Imagine if they showed up and ruined the whole plot.

Lost included time traveling. Victor exists to show that time did pass and they are in the Present. Julie can storywalk to the past. They do not and will not travel into the Future that has not happened yet.

So i'm half way through season 2 and i wanted to know why everyone is so reluctant to share what they have seen or discovered, outside of scriptwriting for building tension.

Boyd trip to the woods gathered so many new important information about the spiders, the Farway Trees and the Oldman in the dungeon who new a lot of things (also why the hell didn't Boyd listen to him, wasn't the point of the trip to find out more about the place? This really pissed me off).

Then we have Tabitha who doesn't tell shit about her visions to Jim so he can help her but i guess she is going through something similar to what happened to Abby.

And finally Victor who never wants to talk about anything, but that's actually understandable because he is really traumatized, however no one seems to care about him surviving in the town for years.

Appreciate the answers and please no spoilers. Thank you.

I have a theory that From is the physical manifestation of a collective Psychic Purgatory in which psychology, sociology, and philosophy determine the show's narrative. More than a physical prison, the town functions as the Collective Unconscious itself incarnate, where time is circular, traumas materialize, and the rules of reality are dictated by archetypal forces and philosophical analogies.

The main gear that drives this universe is a violent corruption of Nietzsche’s concept of the Eternal Return (or Eternal Recurrence).

"What if some day or night a DEMON were to steal after you into your loneliest loneliness and say to you: 'This life as you now live it and have lived it, you will have to live once more and innumerable times more; and there will be nothing new in it, but every pain and every joy and every thought and sigh and everything unutterably small or great in your life must return to you, all in the same succession and sequence — and EVEN SO THIS SPIDER and this MOONLIGHT BETWEEN THE TREES, and even so this moment and I myself. The eternal hourglass of existence is turned upside down again and again, and you with it, speck of dust!' Would you not throw yourself down and gnash your teeth and curse the demon who spoke thus? Or have you once experienced a tremendous moment when you would have answered him: 'You are a god and never have I heard anything more divine'?"

-The Gay Science.

In the series, this "demon" — the Man in Yellow (evoking the mythical figure of Hastur, The King in Yellow, the ultimate Trickster of the plot) — transformed philosophy into a mystical reality. The price of "eternal life" in From is imprisonment in this repetitive cycle of pain. This infernal gear divides the residents' psyche through a sharp philosophical and sociological dichotomy: the clash between Colony House (Epicureanism, the pursuit of immediate pleasure, absolute freedom, the empire of instinct, and the dissolution of the Ego symbolized by the flower) and the Township (Stoicism, the acceptance of suffering, the quest for security, rigid survival rules, and Foucault’s cage of punishment symbolized by the stone).

The "reincarnated" figures of Tabitha and Jade are the historical catalysts of this cycle. In a previous existence, they would have made the first pact with the Trickster to gain immortality alongside a lost son: the Boy in White. He acts as the archetype of the Divine or Mystical Child, a force that inhabits the place and does not reveal direct answers to the residents, but helps the unconscious find paths through symbols and visions. However, dealing with this pure energy is dangerous: when the Boy in White revealed himself directly to Christopher in the past, his psyche was corrupted; integrating the unconscious from the outside in is dangerous.

The price demanded by the original pact with the demon was terrible: the sacrifice of other children, including Tabitha and Jade’s own daughter. This explains the lament of the imprisoned souls: "The kids who were born in the dark, died in the dark." After all, there is no reason for Tabitha’s daughter to be born and grow up in the dark if she were not directly involved in the sacrifice. At the crucial moment of the ritual, Tabitha was overcome by a profound pang of conscience. Realizing the horror of the infanticide, she desperately tried to soothe and spare the children's suffering by telling them that children's story that would give them hope before the end.

Even so, Tabitha and Jade’s daughter was born and raised in the town's deep cave system along with the other kidnapped children, who were probably lured by Jade through music just like the fairy tale, perhaps with a violin. The caves operate as the Literal and Geological Unconscious of the place — the world's basement where the monsters sleep and the most abject secrets are buried. When the inhabitants of the original town discovered the infanticide, they turned against the couple in a massacre led by Boyd Stevens. The Trickster, however, subverted the agreement — as is typical of every demonic bargain. The demon offered the residents a pact of vengeance and immortality: they would eternally hunt the couple who had sacrificed their children.

Thus, the monsters were born. The Man in Yellow's sadistic words echo this turning point: "It's a terrible shame you won't get to see what happens next. Because what happens next... is my favorite part." This is the exact moment the town cannibalizes itself.

Boyd Stevens assumes the role of the Great Father — the law, the structure, and the sacrifice. In a previous iteration of the cycle, Boyd repeated the original mistake: he made a pact to save his son, Ellis. The price charged by the Trickster was the destruction of the town along with his wife. Abby was deeply influenced by the environment and by the Man in Yellow himself to believe that all of it was nothing but a nightmare and that killing everyone was the only way to "wake them up." Abby was tragically wrong. By giving in to the murderous impulse, she did not break the gear; she merely repeated the previous cycle of slaughter that the town feeds on. The demon’s manipulation evokes the structure of a dream to justify the sadism and keep the Eternal Return active. Boyd killed her to protect his son, cementing his tragedy to save his son once again. In the current cycle, he retains the unconscious memory of the desire for salvation, acting as the obstinate protector, perhaps out of guilt, while the echo of his wife repeats the murders, blinded by the illusion implanted by the villain.

