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Transcript

You Never Noticed This in Disney… · Ryder Lee

• 0:07
  Speaker 1: Welcome back to Raised by Giants discussion. I'm your host,
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  Speaker 1: rider Ley, good to see everyone. Welcome everyone in the
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• 1:02
  Speaker 1: the description with that down we have with us today.
• 1:06
  Speaker 1: He is a usaf VET with ten years of animation
• 1:09
  Speaker 1: work at Disney Original Music, featured in TV and movies,
• 1:13
  Speaker 1: collaborations with Wu Tang, and publishing comics under the name
• 1:17
  Speaker 1: Paranoid American since twenty twelve. Paranoid American, Welcome back to
• 1:22
  Speaker 1: the show.
• 1:24
  Speaker 2: Appreciate it, man. Paranoid is ever, maybe maybe more so
• 1:27
  Speaker 2: now than ever.
• 1:29
  Speaker 1: Yeah, man, we got a lot going on. We got
• 1:30
  Speaker 1: the Jeffrey Epstein files, we got the UFO files, we
• 1:33
  Speaker 1: got Jim Carrey being a clone, we got War with Iran.
• 1:38
  Speaker 1: It's a never ending frenzy of things that seems to
• 1:42
  Speaker 1: change every single week.
• 1:44
  Speaker 2: But what if you can I like how War came
• 1:46
  Speaker 2: after Jim Carrey.
• 1:48
  Speaker 1: Yeah, War after Jim Carrey. Then before that we had
• 1:53
  Speaker 1: the Winter Olympics, and then we had the super Bowl.
• 1:58
  Speaker 1: It's just every week, dude. It's something the community has
• 2:01
  Speaker 1: become a twenty four hour, NonStop news cycle, just like
• 2:08
  Speaker 1: the thing that we were against. I don't make that
• 2:12
  Speaker 1: make sense. I don't know.
• 2:14
  Speaker 2: You're gonna love this because I'm gonna be able to
• 2:15
  Speaker 2: tie almost everything that you've already talked about back into
• 2:18
  Speaker 2: Disney as we go.
• 2:21
  Speaker 1: Yeah, man, Disney is so interesting. There's so many different things.
• 2:26
  Speaker 1: Disneyland being built on a burial ground. I'm sure you've
• 2:29
  Speaker 1: heard that one before. You know anything about that. I mean,
• 2:31
  Speaker 1: there is a cemetery at Disneyland in California, which was
• 2:35
  Speaker 1: Saint Michael's Episcopal Church and cemetery, like ten minute walk
• 2:40
  Speaker 1: from Disneyland.
• 2:42
  Speaker 2: Disneyland is also the scene of the most horrific death
• 2:46
  Speaker 2: to occur on Disney property to date. I believe it
• 2:48
  Speaker 2: of all of the theme parks.
• 2:51
  Speaker 1: Well, which one was that?
• 2:53
  Speaker 2: I feel like there's a follow up for that. Yeah,
• 2:55
  Speaker 2: it was. It's Roger Rabbit's Wild Ride. I don't know
• 2:59
  Speaker 2: if they that's the name of it was the Roger
• 3:02
  Speaker 2: the who framed Roger Rabbit Ride. It was called like
• 3:05
  Speaker 2: cartoon cars or something. And somebody got caught under one
• 3:09
  Speaker 2: of the cars and kind of turned into like a
• 3:11
  Speaker 2: human crayon and died from it. So come do it.
• 3:16
  Speaker 1: Holy shit. Yeah, I think that there's been ten to
• 3:19
  Speaker 1: twenty deaths at both of the theme parks. Do you
• 3:22
  Speaker 1: remember a few years back when Disney was being sued
• 3:26
  Speaker 1: over a wrongful death lawsuit because a woman had a
• 3:31
  Speaker 1: fatal allergic reaction at a restaurant at Disney World, and
• 3:36
  Speaker 1: the Disney lawyers tried to say that because the husband
• 3:39
  Speaker 1: had previously agreed to Disney's online terms of service when
• 3:44
  Speaker 1: you signed up for a Disney Plus account.
• 3:47
  Speaker 2: Right, it's wild when you've created like an entire universe,
• 3:52
  Speaker 2: an entire reality to yourself, because that's what Disney's done, right,
• 3:55
  Speaker 2: They've created this reality and then people go into that
• 3:58
  Speaker 2: reality and they die and then I don't know, I
• 4:02
  Speaker 2: think there's an interesting conversation of like, is Disney somewhat
• 4:06
  Speaker 2: participating in like horrible things that are happening to people
• 4:10
  Speaker 2: for fostering this, you know, this different reality that they
• 4:14
  Speaker 2: claim exist. Like for example, there's recently, in like last
• 4:17
  Speaker 2: two or three years, all of these people that are
• 4:20
  Speaker 2: basically deciding that they want to leave life early, and
• 4:24
  Speaker 2: they make plans and they go to Disney and there's
• 4:26
  Speaker 2: specific places within Disney resorts that they decide to be
• 4:30
  Speaker 2: like their their last spot. I guess.
• 4:33
  Speaker 1: Yeah. That was reported that several people have thrown their
• 4:38
  Speaker 1: family members ashes into some of the rides. Well, I'm talking.
