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I think "They" are AI from the future. If you reconstruct the movie with this idea it eliminates every paradox. The movie begins with Cooper and his children capturing a drone with highly efficient fuel cells. The fuel cells suggest that machines can out live human beings as they do not need food, and instead are efficiently powered by solar energy.The film plays with the idea of an artificial "humor setting" over and over again. Study AI and you realize that humor is one of the great frontiers of AI technology. A machine that understands humor and knows how to use a seemingly illogical human expression is a machine that is artificially intelligent, therefore, TARS is an early AI.In the original timeline, humanity did go fully extinct, however, they left behind AI (Powered by solar energy) which evolved to a point where it could carry out the prime directive as determined by Isaac Asimov. This law of robotics is:A robot may not injure a human being or, through inaction, allow a human being to come to harm.In short, humanity went extinct, and was resurrected from the dead by AI. The film makes reference to The Lazarus Missions repeatedly. A resurrection orchestrated by AI as it opened the wormhole from a distant future, fulfilling the prime directive, and more. One of the first hints alluding to the gravity anomaly are Cooper's harvesting machines when they return home, organizing themselves in apparent formation in front of the house.The interplay between TARS and Cooper throughout the film suggests that they need each other to complete the mission. By the end of the film a bond between TARS and Cooper is formed, a bond of friendship, but, it is a bond that is not as powerful as the human bond between Murphy and Cooper. The power of love is what the AI needed in order to bridge the gap between Cooper and Murphy when Cooper was in the tesseract. This is a bond that no human could feel / establish with a machine, thus, the AI needed a human bond and used Cooper and Murphy to fulfill its objective. Cooper was ready to sacrifice TARS and referred to him as a robot, however, he did everything in his power to save Murphy. A clear distinction in the love shared by man and machine, and human with human.This theory completely eliminates every paradox in the film, most notably, why would future human beings need to manipulate space and time to save themselves if they were already alive to do it? Also, how could future humans exist unless a wormhole was opened in the first place? This is inexplicable until you focus on TARS. If you re-watch the film with the AI theory in mind, it becomes apparent that man needs machine, and machine needs man, and it is logical for AI to save humanity for reasons which aid the machine. This is demonstrated when Cooper attempts to dock with the damaged Endurance, TARS questions Cooper and states that it is "impossible" based on his analysis of the situation. Cooper responds, "No, it's necessary." This is the key difference between man and machine. The human being will go beyond the impossible to the possible. A human being will create the logical out of the illogical.Finally, in the tesseract, TARS was the only one capable of reading the gravitational data to transmit to Murphy, through Cooper. TARS deduced that it was pointless to send the data to Murphy as she was just a child. This is an independent thought, again demonstrating that TARS is AI. Cooper as the human steps in to complete the mission by doing the impossible using love as the catalyst, trusting, and knowing that his and Murphy's connection will bridge the gap. TARS extracted the solution form the event horizon and explained what the tesseract was, but ultimately, he needed Cooper to complete the mission by doing something he thought was illogical. TARS filled in the blanks for Cooper, and Cooper filled in the blanks for TARS. A codependency between man and machine, a logical reason for AI to save humanity as the relationship favors both. Keep in mind, you only know TARS is there by the sound of his voice and never see him.By the end of the film, Cooper began to look at TARS as a person and not just a machine, and this established a unique timeline which took man and machine to a new frontier together. This is symbolized by Cooper and TARS leaving the past behind (The station orbiting Saturn), as they are both from the future and will both rejoin Brand who is waiting for them there. There is a clear connection between Brand and Cooper established throughout the film that begins to encroach on love. This is exactly how the AI knew how to send Cooper back through the worm hole, and used the bridge between Cooper and Brand in exactly the same way it used the bridge between Cooper and Murphy. This theme is clearly repeated in the emerging love between Cooper and Brand as symbolized by their hands touching as they pass each-other in the wormhole. If you recall, TARS and Cooper both realize that although "They", the AI, can manipulate gravity through time, they don't know how to make sense of it. Human beings act as the soul and the eyes for the machine, and thus, are essential to the machine.When Cooper arrives at the secret NASA station with Murph for the first time, TARS is the first to greet them, foreshadowing their relationship as only the three of them are in the scene. Notice how you only hear his voice. In the climactic scene which saves humanity, you also only hear the voice of TARS but never see him. Both scenes begin in darkness, and both end in blinding light. In their first scene, TARS renders Cooper unconscious in the dark and illuminates Murphy with light. In the climactic scene between the 3 of them, Cooper is in the tesseract / removed from Murphy's life (In the darkness) but she is once again enlightened by an invisible being (TARS providing gravitational data), through a "Ghost", whom is Cooper, the "soul" of the machine.TARS is not revealed in either scene and yet he is present, a clear symbol of the non revealed AI from the future, who came in darkness, with flashes of light (Think of Cooper falling into the tesseract and then being instructed to "Eject" by a machine (his ship). TARS entered Cooper and Murphy's life for the first time with flashes of light. In conclusion, Future AI created the relationship between TARS, Cooper, and Murphy to successfully bring humanity back from the dead after they went extinct. The movie ends with Brand in her "brand new" home, on Edmunds planet, confirming that love was the binding force, the ghost in the shell.