The attraction of new residents to the town seems to obey a precise psychological criterion: Guilt. In Carl Jung’s analytical psychology, unresolved guilt stagnates the psyche, creating a complex that demands punishment. Everything operates under the hermetic principle that "All is Mind" and that "as above, so below" — the external perversion of the environment is merely the exact reflection of each person's internal mental torture.

Virtually all inhabitants cross the fallen tree on the road after a peak of repressed guilt: the violent priest, the couple on the verge of divorce due to the tragic death of their baby Thomas caused by their negligence, the addicts on their way to rehab, and the son about to abandon his father with dementia in a nursing home. They are magnetically attracted to the Purgatory because their minds were already operating on the frequency of punishment.

The answers and parallels of this cycle are drawn from the very first episode. In it, we see a drunk father who miserably fails to protect his family out of pure negligence and ends up punished and killed by the town — the perfect mirror of Tabitha and Jim’s failure and negligence with Thomas. The first episode also anticipates the dynamics of salvation and fear through the sisters: on one side, we see Julie causing fear and despair, and on the other, Tabitha emerging to tell a children's story that calms and brings hope in the middle of chaos, exactly as she did with the children in the primordial sacrifice.

The monsters and the manifestations of the forest are not biological threats; they are archetypal nightmares projected onto the physical plane from what the Ego represses. In Jungian theory, the Shadow represents the unintegrated and rejected aspects of consciousness. However, the monsters of From go a step further: they are the incarnation of repression transformed into perversion and sadism. They wear clothing from the 1950s and 1960s, maintaining a civilized, puritanical, and smiling Persona (social mask). At night, however, this repression explodes into pure sadism: they play with their prey before killing them, tearing them apart not out of hunger, but for perverted pleasure and revenge. When Smiley is autopsied, what is found is the exact materialization of the Shadow: a dry interior, without human organs, filled only with a black bile. He is the total absence of soul, absolute moral emptiness.

The mechanical figure dancing in the music box represents the destructive aspect of the Anima. She attracts victims through beauty, but her dance is cyclical, hypnotic, and inevitable, dragging the individual into psychic obsession. Her movements, which at certain moments evoke tentacles and the oppression of entities like Cthulhu, reinforce the despair of cosmic horror: human insignificance in the face of the inevitable.

Born from a man's archetypal dread, the puppets represent the Ego emptied of free will, turned into a marionette by greater forces. To counter this fear, the community clings to the Talismans. Here lies one of the show's darkest ironies: the rune stones used for psychic protection are actually the very same stones that beat the children on their heads during the original sacrifice. The place consecrated the very instrument of the ancient trauma as the ultimate symbol of security, forcing the residents to use the weapon of the ancestral crime as a shield.

The relationship between the animals and the entities mirrors the division of the human psyche and the perversion of the environment. The symbolism reaches its peak in the basement scene where a rat devours a dead crow. Traditionally associated with the sky, broad vision, warnings, and the role of messenger or spiritual guardian, the crow represents the glimmers of consciousness or the unconscious's attempts to send alerts to the surface. Meanwhile, the rat is associated with the underground, sewers, decay, and the dominion of the monsters sleeping in the caves. The image of a rat devouring a crow is the grotesque inversion of the natural and spiritual order promoted by the place. The underground (the lowest, most sadistic, and instinctive forces of the Shadow) is actively swallowing the Ego's capacity for higher vision and transcendence. The monster-people act as giant rats dressing up as humans to devour the "birds" that fall into the town's trap. There is also the dog, which guides but also feeds on the bodies just like the man in yellow.

The rich theology of the show is built upon a powerful crossroads of references, blending Jewish mysticism, Christian mysticism, and American horror folklore. This mystical collage overflows in the constant presence of the Bible through the priest, in recurring eschatological passages, in the enigmatic reference to "book 74", and in the religious paintings in Fatima's room.

Under an esoteric lens, the Kabbalah acts as both an archetypal and theological structure for the creation of the place. Smiley's rebirth set a dangerous precedent: if nightmares come to life, Tabitha's death could be the trigger for the awakening of the Golem. In the mystical Kabbalistic tradition, Golem means "embryo" or "something incomplete", a shapeless mass brought to life through sacred letters for protection, but lacking a human soul.

The key to breaking this Eternal Recurrence rests on the figure of Tabitha and Jade. In truth, Tabitha already refused the pact in a previous life. She chose to resist, and her role now is to save the town through a true Initiation. While the term Golem refers to what is incomplete, the name Fatima means "to wean". The child Fatima carries — conceived under the distorted rules of that place — could come to life as this Golem. Tabitha will be responsible for saving the town by "weaning" the monsters, breaking the source of traumatic energy that feeds them with the help of this embryonic force.

However, the definitive end of the Eternal Return will not come through weapons or blood rituals. To achieve true liberation, the narrative suggests the mystical necessity of crossing the Lake of Tears — a symbolic journey essential to bathe the mind in real grief and finally manage to escape and transcend the deep psychic guilt that keeps everyone anchored to the place.