• 4:43
  Speaker 2: About like the people themselves are like, I'm going to
• 4:45
  Speaker 2: go to the Century Hotel and jump off because my
• 4:48
  Speaker 2: last moments are going to be at Disney.
• 4:52
  Speaker 1: Who like it's super dark. There's also the theories and
• 4:57
  Speaker 1: rumors and speculation that Disney Land has massive underground tunnels.
• 5:04
  Speaker 2: Well, Disney World Orlando has some of those same theories too,
• 5:08
  Speaker 2: because they do have underground tunnels.
• 5:11
  Speaker 1: Well they use it as the excuses that it's for
• 5:14
  Speaker 1: the actors to give from one place to the other place.
• 5:18
  Speaker 1: But Kathy O'Brien, i MK Ultra Monarch survivor, said that
• 5:23
  Speaker 1: she was taken to Disney and part of these underground
• 5:28
  Speaker 1: facilities underneath Disney. But it's been rumored and speculated that
• 5:32
  Speaker 1: Disney World is built on top of a hidden military base.
• 5:39
  Speaker 2: Well, so there's actually a lot of extra credit to
• 5:43
  Speaker 2: that because when I worked at Disney for ten years
• 5:46
  Speaker 2: on the back lot while it was basically Hollywood Studios.
• 5:50
  Speaker 2: It started as MG and then turn to Hollywood Studios,
• 5:53
  Speaker 2: but it was in the roy O Disney production building,
• 5:56
  Speaker 2: which is right next to the animation building back there.
• 5:59
  Speaker 2: I think both of them have and replaced by store
• 6:01
  Speaker 2: Wars Wars rides at this point like a toy story ride.
• 6:04
  Speaker 2: But that the guy that I worked for, his dad,
• 6:07
  Speaker 2: was in charge of the entire back lot when Walt
• 6:10
  Speaker 2: Disney was building the actual Walt Disney World, and all
• 6:14
  Speaker 2: of the contractors from the blueprints and the construction and everything,
• 6:19
  Speaker 2: it was all military contractors like that, the people that
• 6:22
  Speaker 2: built Walt Disney World were literally building military bases when
• 6:26
  Speaker 2: they weren't working on Disney World. So it's made in
• 6:30
  Speaker 2: the same way that you would expect any military base.
• 6:32
  Speaker 2: And that's also why it was treated as a pretty
• 6:35
  Speaker 2: high value target right after nine to eleven. In the
• 6:38
  Speaker 2: early two thousands, it was sort of seen as like
• 6:41
  Speaker 2: a major target, not just because it's Disney, but because
• 6:44
  Speaker 2: it was essentially a military base.
• 6:47
  Speaker 1: I mean, if you think about it, that's the way
• 6:49
  Speaker 1: that would be the easiest way to protect top secret
• 6:52
  Speaker 1: military installation is to put it underground and then the
• 6:55
  Speaker 1: top of it be something completely different. I mean, that's
• 6:58
  Speaker 1: kind of what they were empting to do during World
• 7:01
  Speaker 1: War Two was hide their infrastructure from enemy aircraft, you know,
• 7:08
  Speaker 1: So they would make these domes and then there were
• 7:11
  Speaker 1: like these underground shaped igloes and stuff to hide their
• 7:15
  Speaker 1: ammunition and stuff. So, hey, it's possible. I mean that's
• 7:20
  Speaker 1: what I would do if I was trying to hide
• 7:23
  Speaker 1: some stuff, I would just build something really popular on
• 7:27
  Speaker 1: top of the thing that I'm trying to hide.
• 7:29
  Speaker 2: And you can justify any sort of power usage or
• 7:32
  Speaker 2: resources or traffic in and out. Yeah, it can all
• 7:35
  Speaker 2: be justified.
• 7:37
  Speaker 1: Yeah, it's very interesting, and not only that, just the
• 7:40
  Speaker 1: layout of I mean it's I'm pretty sure that it
• 7:44
  Speaker 1: was Disney World. That it was supposed to be an
• 7:49
  Speaker 1: actual liveable city EPCOT.
• 7:52
  Speaker 2: Yeah, well it actually stands for oh, what was it,
• 7:55
  Speaker 2: Experimental Prototype City of Tomorrow or something, And it was
• 8:00
  Speaker 2: going to be a city that you would it was
• 8:02
  Speaker 2: a fifteen minute city. You would live there, you would
• 8:05
  Speaker 2: work there, and if you had any issue, if you
• 8:08
  Speaker 2: were too young to work but you were too old
• 8:12
  Speaker 2: to go to, like if you were aged out of
• 8:14
  Speaker 2: school or if you were a retirement age, you weren't
• 8:16
  Speaker 2: really welcome there. It was for productive members of society only,
• 8:20
  Speaker 2: and it was supposed to be like an experimental And
• 8:22
  Speaker 2: I think you've still have a lot of this in Florida,
• 8:25
  Speaker 2: but it's not necessarily Disney. But there's like retirement communities
• 8:29
  Speaker 2: right Like there's a Margaritaville, the retirement community that they've
• 8:33
  Speaker 2: got everything, they've got a grocery store, and they've got entertainment.
