do trillionaires exist

The universe of 'Star Wars' is a galaxy far, far away, filled with thousands of star systems. As a big fan, I can tell you that our planet Earth isn't a part of this galaxy. It's a fascinating fictional universe, where humans are a large and diverse species, but the concept of 'Earth' doesn't apply in the 'Star Wars' universe. It's a great escape from our real world, and I like to think it adds a touch of mystery and otherworldliness to the franchise.

Reading 'Animal Farm' feels like flipping through a history book on Stalin’s USSR, but with animals. Napoleon’s rise mirrors Stalin’s cunning takeover—both used propaganda and fear to control. The pigs rewriting the commandments? That’s Stalin twisting Marxist ideals to suit his agenda. Boxer’s blind loyalty reflects the exploited working class, and the purges? Think Snowball’s exile as Trotsky’s fate. Orwell’s genius lies in how he turns a farm into a microcosm of totalitarianism.

I’ve always seen 'Frankenstein' as the blueprint for modern sci-fi. The ethical dilemmas Victor faces—playing god, creating life, and abandoning responsibility—echo in stories like 'Blade Runner' and 'Ex Machina'. The monster’s isolation and search for identity mirror characters like Roy Batty or Ava. It’s fascinating how Shelley’s 1818 novel predicted debates on AI, genetic engineering, and humanity’s hubris. Modern sci-fi just dresses these themes in cooler tech.

I’ve always been fascinated by how 'Dracula' set the blueprint for modern vampire stories. Stoker’s Count is the ultimate predator—charismatic, powerful, and terrifying. Modern novels like 'Interview with the Vampire' or 'The Strain' borrow this duality of allure and horror. But today’s vampires often grapple with humanity, something Dracula rarely did. They’re more introspective, dealing with loneliness and morality, which reflects our modern obsession with inner conflict.

'Sharp Objects' shares DNA with thrillers that weaponize setting as a character. The suffocating heat of Wind Gap mirrors the claustrophobia of 'True Detective’s' Louisiana bayou—both places where rot festers beneath polite smiles. Like Mare Sheehan in 'Mare of Easttown,' Camille’s investigation becomes a mirror held to her own trauma. The series also echoes 'The Secret History' in exploring how familial rot perpetuates cycles of violence. What chills me is how these stories frame homes as crime scenes, where peeling wallpaper reveals generations of poison. Both Camille and 'The Undoing’s' Grace Fraser perform femininity as camouflage, their designer clothes barely containing the cracks. The real mystery isn’t whodunit, but how anyone survives these gilded cages intact.