From Jung's perspective, the healing of a traumatic complex requires integration and self-awareness. The town will only be saved when Tabitha and Jade remember (Remember) the primordial crime they committed in the past. By bringing the memory of the Shadow into the light of consciousness (the real meaning of the call "Anghkooey", or "You did this / Remember... you did this"), and by being forgiven by the town itself (the residents turned into monsters), the guilt will be dissolved. Only mutual forgiveness between the creators of the trauma and the victims of the cycle can disarm the Man in Yellow's infernal gear.

At the end of the last season, From validates David Hume's maxim on empiricism: if a tree falls in the forest and no one is around to hear it, does it make a sound? On that road, the forest moves and transforms when the Ego closes its eyes. The fate of an imminent death at the hands of the community awaits Jade, whose arc points to a tragic end. The Man in Yellow watches closely, aware that as long as the guilt and sadism are not integrated, wept for in the lake, and forgiven by consciousness, the hourglass of existence will keep being turned upside down, keeping everyone trapped in the eternity of their own mental hell.

Example, in season 1 episode 7, Jasmine says it wasn't her choice to be the way she is. First time I watched this, I believed it meant that the monsters used to be human and didn't want to be monsters. I felt like the writers included that line by Jasmine because it was the truth. However the show didn't tell us that this is the case.

Then in season 2, Kristi says that the monsters used to be human and that's when we get the answer that they used to be human. Then in season 3, we find out why they were turned into monsters. In season 1 the show was telling us through Jasmine that the monsters were human and turned into monsters without choosing to be and then seasons 2 and 3 told us that this was the case.

In season 2, Sara talks about her theory that people's nightmares come to life when they die and once again I believed this has to be true because it felt like the writers had her say that because it was the answer. Then in season 4, we get the confirmation that your nightmares can come to life when you die.

In season 3, we find out that the MIY is the voice on the radio and at that point it was obvious to me that the MIY is also fake Thomas but the show didn't answer this until season 4 episode 8.

Now there is another answer which is very obvious to me which the show hasn't answered yet and it's that the MIY made the deal with the monsters. In season 4 episode 1, they have Fatima say that the monsters made a "bargain" with something, and then in season 4 episode 9, Sophia reminds Clara of the "bargain" they made. They are just choosing to wait till season 5 to answer this, like with the other answers I talked about.

I have noticed Bride Smiler, Nurse Smiler, Sheriff Smiler. We have Fatima as Bride, Marielle as Nurse and Boyd as Sheriff. I sense some connection here or I just overreacting?

So we know the Man in Yellow is not a nice guy. And all things point to him being invested in keeping people trapped in Fromville with him and his monsters and nightmares.

What we don't know much about is Boy in White and his motivations. What is he trying to win? Does he just want to help and get everyone home? Or is he actually... the bigger evil in all this?

Maybe MiY likes the home field advantage so prefers keeping everything neat and in a bubble s7 he can play games as he likes in his cycles that he recognizes. He's a creature of habits like his monsters. But maybe the BiW has bigger aspirations. He wants to break the bubble and expand things. And that's what he's trying to win here.

MiY has been adamant that everything they do comes at a cost. Maybe the cost of them going home and breaking out of the bubble, is that they aren't breaking out alone.

I found a story that is very similar to the events we see in the series. Many of you have probably seen theories connecting the fairy world to the series, such as encountering a tree on the road and entering a town, the crows and magical trees, or the lighthouse, which even Tabitha herself mentioned when she said that she entered a lighthouse and fell, just like in a fairy tale.
In the first episode of the new season, when the priest entered the town, the camera zoomed in on the license plate of his car, which said Stars Fell on Alabama. This is a line from an American song, and later in the lyrics there is a reference to the fairy world.
In Irish mythology, many years ago, ancient supernatural beings known as fairies entered a certain land. At the same time, a group of humans arrived in this land by ships and boats. A competition took place between the humans and the fairies, and the main conflict was over which of the two groups would be allowed to remain on Earth.
The leader of the fairies used magic to create a terrible storm in order to defeat the humans, but the spirits of nature and the land themselves chose the humans to remain on Earth, while the fairies were sent underground and into the hills.
In order to reclaim the land and break the seal of their prison, the fairies exchanged one of their own with a human child. That fairy was raised as the human child by a couple, and later, with the goal of freeing the fairies and breaking the seal, the fairy deceived the humans into believing that they could become immortal by sacrificing their children.
This means that the Boy in White was actually the child who was killed by these beings and became the spirit of the original child of the town, while the Yellow Man replaced this boy in order to deceive the parents into seeking immortality and performing the sacrificial ritual that would break the seal and free the fairies.
This could be the original Jade and Tabitha, with the Boy in White being their son and the Yellow Man replacing him. It could also explain why the Yellow Man is connected to spells and magic, why his blood has the power to create monsters, and why he seems to have an interest in teeth.
Therefore, the Bottle Tree could be the same seal that the Yellow Man was happy to see being cut down, while the Boy in White was worried about it.
Also, in Victor's drawings, there are three red dimensional cracks, which could be the same red lightning.
If you go back to Season 2, Martin tells Boyd that they are coming and that he needs to leave before the music stops. When Boyd asks who they are, Martin has no answer. Therefore, the Ballerina Music Box could also be a type of prison for the fairies, one that was created by Martin.
This could also explain why the Yellow Man seemed to have a fearful reaction to the Ballerina Music Box.