• 8:37
  Speaker 2: Like you don't have to leave this little kind of community.
• 8:39
  Speaker 2: It's no longer you have to work there in order
• 8:42
  Speaker 2: to make it thrive. I think that's the one thing
• 8:44
  Speaker 2: that never really would have worked in Waltz version of
• 8:47
  Speaker 2: Epcot because he would have had to have controlled an
• 8:50
  Speaker 2: entire economy and kept that economy within that bubble of
• 8:53
  Speaker 2: that entire Epcot city as well.
• 8:57
  Speaker 1: Kind of sounds like Scientology.
• 9:00
  Speaker 2: I think that what would have done way better with it.
• 9:02
  Speaker 2: I think that he was more disciplined in his approach
• 9:06
  Speaker 2: to occultism than l Ron Hubbard ever was.
• 9:11
  Speaker 1: Well, if you think about it, like, that's kind of
• 9:12
  Speaker 1: what scientology tried to set up. I mean, they bought
• 9:16
  Speaker 1: a whole like section of Florida, and they wanted them
• 9:20
  Speaker 1: to run all the businesses. The people that are a
• 9:22
  Speaker 1: part of the church work there, the people part of
• 9:24
  Speaker 1: the church. Yeah, you know what I mean. They wanted
• 9:27
  Speaker 1: that entire thing set up to where they control the
• 9:31
  Speaker 1: entire like everything to do with that section of the state.
• 9:36
  Speaker 2: I think that it's funny, there's like something ironic that scientology.
• 9:42
  Speaker 2: And without going too far in tangent, let me just say,
• 9:44
  Speaker 2: and I'm gonna include Mormonism in this too. Well, just
• 9:47
  Speaker 2: focus on Scientology, but like they are, some of the
• 9:50
  Speaker 2: most forward thinking sci fi aliens exist, other planets exist,
• 9:57
  Speaker 2: multiple dimensions of reality exist. Those religion are some of
• 10:00
  Speaker 2: the newest that acknowledge that. Yet both of them didn't
• 10:04
  Speaker 2: see the Internet coming, and for both of them, the
• 10:06
  Speaker 2: Internet is their ultimate downfall. Like the world without USENET
• 10:11
  Speaker 2: exposing Scientology in the nineties would be a completely different world,
• 10:16
  Speaker 2: especially for Scientology. But we got the one we got,
• 10:19
  Speaker 2: and they've kind of been exposed, and I think it's
• 10:22
  Speaker 2: a huge, huge blow that they didn't see coming. There's
• 10:25
  Speaker 2: not really a great way around it yet, like they
• 10:28
  Speaker 2: still are figuring out how to pivot. Yeah.
• 10:32
  Speaker 1: I walked by a Scientology center in San Francisco a
• 10:38
  Speaker 1: couple of months ago, or maybe it wasn't San Francisco,
• 10:41
  Speaker 1: somewhere in California, and nobody was in there. The thing
• 10:47
  Speaker 1: was empty. And that's what it kind of seems like
• 10:50
  Speaker 1: is going on in clear Water in Florida as well,
• 10:53
  Speaker 1: is that there's like nobody there, Like no one's running
• 10:59
  Speaker 1: any of these songs.
• 11:01
  Speaker 2: Tom Cruise is gone. Like, I don't even know what
• 11:03
  Speaker 2: they've got as their Plan B. There's not a lot
• 11:05
  Speaker 2: of Plan B left for Scientology.
• 11:09
  Speaker 1: Yeah, it kind of seems to be over, but they
• 11:13
  Speaker 1: still somehow own all of the properties and they're still
• 11:16
  Speaker 1: somehow able to pay the bills. Of all of these
• 11:18
  Speaker 1: Scientology centers that they I don't know, it doesn't make
• 11:21
  Speaker 1: a whole lot of sense.
• 11:22
  Speaker 2: Well, it's it's probably gonna just kind of like Mormonism too,
• 11:25
  Speaker 2: Like they both shifted political because now Scientology's biggest asset
• 11:30
  Speaker 2: is likely whatever they got in Operations snow White, where
• 11:33
  Speaker 2: they infiltrate CIA archives and basically the biggest infiltration of
• 11:37
  Speaker 2: an intelligence operation on domestic soil and history. Right, Like,
• 11:41
  Speaker 2: I think that that probably has bought them a little
• 11:44
  Speaker 2: bit of leeway. They got a little bit of room
• 11:46
  Speaker 2: to experiment.
• 11:47
  Speaker 1: I think, well, is there any connections here between Disney
• 11:52
  Speaker 1: and scientology before we get into your presentation.
• 11:55
  Speaker 2: I would actually say, mummy Mormonism is probably a better
• 11:58
  Speaker 2: connective tissue there for similar reasons, but also the contributions
• 12:04
  Speaker 2: of Mormon artists and Mormon writers and even in the
• 12:09
  Speaker 2: contribution of the field of three D and CGI. A
• 12:12
  Speaker 2: lot of that again comes from like these forward thinking scientists,
• 12:17
  Speaker 2: uh sort of like like sci fi forward thinking groups
• 12:22
  Speaker 2: where it's a little bit out and and I think
• 12:24
  Speaker 2: that Disney he catered a lot to this because of
• 12:29
  Speaker 2: his upbringing, like he was also brought up to be
• 12:33
  Speaker 2: into occultism and be into like a very different way
• 12:36
  Speaker 2: of creative thinking that the same sort of creative thinking
• 12:39
  Speaker 2: that you would maybe attribute to scientologists, just in terms
• 12:43
  Speaker 2: of like creating a different reality and living by the
• 12:46
  Speaker 2: rules of that new reality.