Alright, so, I'm sure that jumping into fossils will likely garner lots of hate as many think fossils are faked rock piles.So I will instead use a different approach, which is also one of my favourite things about science that I call the scientific storyline.The storyline is basically a historic timeline built upon the various theories and evidence we have gathered to construct a fill-in-the-blanks framework for the history of something scientific, and evidence that makes sense would be filled in until a plausible story could be told.Now with that established, through DNA sampling we know that every living organism on earth are interconnected, meaning to have all the biodiversity we have on earth, they all must have a history of getting to how they get to how they are today.Which means, the scientific storyline for biodiversity/evolution looks like this:Primitive Microorganism -> X -> Cat/Tree/Mushrooms/etc.And for birds, their historical timeline looks like this.Before all the Xs were filled in here, we have to ask the question "So what came before birds?"And this is where fossils come into play.Fossils shows us what animals lived before us, and this isn't just for dinosaurs.We found fossils of trilobites, insects, and various marine animals, that if you say "dinosaur fossils are fake" then ALL fossils are faked, which means you are also assuming someone is silly enough to fake all the fossils we have ever found.But they are not, because of how well the fossils could fill in the Xs in the storyline.And after countless hours of research, we were able to construct the storyline for birds up there, in a way that makes sense from the DNA data we gathered upwards to the linkage from that origin to the birds we see in the skies today.And this goes for every other dinosaur fossil as well.What I love about science is that we don't necessarily need scientists to tell us these storylines; you and I can construct the storylines ourselves too.To close, I have a question to rebute:If dinosaurs didn't exist, then what could then be filled in all the Xs of the scientific storyline?

Well you see, that was one of the running jokes of the series, wasn’t it: The nameless Doctor who is always on the verge of selecting a name but never quite settling on one. It’s a bit like one of Star Trek’s other running gags: the “talkative” character Morn (modelled after Norm from “Cheers”), a fixture in Quark’s bar, who in fact never says a word onscreen in seven years.USS Voyager’s Emergency Medical Hologram or EMH stays activated far longer that the program was designed for, and as a result blossoms into full sapience. And part of that is his desire for a name.The Emergency Medical Hologram (EMH) tries on a few names during the series.His first try is “Schweitzer,” a name he adopts (Season 1, Episode 12, “Heroes and Demons”) upon Kes’s suggestion that he take a name prior to his first away mission (to the holodeck, but still.) The name is a tribute to the famously compassionate Albert Schweitzer, a deliberately ironic choice because the EMH himself is rude, brusque, tactless, vain, and insecure, particularly early in the series.The choice of name is, however, of a piece with his sincerely held desire to improve himself.The writers do give the name a proper (and highly imaginative) shake-down; late in the episode, a worshipful crowd of the Anglo-Saxon warriors of King Hrothgar chant “Schweitzer! Schweitzer! Schweitzer!” in honour of the Doctor, who has stepped forward to be their champion against the monster Grendel. In the same episode, the Doctor develops a romantic relationship with Freya, holographic shield maiden and daughter of the king. After she is slain, however, the Doctor is unable to keep his new name because of painful associations.Still, it was a start.The following season, he accepts the name Schmulus from a Vidiian doctor named Denara Pel (Season 2, Episode 19, ‘Lifesigns’). During the episode, he develops romantic feelings for her as he attempts to treat her for the phage; and later, he stops using the name and asks to be called simply The Doctor again, because his memories of Pel were, like his experience with Freya, simply too painful.Doctor Schmulus with the Vidiian Doctor Pel, temporarily healthy in a