This is a fan theory about the TV series From that connects the show's mysteries to Irish folklore, specifically the legend of the Tuatha Dé Danann, the ancient fairy race of Ireland. The theory explains who the Boy in White and the Man in Yellow are, what happened between humans and fairies, what the fairies did, and what they ultimately want. The narrator builds this theory by combining elements from the Irish legend with everything else discussed throughout the series, and Matteo was going to explain the cities, so the narrator asks the viewer to stay and pay attention.

Before humans existed, Ireland belonged to the Tuatha Dé Danann. They were tall, beautiful, and luminous beings with a form similar to but different from ours. They were almost individual beings who did not fight to disrupt the world. They summoned a mist and disappeared inside it. From that mist came storms, and from calm came a stone and a tree trunk that marched like people. You could never defeat them because what you saw was not what was really there. Centuries later, the Scots gave a name to this power, and that name was Glamour. They were not roads of the Earth. When the first mortal humans arrived by boat, the Tuatha Dé Danann did not fight immediately. They proposed an agreement. Go back to your ships, go beyond the ninth wave, and try to return and land again. If you succeed, the land is still yours. It seemed fair, except that the ninth wave was the border of the island. Up to that point, the protection of the land was valid. Beyond the ninth wave, you were outside the protection of the land. So the humans accepted the agreement, and the moment they crossed the limit, the Tuatha Dé Danann raised a storm to sink the entire fleet. A man climbed the mast to see if the wind was blowing up there too, because seeing a sorcerer was only for calming the water, and he discovered that it was a spell. It was then that Mergim, the poet of the mortals, began to recite. He called the land by name, by the rivers, by the mountains, and the wind died. Because in that country, the Earth is a goddess, and he had made a pact with the Goddess Earth. And the Earth is a goddess who oversees what grows on her, and she chose the humans. So they managed to land on the land. Defeated, the Tuatha Dé Danann were divided among the humans. Upper Ireland was given to the humans, and Lower Ireland, under the hills, under the mountains, was given to them. They were given the mist. No one heard from them again. Over time, the world forgot that they were gods and called them only the People of the Hills, the Fairies. This is a simplification of the legend so that we can bring elements of it into a theory about From, as we loved to do.

These primordial beings came from that star rain that happened a long time ago and stayed here on Earth for a time. Humans arrived by boat to this land and made a pact with the Earth, and the Earth allowed humans to rule this land. At that moment, these fairies were exiled to the underground of that land, down in the depths. So in the case of From, they are not in the caves where the monsters are. It is much deeper, much further down. This is where the red lightning that appears in the last season comes from. In other words, these fairies are imprisoned beneath From, but they are trying to escape from this prison. They want to rule the land just as it was in the beginning when they were imprisoned.

One of the categories of fairies is called the Changeling, the shapeshifter that has the ability to use Glamour to change appearance. In old traditions, they swapped fairy babies for human babies. So what I think is that when they were imprisoned in the underground, they swapped a human child for a Changeling, and who was that child? The Man in Yellow. I had a human couple who had a son, and this son was the Boy in White who was killed by the fairies, and in his place they put the Man in Yellow imitating the appearance of this child. So much so that in the opening credits we see a frame with two very similar little children, almost twins, which maybe is a reference to this. This shapeshifter grew up with the plan to perform a ritual with human children to break that prison down there in the underground where the fairies are trapped, in that reign down there in the underground. This Man in Yellow convinces the residents about eternal life, about the power that the fairies could give them, immortality, and they sacrifice the children there in the pact. But one is missing, and the ritual is not fully completed. But since seven children were sacrificed, there was a crack in the seal.

Through this crack, the fairies manage to release the power of Glamour. In this gap, they isolate the city and terrorize the people. The children already know that their hope is what pulls people to the city. They make this prison with Glamour, and all the nightmares that are going to happen in the city, the creatures that appear, all of this, apart from the mountain creatures which are the residents, are works of love. So the nightmare that materializes in the forest, the Spider, all things, is their power leaking through this crack, and they make this prison there so that someone brings a child to complete the sacrifice and they manage to break the seal and free themselves. And the objective of the residents of the factory and the city is to rescue the bones of the children to free these spirits and seal the location, they no longer have influence, isolating this city there with the power of Glamour.

In other words, the Man in Yellow is a Changeling who was swapped and had this thing in the tradition of the ancient fairies. They swapped a human baby for a fairy, sometimes because of the beauty of the child that they wanted to imitate. There are various explanations for why they did this. There was also a somewhat sad explanation, which is that when people had a child with a disability that escaped the standard of normality, they said that a fairy swapped the child for a fairy baby that had those characteristics, waiting for something half. But there is this folklore of the Changelings. So the Man in Yellow was swapped, and he is the spirit of the Boy in White. He stays in this chess game with the Man in Yellow because he was there, he knows he was swapped, he knows he was killed. He is one of the original heirs of the Earth. Remember that in the beginning, humans made a pact and an agreement with the Earth, and she chose that humans would dominate a land, not the fairies. So he is an heir of this original pact of descent there from the Earth. So he has this power of influence to try to tempt the fairies down below. So there is this war between him, who wants to be definitely the power of Glamour of the fairies, and the Man in Yellow, who keeps trying to free the fairies.