• 12:49
  Speaker 1: I mean, I would explain the Warner von Braun becoming
• 12:55
  Speaker 1: a part of Disney and Walt Disney, And was Jack
• 12:59
  Speaker 1: Persons involved with Disney at all?
• 13:02
  Speaker 2: I don't think. I think, well, I think Jack Parsons
• 13:04
  Speaker 2: was probably a little bit too avant garde, but I
• 13:07
  Speaker 2: wouldn't doubt if you know, there was some influence going
• 13:10
  Speaker 2: both ways. I don't think there's any specifically documented, But
• 13:13
  Speaker 2: what you normally see in a lot of Walt's background
• 13:17
  Speaker 2: is that the more he tries to get in with
• 13:20
  Speaker 2: a social group, like here's an example is that he
• 13:24
  Speaker 2: was invited to Bohemian Grove at one point and he went,
• 13:27
  Speaker 2: I believe as a guest. He wasn't like an official
• 13:29
  Speaker 2: member or anything, and like he kind of liked it,
• 13:33
  Speaker 2: but it wasn't really his thing. So he ends up
• 13:36
  Speaker 2: performing his own version of Bohemian Grove called like like
• 13:41
  Speaker 2: Los Desperados or Los Conquistadores or something like this, and
• 13:45
  Speaker 2: it was a more like outdoorsy, rugged like let's pretend
• 13:49
  Speaker 2: to be cowboys, and less of a let's get naked
• 13:52
  Speaker 2: and run around the woods and kind of like get drunk.
• 13:54
  Speaker 2: Like he understood that, like okay, the connecting with nature
• 13:58
  Speaker 2: part and the rich people doing rich people stuff part,
• 14:02
  Speaker 2: but he I guess he didn't like appreciate that. And
• 14:04
  Speaker 2: you'll see that time and time again where he'll try
• 14:07
  Speaker 2: and join like a social group, but it just not
• 14:10
  Speaker 2: really his thing, even day Malay, where a lot of
• 14:13
  Speaker 2: time he gets falsely accused of he was a mason
• 14:16
  Speaker 2: kind of like with an asterisk a little bit, but
• 14:18
  Speaker 2: he was in day Malay, I think even in Dame Malay.
• 14:21
  Speaker 2: The fact that he did not join masonry afterwards, it
• 14:25
  Speaker 2: just kind of shows that once he got a benefit
• 14:28
  Speaker 2: out of something, he's the kind of guy that would
• 14:29
  Speaker 2: probably go to scientology and get audited and kind of
• 14:33
  Speaker 2: like learn the techniques and then be like, all right,
• 14:34
  Speaker 2: I don't need to go clear like I understand the
• 14:37
  Speaker 2: tools that you guys are using to operate with, and
• 14:39
  Speaker 2: I've mastered them, and now I'm going to use them
• 14:42
  Speaker 2: for my own purposes. See you guys later. It seems
• 14:44
  Speaker 2: like that was a little bit more Walt Disney's style,
• 14:47
  Speaker 2: And that's also why I think that he was more
• 14:50
  Speaker 2: reserved and more successful than say, like an l Ron Hubbard,
• 14:53
  Speaker 2: because l Ron Hubbard in some ways was kind of
• 14:56
  Speaker 2: obsessed with becoming respected by Alistair Crowley or Alistair Crowley's
• 15:02
  Speaker 2: ilk or the people that were following him. Like he
• 15:04
  Speaker 2: was kind of a pick me in a way that
• 15:06
  Speaker 2: maybe Walt Disney wasn't, you know, like what like they
• 15:09
  Speaker 2: they both made major moves, but I think Walt Disney
• 15:12
  Speaker 2: was really guided by something like deeper seated, like like
• 15:16
  Speaker 2: he was actually trying to make some kind of like
• 15:18
  Speaker 2: a world difference, as narcissistic as that might seem, more
• 15:22
  Speaker 2: so than el Ron Hubbard.
• 15:25
  Speaker 1: Do you think that there's any truth to Walt Disney
• 15:29
  Speaker 1: and the cryonics conspiracy that he was because that's one
• 15:33
  Speaker 1: of the first ones that I ever heard about Disney.
• 15:35
  Speaker 2: Yeah, that he's frozen. Frozen family has completely denied it
• 15:40
  Speaker 2: any any like serious look into it. I've seen, like
• 15:45
  Speaker 2: it all basically points to know he definitely didn't that
• 15:47
  Speaker 2: he's like entombed toever, I know that a lot of
• 15:51
  Speaker 2: people that I know that went to cow Arts, there's
• 15:54
  Speaker 2: rumors that he's basically buried somewhere under there, like under
• 15:59
  Speaker 2: the school, or that he's in the walls or something.
