[[WMG: "2. Contamination" and "3. Afrikaan" exist]]
David's fabled avant-industrial album cycle would continue the concepts of "1. Outside." He spoke about them at length in interviews, discussing their narratives, hinting at their sound, even stating that about 80 tracks had been recorded for the cycle. I doubt someone as lovably self-indulgent as David Bowie would simply toss a project he and Brian Eno put so much work into. He probably pulled a Prince and locked up the sessions in a studio somewhere.
* Or maybe Brian has them.

[[WMG: David at least knew about the Toy leak]]
In 2011, the long lost would-be 'Hours...' followup, Toy, surfaced online in release-ready condition. David has expressed frustration towards the debacle that led to the album's withdrawal. Additionally, he was one of the first major music artists to utilize the Internet back when Earthling came out. Bowie wanted the world to hear Toy, and was well familiar with the power of the Internet. If The Next Day did, in fact take two years to write and record, there is overlap between Toy's release and the production cycle for The Next Day. After the heart attack, most fans had unanimously agreed that David had retired and Bowie hype was hitting an all-time-low. What better way is there to get people talking again than to drop an album that many had presumed dead. By having someone leak it instead of releasing it, Bowie could continue to work on The Next Day in secrecy.

[[WMG: David knew that "Reality" would be his final studio album.]]
The stripped down sound kind of suggests a feeling of "let's just do this one more time" already, but it's much more obvious when you look at the lyrical themes, especially towards the end of the album. In the title track, David seems to welcome himself to the real world, after decades of ch-ch-changing and searching, he's finally found an identity to call his own. Though much harder to decipher, "Bring Me the Disco King" seems to be about longingly looking back at the past while facing his impending death.
* {{Jossed}} by ''The Next Day''.
** It's possible that he thought it would be his last go at the time. "The Next Day" only took two years to put together.

[[WMG: "Life On Mars" is about a girl sulking in a movie theater after coming out to her parents.]]
The revelation apparently resulted in her banishment from the house. Also, her "friend" was supposed to be there for morale support, but never showed up.

[[WMG: David Bowie is actually...]]
...a human.
** {{Jossed}}. Humans aren't capable of such extreme levels of sexyfine.
** Does that mean MaggieGyllenhaal isn't human?

[[WMG: David Bowie is a FairFolk]]
...And he's having too much fun as a celebrity to be really evil. Playing Jareth in Film/{{Labyrinth}} was just to throw us off the scent/[[MindScrew mess with our heads]].

[[WMG: David Bowie is Music/LadyGaga's father]]
They resmble each other don't they?
* Or they were [[ArtificialHuman created]] with similar genetic templates.
* And as we all know, David Bovie is much superior to David Bowie.
* And Lady Gaga's Father is superior to both of them.

[[WMG: David Bowie is a Time Lord]]
In addition to [[Series/DoctorWho the Doctor]] and the Master, there is the splendidness that is the Bowie.

[[WMG: He traveled back in time from the future, as the hero in ''Film/LaJetee'' did]]
This was playfully theorized by the French magazine show ''Court-circuit'' in TheNineties, in a segment that noted the {{Homage}} to the short in his "Jump They Say" video. (It can be seen as an extra feature on Creator/TheCriterionCollection's DVD release of ''Film/LaJetee''.)
-> ''"He comes not from another planet, but from the future. Otherwise, for over 30 years, how could he have predicted, instigated, and invented so many new styles, from punk to new wave, from glam rock to techno, unless he was a creature from the future?...We thought he was just more clever than the rest, but he's actually a great magician of time, possessed of inconceivable powers."''
[[WMG: The Rise and Fall of Ziggy Stardust is just that]]
It's the story of his rise and fall told retrospectively. All right, that doesn't sound like much, but each song is a pivotal event in his life, in mostly linear time, with some flashbacks. "Five Years" is the end of the world, as described in that one interview with Hunter S. Thompson; the same broadcast as in "All the Young Dudes". "Soul Love" is a flashback to Ziggy's first love, while also setting the scene for a world ripping itself apart and Ziggy's character. "Moonage Daydream" is, of course, the call of the alien, and "Starman" is how the word is spread to the rest of the world—In the meantime, he's moved to the city and is now on the scene. "It Ain't Easy" is a cover, but it could be a flashback to Ziggy making the decision to leave his hometown (And the girl at the end of "Five Years" and (maybe) in "Soul Love" out of restlessness—the world is on its way out and he's trapped at home. "Lady Stardust" is a flash-forward, in that it's a spectator (possibly the narrator of "All the Young Dudes") looking back on Ziggy's first performance. "Star" is Ziggy making the decision to try and make it in the music business, reflecting on the failed attempts of his friends to try and save the world/leave their mark. "Hang Onto Yourself" is a performance by Ziggy once the band is together, while also hinting as his soon-to-come role as the Messiah/Alien. "Suffragette City" is his life as a rock n' roll star, while showing how he's drifting away from his old life and friends, and then "Rock N' Roll Suicide" is him, huddled with his friends at the end of the world thinking of a possible ending for him, one of three (Death by End of the World/Aliens, Death by Fans or Death by Suicide/Accident) possibilities. If that was the possibility, then it means that the world has lived, but that he dies bitter, alone and having lost the music—left behind by a world that no longer needs him.
Messiahs aren't meant to live too long. Neither are martyrs. He rejects that possibility and dies at the end.