara gave it up after Deadpan asked her to but not before. Theon seems to be getting his butt kicked, until… Ugh. So that naturally means he feels no pain at all when slammed in the groin area, and in fact seems to enjoy it. Then he proceeds to win the fight! We guess fights are the Ironborn equivalent of parades? And there we go: It seems oddly familiar to us, mostly because he decided that his actual loyalty should have been to the Starks in early Season 3, and explicitly said that to Ramsay at the time.
And this is a place that triggers the worst of that experience. Boy, do they gush about the looks Alfie Allen is able to give the camera. We really, really found this in bad taste—the whole arc, frankly. Why is Jon in any position to judge any of this? Because he can never tell a lie?
And why was that framed as being more significant than Sansa already having forgiven him two season prior? Theon wanted to save Yara as soon as he arrived back at Dragonstone following the battle at sea, and then still wanted to save Yara following his conversation with Jon. Was being told of his Strayboy roots the confidence boost he needed to talk to Hagrid again?
And if so, why?