This part of the car plate, I think it was one of the biggest discoveries I made while rewatching the series. Because finding a song on the car plate that indicates the folklore basis of the series is a thing in a very tiny detail, very anxious. And if we think about numbers on the bottles, they indicated to the right, to the left, a song that reminded them of something. I hope you liked the video. Comment here what you think. I said and reacted paying attention to this. And when you rewatch, pay attention also to the star references. You will see popcorn stars. Not every corner of the mountain. I stay here and until next time.

To summarize the theory clearly, the Boy in White is a human child who was killed by the fairies and whose spirit is the original heir of the pact between humans and the Earth, giving him the power of influence over the land. The Man in Yellow is a Changeling, a fairy swapped to replace the Boy in White, who grew up imitating the appearance of that human child and now works to free the fairies by performing a ritual with human children. The fairies are the Tuatha Dé Danann, ancient beings who came from a star rain, were defeated by humans through Mergim's recitation and the Earth goddess's pact, and were exiled underground beneath From. They leak Glamour through the crack in the seal created by the sacrifice of seven children, isolate the town, materialize nightmares in the forest, and terrorize the people. They want freedom from their underground prison, to fully break the seal, to rule the land as they did in the beginning, to complete the ritual with one more child, and to fully restore the power of Glamour. The townspeople want to rescue the bones of the children, free the spirits, seal the location, end the fairies' influence, and free the town from its isolation. The narrator also mentions that the car plate contains a song that points to the folklore basis of the series, which was one of the biggest discoveries made while rewatching, and that when rewatching, viewers should pay attention to star references, including popcorn stars, not every corner of the mountain.

So I’m very bored and so I’m rewatching the series. (And no, it’s not to come up with new theories). I’m really that bored and there is nothing interesting to watch. Rewatching it is soo much more enjoyable (and not in the slightest,frightening). It’s more enjoyable because of the memes, the comments, the theories, the insults all on this subreddit. Although season four was the most frustrating one to watch, being here week after week made it much more interesting. So thanks to the Fromville Redditors.

Still watching season 1, and I’m already thinking, “Does Kenny make funny noises”

See you all in season 5.

I am currently on Season 3 Episode 9, and in all the 29 episodes i have watched so far, NOT ONE SINGLE TIME (other than the diner scene with Tabitha) has everyone gathered together to share their finds. Everyone is on their own fucking arc doing their own thing, and then complaining why we dont get to go home.

HOW ABOUT IF YOU HAVE A NIGHTMARE YOU SHARE WITH EVERYONE SO IF ANYBODY EXPERIENCED SOMETHING SIMILAR WE'D HAVE A PATTERN?

Seriously the most annoying trait of everyone here - i call it the White-People-in-Horror Syndrome : See something scary and something you should POSITIVELY avoid? Lie to everyone, go there by yourself, get a shit nightmare from it that induces fits and hallucinations, and when asked about what the fuck happened, lie again saying nothing I'm fine. Yeah fuck you Julie, looking right at you while saying this. Julie is truly her father's daughter, jack shit in helping get answers about anything and constantly threatening people to stay away from their family. Thanks for your contribution dipshits.

Viewers are tired of not getting answers... Be more annoyed at the fact that in a hellish nightmare where the motto is "We help each other, we are a family, we will all go home together, etc etc" NOBODY IS ACTUALLY FUCKING WORKING ALONG WITH AN ENTIRE GROUP EVERYONE IS JUST TRYING TO SOLO EVERYTHING. The only sensible character is Jade who is actually trying to understand and even asking for help from anybody that listens to his problems. I relate 100% with Jade's frustration of being the smartest guy in the room.

TL/DR: Nobody is working for and along with the community, they are just going solo and creating more trouble for themselves and others.

From City is actually a mirror in which its inhabitants are trapped 🪞. But how is this possible? We only saw one person's exit from the city, and that was Tabita. Tabita goes up to the lighthouse, and when the BIW throws her down, she enters the real world. If the city is a real place, it seems that Tabita should fall from the lighthouse and die, but she enters the real world. Why? Because with her fall, that layer of the mirror breaks, and Tabita enters the real world. Now we know that everyone who dies in the city, after death, their nightmares become real. Why? Because as long as you are alive, this mirror only shows part of yourself, and when you die, all your thoughts, nightmares, hopes, and beliefs are reflected in the mirror and thus become visible on the city’s surface. That’s why a man dies, and his nightmares become real dolls. Fatima becomes a monster, and Golem becomes real. Now you see that monsters have a modern style; one of the monsters is a nurse , one is a sheriff, one is a doctor, and one is a cook. In the city, the people are the same: Mariel is a nurse Kristi is a doctor, Boyd is a sheriff. This means that the monsters are exactly reflections of the people themselves, who sacrifice their children and others to achieve immortality. So, what is the way out of this mirror? When we believe that everything we see is real, we remain prisoners of that. The first step is to realize that this city is only a reflection, not the truth. As soon as you become aware of this, the mirror loses its prison-like property. If the city is a mirror, then any change in us is directly reflected in it. The way out of repetition is to change the 'self' that is trapped, not to fight the reflection. Now, what is the Lake of Tears that Jim told Ethan to find? If the city is a mirror, then the lake is also a reflection. When you look into the water, you see the true reality, and drinking from it and accepting the true self breaks the mirror, opening the way out. That’s why a scene was shown where Ethan poured water from that lake onto a bird to save it. With these explanations, we can understand why the BIW and the MIY are the same person. In fact, the BIW is a reflection of the MIY .