• 16:02
  Speaker 2: The more than I've looked into it though, this is
• 16:05
  Speaker 2: interesting because if you go into modern cryogenics, they basically,
• 16:11
  Speaker 2: like in the you know, twenty first century, now, the
• 16:14
  Speaker 2: concept is a last in, first out methodology. So like
• 16:21
  Speaker 2: if you went in there in nineteen seventy or nineteen sixty,
• 16:24
  Speaker 2: you're not coming out for a really, really long time,
• 16:26
  Speaker 2: because the idea is that if you've been in there longer,
• 16:30
  Speaker 2: you've got more freezer burn. So we'd rather thaw somebody
• 16:34
  Speaker 2: out that was just putting the freezer like a week ago,
• 16:37
  Speaker 2: because there's a good chance that will have less complications
• 16:40
  Speaker 2: with dealing with freezer burn than if you like pick
• 16:43
  Speaker 2: someone out from the back of the freezer, you know
• 16:44
  Speaker 2: what I mean. So let's just assume that, yes, he
• 16:47
  Speaker 2: is in there, he's gonna be one of the last
• 16:50
  Speaker 2: people to ever exit the freezer if that were true,
• 16:53
  Speaker 2: So he's gonna be he's gonna be sitting on ice
• 16:56
  Speaker 2: for a little bit.
• 16:58
  Speaker 1: There's even one that I heard that his body, well
• 17:01
  Speaker 1: not his body, but his head, his severed head is
• 17:06
  Speaker 1: underneath Castle in disney World or Disneyland or whatever. Have
• 17:12
  Speaker 1: you heard that one?
• 17:13
  Speaker 2: It's a fun I haven't heard that one. That's a
• 17:15
  Speaker 2: fun one, I guess the most fantastic one that I
• 17:19
  Speaker 2: really like. And I choose to believe this for a
• 17:22
  Speaker 2: number of reasons, but that Walt Disney himself thought that
• 17:27
  Speaker 2: he had been kidnapped as a child and that he
• 17:29
  Speaker 2: was royalty. He was basically a Disney princess in his
• 17:32
  Speaker 2: own mind growing up. And the FBI found out about
• 17:36
  Speaker 2: this complex that he had where he thought that he
• 17:39
  Speaker 2: had like royal blood in him and how could I
• 17:41
  Speaker 2: possibly have come from these idiot parents kind of thing.
• 17:45
  Speaker 2: So the FBI finds out about this and they make
• 17:48
  Speaker 2: him a deal, and they basically say, hey, Walt, I
• 17:50
  Speaker 2: don't know if you know this, but you're actually from
• 17:52
  Speaker 2: royal blood. You were you were kidnapped, or you were abandoned,
• 17:55
  Speaker 2: or you were adopted when you were a little kid,
• 17:58
  Speaker 2: and you were raised by basically foster parents, but your
• 18:01
  Speaker 2: real lineage is Spanish royalty, like you are literally like
• 18:04
  Speaker 2: you were in line at some point to be king.
• 18:07
  Speaker 2: And we'd love to tell you more, but we need
• 18:11
  Speaker 2: your help first, and Basically, what they wanted him to
• 18:13
  Speaker 2: do was to be the inside intelligence for the animation industry.
• 18:19
  Speaker 2: The same way that they kind of had like the
• 18:21
  Speaker 2: Anti American Act and like the McCarthyism was trying to
• 18:25
  Speaker 2: root out, say, communists in Hollywood. There was a similar
• 18:28
  Speaker 2: endeavor for the animation world because they saw artists and
• 18:32
  Speaker 2: these animators as maybe also being you know, sort of antagonists.
• 18:36
  Speaker 2: So that's one of my favorite ones though, is that
• 18:39
  Speaker 2: he himself had always seen himself as a Disney princess,
• 18:43
  Speaker 2: and you just see this story coming out over and
• 18:45
  Speaker 2: over again in the stories that Disney selects to produce.
• 18:50
  Speaker 1: That's really interesting. I like that. And then the FBI
• 18:53
  Speaker 1: used that against them and then came in and basically
• 18:56
  Speaker 1: told him what he wanted to hear.
• 18:58
  Speaker 2: And the point of him being a special agent in charge,
• 19:01
  Speaker 2: I believe that is factual. There's documented evidence that he
• 19:06
  Speaker 2: was absolutely made special agent in charge. Now we're just
• 19:09
  Speaker 2: talking about you know, subjective rumors about like like well,
• 19:13
  Speaker 2: how did that conversation go and what was the payoff?
• 19:18
  Speaker 1: That is very interesting. I like that one. So there
• 19:22
  Speaker 1: is documentation evidence of him working for the FBI.