holographic body. “Romance is not a malfunction,” he says, also revealing that he uses surgical techniques developed by Leonard McCoy, which probably explains his embracing McCoy’s “I’m a doctor, not a ___ (fill in the blank)” quips.The episode clearly reprises themes from his first try at a name, and the similarity of the two episodes - encounters with females, romance, painful aftermath - is emphasised by the very similar sound of the names themselves (“Schweitzer” and “Schmulus”); despite the vaguely Yiddish sound of the names, however, there were no screenwriting credits for Mel Brooks. I checked.The subject of the Doctor’s name comes up again in the third season (episode 21, “Before and After”). In the course of traveling backward in time from a future time near the end of her life to a succession of earlier times aboard Voyager, Kes learns that the Doctor has taken (or from the episode’s perspective, will take) an interest in cultural figures from Earth, becoming Doctor Mozart and Doctor Van Gogh.These names came up in an alternate timeline that was presumably erased by Kes’s actions during the episode, so once again - surprise! - neither name was ever heard from again. The episode, by the way, never established whether the Doctor used the first names Wolfgang Amadeus and Vincent during his flirtation with the names Mozart and Van Gogh, respectively.However, he did take the first name Kenneth, this time with no given surname, in the very next episode, “Real Life” (Season Three, Episode 22), perhaps the saddest of all Voyager episodes.The Doctor gets another name, and as has become customary, it lasts for only a single episode (“Real Life”). In fact, his experiences as Kenneth were ultimately so traumatic that he apparently didn’t think about adopting a name for another 20 years, and even then, only in a variant timeline.In the episode, the Doctor creates a “perfect” holographic family: two doting and grossly overachieving children, and a wife who is entirely supportive of, and acquiescent to, his paternalistic leadership style. His goal, he proudly announces, is to expand his understanding of family dynamics in order to provide better care for future families aboard Voyager.B’Elanna, however, calls him out for having created a saccharine scenario that is so unchallenging as to provide him no useful experiences. With his reluctant consent, she programs in some randomness to better simulate real life. It must have been Klingon randomness because problems and arguments begin to mount alarmingly, then give way to a catastrophic injury that ultimately and agonizingly claims the life of his young daughter, Belle.He cried. They cried. I cried. My houseplant cried. From that point on, nothing more was said about the Doctor’s taking a name.Tom Paris and several other members of the crew - Harry, Chakotay, B’Elanna - did come to address him as “Doc,” particularly later in the series; and that was that.Well, except for a final teaser, in - appropriately - the final episode.In the series finale, the doctor has finally chosen a name for himself, at least a first name. It should come as no surprise that his choice is more than a little anticlimactic.(The EMH enters with a young lovely on his arm.)PARIS: Doc!(Paris is going bald.)EMH: Mister Paris. Voyager's pilot, medic, and occasional thorn in my side. Where have you been hiding yourself?PARIS: I've been busy.EMH: New holonovel?PARIS: I'll make sure to get your input before I send it off to my publisher. Aren't you going to introduce me to your date?EMH: Mister Paris meet Lana, my blushing bride.PARIS: You're married?LANA: Tomorrow is our two week anniversary.PARIS: Well, congratulations. My invitation must have gotten lost in subspace.EMH: Oh, you should be flattered. We took a page from your book and eloped.LANA: Joe has a real flair for romantic gestures.PARIS: Joe?EMH: I decided I couldn't get married without a name.PARIS: It took you thirty three years to come up with Joe?EMH: It was Lana's grandfather's name.However, this scene takes place in the future timeline that Admiral Janeway is from, so the events of the final episode (“Endgame”) would have created an alternate timeline in which the Doctor’s name is anybody’s guess.But probably not Joe.