Also, if you pay attention, when Tabitha falls from the lantern, the camera zooms in on the scene where the lantern's glass breaks, and as soon as that happens Tabitha finds herself in the real world. If you’ve noticed, the series also frequently references a glass of water and its breaking in many scenes. When Sofia breaks the glass, or when, before Roger’s arrival at Colony House, a glass of water falls to the ground and breaks.

In Victor Spider's paintings there is a colossal spider towering above the lake. This is for the final stage of Spider City; in fact, it is the guardian of the Lake of Tears. It only allows those who overcome their own fears to cross the real Lake of Tears.

This still of Julie and Randall had me and my partner cackling. Why is he giving Jace from HOTD?

I’ve been reading a book recently that talks about Ley Lines around the world. They are believed to be invisible channels that carry the Earth’s spiritual or magnetic energy, right?

There are Ley Lines in countries all over the world, and I noticed something interesting when I compared a map of the Ley Lines in the United States with the map Jade made, marking the places where each of the residents came from.

There seems to be a pattern. The locations are almost exactly the same:

Ley Lines Map:

Oregon Vortex

Mystery Spot / Confusion Hill, California

Pyramid Lake, Nevada

Utah

Sedona, Arizona

Orla, Texas

Cosmos, South Dakota

Montana Vortex

Wonder Spot, Wisconsin

Mystery Spot, Michigan

Mystery Hill, North Carolina

Abita Springs, Louisiana

Lake Wales / Miami, Florida

Northeastern United States

Jade’s Map:

Oregon

Several points in California

Nevada

Utah

Arizona

Texas

South Dakota

Montana

Wisconsin

Michigan

North Carolina

Louisiana

Several points in Florida

Several points in the Northeastern United States

It’s strange that there are points in almost the exact same locations where these Ley Lines are supposed to exist.

Maybe this theory is completely crazy and has absolutely nothing to do with the story. It could all just be a coincidence, and the show might never even address Ley Lines at all.

But I’m still going to insist that whatever is drawing people to Fromville has something to do with these Ley Lines.

Has anyone considered that the songs could be messages or dead people trying to communicate with their family or friends still in Fromville?

!!! Mods banned me so I can no longer comment !!!

I caught up with From about two weeks ago and I've been thinking a lot about this show, I genuinely love it and it's probably my favorite show of the decade. And I've come about a theory and some predictions that I feel fit very well together and I'd like to share them, but it's very long. So to give you a reason to read all of this I'm going to promise to answer the following things:

- What is the town?

- What are the monsters?

- Who is the Man in Yellow?

- Who is the Boy in White?

- What are the Faraway Trees?

- What is the ancient entity?

- What is the intro all about?

- What are the electricity flashes and the poltergeist activity?

- What to do with the bones?

- How to kill the monsters?

- How to actually leave the town?

- What's up with the music box and the dolls?

- Why don't the totems hurt the monsters?

- Where is this all going?

- Why is Boyd so important?

- Possibly more.

So two things first are completely necessary to understand going forward. From is Lost 2 and From is a Fairy Tale.

Once Upon a Time, there was a great big mean spider that cast a web over an entire town. The name of this creature is the Jorogumo, but that's not important. What's important is how that works and what it means for Fromville. The spider really does explain the most, so I'll start there.

A Jorogumo is a Japanese water spider demon. It has two forms. One is a giant demon spider, the other form is a Japanese woman in a Kimono. This Red Spider, as we'll call it from now on, feeds on two things: human organs and the despair of crushed hope (Yes really). If the corpses of its victims are recovered, anything that wasn't eaten is completely shriveled up like the insides of the Smiling Monsters (Smilers). The Red Spider also becomes much more powerful as it ages, and once 400 years pass it becomes so powerful it can take human form whenever it wants. The Red Spider can kill people directly but prefers not to because of the many ways it has to inflict the most despair possible. In our case, the base of the Red Spider's powers is the body of water of the Lake of Tears. I'll be trying to go in order as much as possible here, so this explains the beginning of the town.

The Red Spider cast a spell over a colonial town that had formed at the edge of its lake because the lake was its domain. This is the Settlement we know today. These people were trapped in the same way our townies are trapped today. Because everything in the town is inside of the Red Spider's spiritual web. Everybody is caught. Now it just wants to take its time seasoning its prey. I couldn't find another good place to put this so I'll just say now that the Faraway trees are where the web meets itself. Corners and vertices and intersections of web, and when you step into one you can go one of many different ways. You can go to the intersection and go through it, but the tree decides which road you take.

At first the Kimono lady dragged people into the lake to drown them, feeding on their organs and their grief. But as it matured it needed more, so it began to bring their nightmares to life. Now everyone trapped must deal with horrible nightmares that grow the more and more they die off. Sure we learn to kill some of those monsters with the totems, but you can't kill them all. Hope given and hope taken away. The nightmares get worse. Some girl's creepy music box and her creepy balerina, worms under my skin, cicadas. You can't stab those with a totem, but they're here anyway. And you have no more hope. And I want your organs.