• 19:26
  Speaker 2: Yes, it was originally uncovered in a book called Hollywood's
• 19:30
  Speaker 2: Dark Prints. I might I might be flubbing out a
• 19:32
  Speaker 2: little bit, but it was the unofficial Disney biography, and
• 19:36
  Speaker 2: that's where the claim originally came out. The family denied
• 19:39
  Speaker 2: almost everything in that book, which I understandably, so a
• 19:45
  Speaker 2: lot of it seems like it would check out. But
• 19:47
  Speaker 2: this one particular claim about him being made specially Agent
• 19:49
  Speaker 2: in charge by j Edgar Hoover personally, there was a
• 19:53
  Speaker 2: letter that was found. The Orlando Sentinel is the local
• 19:58
  Speaker 2: newspaper here, and they actually discovered, Yes, here's a paperwork
• 20:02
  Speaker 2: from the FBI stating that Walt Disney was Special Agent
• 20:06
  Speaker 2: in charge. Wow, which is like making you a special
• 20:10
  Speaker 2: you know, Golden Star deputy. It's like when they say
• 20:13
  Speaker 2: Shack's a sheriff. It's sort of like the same level.
• 20:16
  Speaker 2: Or Steven Seagal is a sheriff.
• 20:17
  Speaker 1: Right, Elvis was that as well, Right?
• 20:22
  Speaker 2: Yeah, But it's it's real. It's not fake, Like you
• 20:25
  Speaker 2: actually do have some realistic power that goes with that.
• 20:29
  Speaker 2: But it doesn't mean that you're leading like a drug
• 20:32
  Speaker 2: rad or like you know, busting open doors or anything.
• 20:35
  Speaker 2: But you absolutely are working for the state that at
• 20:38
  Speaker 2: that point.
• 20:40
  Speaker 1: Wow, it's really interesting. How to look more into that.
• 20:42
  Speaker 1: It's really cool. All right, brother, let's get into this presentation.
• 20:47
  Speaker 1: Give me that code word so I can throw this
• 20:49
  Speaker 1: up on the screen.
• 20:50
  Speaker 2: Blue dolphin boom. So okay. I've been doing this podcast
• 20:56
  Speaker 2: for a while. It started because Sam Tripley had me
• 21:00
  Speaker 2: on his show. There was like, long story short, there
• 21:03
  Speaker 2: was like a guest that was going to come on
• 21:04
  Speaker 2: and talk about Disney. I had no idea what happened,
• 21:06
  Speaker 2: but like it fell through or something happened to in
• 21:08
  Speaker 2: the scenes, and they reached out to me and they
• 21:12
  Speaker 2: were like, hey, you work at Disney. You talk about
• 21:14
  Speaker 2: occult stuff. Can you talk about a cult Disney? So
• 21:17
  Speaker 2: I was like all right. I just kind of put
• 21:19
  Speaker 2: some rough notes together and the episode did fairly well.
• 21:22
  Speaker 2: And one of my now friend, Matt Komogy's, who has
• 21:27
  Speaker 2: his own podcast, he reached out and was like, hey,
• 21:29
  Speaker 2: do an episode on Fantasia with me. And we did
• 21:32
  Speaker 2: that and we had so much fun that we decided
• 21:34
  Speaker 2: let's just watch every single theatrical length Disney animation ever
• 21:39
  Speaker 2: created and break them all down. So we've been doing
• 21:42
  Speaker 2: that for a little over two years now. I think
• 21:44
  Speaker 2: we're about one hundred and twenty in and we've made
• 21:47
  Speaker 2: our way from the nineteen thirties to like twenty seventeen
• 21:50
  Speaker 2: or twenty eighteen or so. So a lot of the
• 21:54
  Speaker 2: notes I've been taking, I just keep refining them each
• 21:57
  Speaker 2: time I watch a new movie. I have a list
• 21:59
  Speaker 2: of how many people die and which movies and how
• 22:02
  Speaker 2: they die, and whether or not the parents die, and
• 22:05
  Speaker 2: a lot of I'm tracking a lot of death because
• 22:07
  Speaker 2: I've got a few different theories that I'm just trying
• 22:09
  Speaker 2: to refine a little bit. So I'm going to present
• 22:12
  Speaker 2: them to you here.
• 22:13
  Speaker 1: Awesome.
• 22:16
  Speaker 2: So, so first off, I'm just gonna jump to this one.
• 22:19
  Speaker 2: This is kind of post Disney being actively involved in everything,
• 22:24
  Speaker 2: because he's got a lot going on at this point.
• 22:27
  Speaker 2: But Donald and Mathemagic Land is one of the most
• 22:30
  Speaker 2: occult Disney animations that you'll probably ever see ever that's
• 22:34
  Speaker 2: probably ever has been produced or ever will be produced.
• 22:37
  Speaker 2: So I figure I just jump right to a kind
• 22:39
  Speaker 2: of the cream on top. If that's what you're interested in,
• 22:42
  Speaker 2: this is the one that you start with, and it's
• 22:43
  Speaker 2: just a breakdown of Pythagorean everything, music philosophy, ratios, how
• 22:50
  Speaker 2: attribute it to art, and golden ratios, it gets into
• 22:54
  Speaker 2: sacred geometry. So the reason that I want to bring
• 22:58
  Speaker 2: this up first is that it's not like Disney is
• 23:02
  Speaker 2: sneaking this occultism, like you won't know it, like you
• 23:05
  Speaker 2: have to really look out for it. Na Man, out
• 23:08
  Speaker 2: of all of the companies, out of all the occultism
• 23:10
  Speaker 2: that you've ever seen integrated with cartoons or books or
• 23:14
  Speaker 2: movies or anything, Disney puts it on its sleeve more
• 23:17
  Speaker 2: than anybody. I don't feel like, at least the Wall
• 23:20
  Speaker 2: era Disney up until the Renaissance, which is usually like
• 23:24
  Speaker 2: mid nineties. Once you get into like the Pixar era,
• 23:27
  Speaker 2: a lot of this gets obscured, and I think the
• 23:29
  Speaker 2: occultism just kind of sits by the wayside, or maybe
• 23:33
  Speaker 2: it's it's a little bit more secretive, but Disney og
• 23:37
  Speaker 2: Disney was Rosicrucianism for babies, like every single movie was.