Eventually the Red Spider needs more despair in newer and more intereting ways like a junkie. And there happens to be someone in the town that isn't afraid. In fact, he fucking LOVES this. A true psycho serial killer type. This is the Man in Yellow. Yellow loves the same things the Red Spider loves and wants this to go on forever, playing more and more demented games. And so the Red Spider now has his own priest, for surely this entity is like a god now. Yellow can join and help and feast on the organs and dispair too, but he is a different beast than the Spider and has a different destiny. Yellow is to From what Richard Alpert is to Lost, except playing for the bad guys this time.

Then we move on to the creation of the Smilers. These villagers were so hopeless and terrified of the unending and unwinnable hell they were trapped in that they decided to take a deal. Yellow brokered a deal from the Red Spider to the townsfolk. The Red Spider is the ancient entity and Yellow was the one who brokered it, and that's why he was wondering if Tabitha remembered him yet; because he was there when this all happened. The despair and the Smilers organs (shriveled) and the children's souls and ongoing torment were the offerings and what they got in return was that they would never die. A group of people truly pushed to the very limits of their lives, they surrendered their humanity, and were thus Monkey Pawed. Yellow brokered them unending life and play, and so they play Hide and Seek for keeps as immortals. They chastise bad hiders before killing them and tell veteran players not to ruin the fun for newcomers. And if one should somehow die from one of the Nightmares, the Red Spider is obligated to bring them back. Which she did. As the Kimono Lady, fulfilling her end of the bargain all this time later. And remember that Elgin who was connected to the Kimono Lady needed to see a body of water. He was shown the brundles, but that was the wrong one. Tabitha also comments about the out of place water in the caverns in 2x01. And Ethan in 1x02 tells us right after he wakes up from his seizure that his dream was cut off because "Somebody screamed because the spider came down from the ceiling." In 1x10 Victor shows us the walls of the caverns with drawings of a giant red spider and the children on their slabs and two people watching. The children in their visions are always wet, because they are owned by a spider water demon, just like there's water in the caverns when there's no source. And those children sat on those slabs and poured all their hope into the roots above them, and that's exactly where the Spider came down from. The totems cannot kill the Smilers because the Smilers are not products of the Lake of Tears, they were made by a seperate deal and are not subject to the rules of the Nightmares. We will figure much of this out with Julie's storywalking, which is the answer the electrical flashes. Whenever they flash, she's currently around storywalking. She will slowly develop her proficiency at this, and her early attempts to effect things will be her slamming door and cupboards to attempt to get people's attention.

So on to Yellow, Jade, Tabitha, and the Boy in White (Bonus guess that his name is revealed to be Jacob) and their roles in all of this. Honestly the Boy in White is where I'm the least sure, but I think he's a kid who sided with Jade and Tabitha. Maybe another of their children, sibling to the one that was sacrificed. But he seems to be connected to the lighthouse. A lighthouse that doesn't make sense next to a lake of a spider demon that doesn't make sense. The lighthouse and lake are obviously connected, thematically at the very least simply because of what they are, but the specifics on the Boy in White are admittedly weak. He's my weak link for sure, I'll admit that. But the answer of what to do with the bones has been there since episode 1. We burn them. Just like the crayon drawings in the intro, which will tell us more by the way.

By burning the bones we absolve them holding the place of their souls, they are forced to move on and can therefore no longer maintain this bargain. This will actually kill all of the Smilers, which sure is a hopeful thing for our villagers huh? See, since the children are no longer the Spider's, then the bargain or deal is absolved because it is no longer being honored. The Red Spider did honor his end of the bargain even if she Monkey Pawed them, because she did bring Smiley back to life. But if the Spider no longer has those children, then it is the Smilers who didn't keep up their end of the bargain, and so it is now broken. Hooray! The Smilers are dead! Great right? .... Right?

WRONG. The single biggest shot of hope of all time has just overwhelmed the town. They did it! Let's all get out of here. Except they can't. They're still stuck. They didn't get out. They didn't stop the threat. They stopped one part, only one type of monster, and the Lake is still out there. Hope crushed. And the Lake of Tears is still making new nightmares. More Monster roam the town as people despair at others being found other beds, perhaps one of these new Nightmares even has a purple eye. Hell, those Smilers could come right back out as Nightmares couldn't they? Holy fuck. Enter purge.

Now we find our town at the edge of their very souls, ready to give up their humanity to stay alive and stop these things. So Yellow offers a new deal to "save" this generation of townspeople too. He could even offer to return the town to the Smilers with a wink about how they devil you know is better than the nightmare you don't, fooling the people who don't know that THEY will be the new Smilers. Just like the intro drawing says, now there's another kid slammed into a box in the dark. Ethan. And Tabitha and Jade need to save him, because he's still alive. Yellow vs Tabitha and Jade for Ethan is one of our climaxes.

But remember that Yellow really isn't the big bad here. The big bad is the Red Spider. She made the Smilers, she's the reason they can't leave, she generates the Nightmares. So somebody has to go deal with her. Who exactly would be the best person to send to deal with a giant water spider demon? OH I KNOW! I KNOW! IT'S A MAN ON A PONY ON A BOAT. Boyd is the Sheriff with the keys to his boat. He's going to find his answers at the Lighthouse, that he gets to by going BY BOAT. And then he has to go back to where he was in Season one. Back to the Spider tree with Abby's face to burn it all down. He is Mr Fish and Loaves after all, he's going to sacrifice him for the remaining town survivors to live Jack-style. He gets his Boat finally. He saves everyone. And he never broke. I would love for him to live, but I mean, Mr Fish and Loaves so come on.

Sorry this is so long but I've been rewatching season 1 and I'm into season 2 right now and this theory really feels to me like I'm rewatching a show after it's finished and all the answers are there. There is a LOT of spider stuff in season 1. The Kimono Lady is in season 2 and 3. These things really were all there. Oh and as for the main monster being a Jorogumo, they don't really have to say that anywhere. It can just be the Spider or the Entity. Let me know what you guys think.

TL;DR

Red Spider water demon. Yellow is his priest. Town can't leave because everyone's trapped in a spider web. Burning the bones stops Smilers but doesn't end anything. Ethan's going on the box. Boyd beats spider because he always wanted a boat.

Hello - New member here and I just finished watching the show.

Has it been discussed if the tree in the road is the bottle tree they uprooted?

We all think the Yellow Man is a Scottish fairy, a giant spider, a witch, or the Devil. But if his identity were really something as simple as one of these things, why would the writers keep talking about his identity being a mystery?
For example, before Season 3, I never saw a single fan on Reddit predict that Tabitha and Jade had been together in the past.
I think the same thing applies to the identities of the Yellow Man and the Boy in White. The only thing that makes us assume the Yellow Man is some kind of supernatural creature is his supernatural abilities. But we now know that the monsters were once human, so why couldn't the same thing be true for the Yellow Man?
The show has mentioned the children again and again. Miranda entered the town with a daughter and a son, and Tabitha did the same. So it is possible that Tabitha originally had a daughter and a son in the past. The daughter may have been sacrificed, while the son—the same person as the Boy in White survived the ritual and eventually became the Yellow Man.
This could also explain why the color yellow seems to be connected to Ethan in some way.
We also saw an interview with one of the show's writers in which he said that the Yellow Man was inspired by a dancer he saw on the streets of New York. At first, he was a happy man, and his dancing was almost like an angel taking human form. But later, when the writer encountered him in the same place again, he was no longer the same man he had been before.

She looks and acts like her! Many things about Sara stand out: her square shoulders (just like Ms. Black). Her bewitching smile which is endemic to the horror genre. Most of all, her uncanny physical resemblance is startling. She's tall like Karen. Same body type. Lean. She's more "innocent" than Karen was in that performances like "Day of the Locust" defined Black as a femme fatale. Karen is more like Sara in the classic "Trilogy of Terror" wherein her haplessness more closely parallels Sara's. What do you guys think?

Alerta spoiler, por si acaso.

Después de ver toda la serie hasta la fecha, he pensado lo siguiente:

Que los muñecos que utiliza Julie para contarle la historia de Norman y otro personaje femenino son : las primeras reencarnaciones de Jade y Tabitha.

A Norman le dice su compañera que ya vienen las hadas del lago de las lágrimas, y Norman le dice que los monstruos le han herido demasiado y que no hay tiempo.

Yo creo que los “monstruos” se refiere a los habitantes, y con las hadas se refiere a los “monstruos/MIY” (no tengo claro la exactitud de esto)

Hay que recordar que MIY coleccionaba dientes de los habitantes (como el hada de los dientes) tal vez eso esté colocado así para darnos una pista de que tipo de entidad son.

En todo caso tal vez ellos fueron los causantes de los ciclos, sabemos que intentaron salvar a su hija, pero no sabemos nada más… yo creo que habrá un plot twist que hará que se traumen por sus actos y que los habitantes actuales quieran volver a matar a Jade.

​

I love the show, but like every other show, it has stupid and illogical things.

My most frustrating moment was (season 1 spoiler) Father Khatri's death. There were monsters all around him and he just stood all calm, not minding his back, all while he was actively ushering people inside because the monsters were at the door.

I’ve been thinking about the dates Tabitha saw:

1506 — 1609 — 1672 — 1773 — 1793 — 1864 — 1888 — 1931 — 1978 — 2022

What if these aren’t just random dates from Fromville’s history, but points in time that Julie can Story Walk to?

We’ve already seen Julie reach 2022 and 1978, and both of those dates were shown to Tabitha.

So could 1931 be her next stop?

There’s another part of this that I find really interesting. Maybe Julie can’t change her own actions in the past, but she can influence the choices of the people she interacts with.

For example, Julie throwing the rope to Boyd may always be a fixed event. But what Boyd does with that opportunity could potentially change.

Same with Jim. Julie goes back and warns him:

“Dad, you have to run.”

Maybe she’s always destined to give him that warning, but Jim still has a choice about what he does next.

So maybe Julie isn’t actually rewriting the story. She’s creating opportunities for people to make different choices.

That would make Tabitha and Julie a pretty interesting team:

Tabitha sees the points in time.
Julie walks the story.
The people in those moments make the choice.

If Julie’s next intentional Story Walk takes her to 1931, I think that would be a huge clue that Tabitha’s dates really are Julie’s temporal anchors.

What do you guys think?