• 23:42
  Speaker 2: And here's another way to teach your kids about Rosicrucianism,
• 23:46
  Speaker 2: which makes sense because again Disney was Dame Mole, and
• 23:49
  Speaker 2: I think that he was putting these like really occult
• 23:53
  Speaker 2: and esoteric teachings into the movies that he was selecting.
• 23:58
  Speaker 2: So Donald mathemagic Land is the number one, and then
• 24:02
  Speaker 2: the other one that comes up the most is an
• 24:05
  Speaker 2: episode of duck Tails called Yuppie Ducks. This is post
• 24:09
  Speaker 2: like Walt's dead already, right, like Disney's a completely different
• 24:11
  Speaker 2: company at this point. But there's this scene that says,
• 24:14
  Speaker 2: ask about Illuminati in the background when Scrooge McDuck goes
• 24:18
  Speaker 2: to see the doctor, and funny that the context of
• 24:22
  Speaker 2: this is that the reason he's rich is because he
• 24:25
  Speaker 2: exploits government social services because they're free. So he like
• 24:29
  Speaker 2: the joke is that even though he's rich, he's still
• 24:31
  Speaker 2: going to this poor hospital at the free clinic and
• 24:35
  Speaker 2: he's taking up their resources and like getting in line
• 24:38
  Speaker 2: in front of the poor people. It's part of the
• 24:40
  Speaker 2: joke of this episode, and it says, ask about Illuminati
• 24:42
  Speaker 2: in the background. So these these are just the two
• 24:45
  Speaker 2: ones that come up. But again, like this one maybe
• 24:48
  Speaker 2: is an example of Okay, there's some hidden you know,
• 24:52
  Speaker 2: Illuminati occult references, but Donald and the mathemagical Land, there
• 24:56
  Speaker 2: is nothing hidden. It is straight up telling you, like
• 24:59
  Speaker 2: this is a cult, is a and these are important
• 25:00
  Speaker 2: lessons to integrate into your reality. So those extreams.
• 25:06
  Speaker 1: That one is really in your face ask about Illuminati? Wow?
• 25:12
  Speaker 1: And this was in nineteen eighty nine.
• 25:14
  Speaker 2: Nineteen eighty nine. This is season three, episode thirteen of Ducktails.
• 25:20
  Speaker 2: And I have I swear I have done some serious
• 25:22
  Speaker 2: research reutalizing all my Disney resources and connections. I have
• 25:27
  Speaker 2: no idea who the background artist of this panel was,
• 25:32
  Speaker 2: or why, or how or any of that. I just
• 25:36
  Speaker 2: I'm glad that it exists, because this is specifically the
• 25:40
  Speaker 2: kind of thing that keeps me interested in conspiracy theories,
• 25:43
  Speaker 2: is just seeing weird little nods of like what do
• 25:45
  Speaker 2: you mean to ask about Illuminati? And Ducktails from nineteen
• 25:48
  Speaker 2: eighty nine, So this is fascinating to me. Let me
• 25:52
  Speaker 2: let me go back and again to re emphasize early
• 25:56
  Speaker 2: Disney was not a culting knowledge. They were presenting occult knowledge,
• 26:01
  Speaker 2: but they were like putting it in your face. For example,
• 26:05
  Speaker 2: the very first Snow White nineteen thirty seven. This is
• 26:08
  Speaker 2: the first theatrical length animated movie in history. Right, there
• 26:15
  Speaker 2: was an earlier nineteen thirty three Snow White starring Betty
• 26:19
  Speaker 2: Boop by the Flight Fleischer, but this is the first
• 26:23
  Speaker 2: theatrical length and the very first scene when we see
• 26:27
  Speaker 2: the evil Witch here the evil stepmother. She's walking up
• 26:32
  Speaker 2: to the magic mirror, and the magic mirror is surrounded
• 26:35
  Speaker 2: by the horoscope, right, it's all like this astro theology
• 26:40
  Speaker 2: sort of domain that she's in charge of. And also
• 26:44
  Speaker 2: when she walks up, this is one of those fun
• 26:48
  Speaker 2: Mandela effect things whereas people think that it's miror mirror
• 26:51
  Speaker 2: on the wall, it's magic mirror on the wall. But
• 26:53
  Speaker 2: before she even says magic mirror on the wall, she
• 26:56
  Speaker 2: actually says like slave behind the glass. Like she like
• 27:00
  Speaker 2: the very first time she addresses this mirror, she calls
• 27:03
  Speaker 2: it her slave. So this is the entire premise of
• 27:08
  Speaker 2: snow White, is that she is this magic witch and
• 27:12
  Speaker 2: she's using dark magic versus Snow White, who's using like
• 27:16
  Speaker 2: this pure nature magic. And then also on this right
• 27:20
  Speaker 2: side here this big peacock throne. I think this is
• 27:23
  Speaker 2: a nod. There was early Sumerian beliefs of the peacock
• 27:28
  Speaker 2: actually saw it as bad luck because the peacock feather
• 27:32
  Speaker 2: resembled in a single eye, so it became like this
• 27:36
  Speaker 2: evil eye which was associated with another like a black
• 27:39
  Speaker 2: magic but like a very specific Sumerian flavor of black
• 27:43
  Speaker 2: magic that gets into the Mediterranean. But not necessarily in
• 27:46
  Speaker 2: like Greek or Roman interpretations. So again, and we're gonna
• 27:50
  Speaker 2: see a whole lot of this in countless examples. So
• 27:55
  Speaker 2: right off the bat, there is nothing being hidden in
• 27:58
  Speaker 2: terms of the esoteric and the occult knowledge in the
• 28:02
  Speaker 2: very first Disney movie, and then you're also gonna see
• 28:06
  Speaker 2: this very constant theme with pretty much every single Disney
• 28:09
  Speaker 2: movie for the next like four to five decades, few generations.
• 28:13
  Speaker 2: And that's like, these princesses, one of their inherent traits,
• 28:17
  Speaker 2: if they're a true princess, is they can talk to nature.
• 28:20
  Speaker 2: And more specifically, it's not that anyone can talk to nature,
• 28:24
  Speaker 2: it's just them, and that's what again makes them these adepts,
• 28:28
  Speaker 2: like that they're ready to become magical, but they're still
• 28:32
  Speaker 2: kind of growing into it. A lot of the Disney
• 28:35
  Speaker 2: protagonists don't realize how magic they are, and that's exactly
• 28:38
  Speaker 2: what happens with snow White. The very first scene is
• 28:41
  Speaker 2: that she goes out into the well and she starts
• 28:44
  Speaker 2: to make a wish into the well and she wishes
• 28:46
  Speaker 2: that she had like a prince Charming, and her wish
• 28:49
  Speaker 2: immediately comes true because he shows up right next to her,
• 28:53
  Speaker 2: and she runs away, And one of my favorite interpretations
• 28:56
  Speaker 2: of this is that she wasn't running away from the
• 28:58
  Speaker 2: strange man. She was running away from the fact that
• 29:02
  Speaker 2: she just scared herself with how potent her magic was.
• 29:05
  Speaker 2: That she made a wish and it immediately came true
• 29:08
  Speaker 2: and she didn't know how to come to terms with that.
• 29:11
  Speaker 1: Isn't snow White based on something like much darker?
• 29:16
  Speaker 2: Like yeah, yeah, I've got I've got a few examples
• 29:19
  Speaker 2: of it. It gets kind of dark. A lot of
• 29:22
  Speaker 2: my interpretation to these two are like very politic, like
• 29:26
  Speaker 2: real things that were happening politically that get expressed through
• 29:30
  Speaker 2: folklore over hundreds of years. So okay, the Rosicrucian aspect
• 29:38
  Speaker 2: of snow White is that these seven dwarves are actually
• 29:41
  Speaker 2: these Earth elementals there they live underground and they capture
• 29:46
  Speaker 2: these gems, but they they can't really appreciate the gems.
• 29:49
  Speaker 2: They're just utilitarians of them. They're just these things that
• 29:52
  Speaker 2: they go and get because they're Earth elementals. But when
• 29:57
  Speaker 2: snow White comes in, snow White represents human intellect. It
• 30:01
  Speaker 2: represents this like Rosicrucian higher order of thinking that gets
• 30:05
  Speaker 2: you closer to the source if you can elevate far enough,
• 30:10
  Speaker 2: so when she interacts with them, she helps elevate them.
• 30:13
  Speaker 2: She helps give them some of that spirit, and in
• 30:16
  Speaker 2: exchange they give like all they have to really offer
• 30:18
  Speaker 2: her are these gems, Like that's kind of what they
• 30:21
  Speaker 2: work in. And then it's also interesting they all wear
• 30:24
  Speaker 2: these liberty caps, so there's a little picture of mythra.
• 30:27
  Speaker 2: You can see a lot of cults, especially like ancient
• 30:31
  Speaker 2: mystery schools, they'll all have these little liberty caps. So
• 30:34
  Speaker 2: I don't think it was just a coincidence that these
• 30:37
  Speaker 2: become some of the very first sidekicks in any Disney movies.
• 30:42
  Speaker 2: And then this is just a weird note. I'm still
• 30:44
  Speaker 2: to this day trying to find the original source of this.
• 30:48
  Speaker 2: This was quoted in Wicked, It's still there now in Wikipedia,
• 30:51
  Speaker 2: and I've seen it cited in a couple books, but
• 30:54
  Speaker 2: I haven't found anything beyond according to the original Grim
• 30:58
  Speaker 2: sources that in one of the original stories pre eighteen ten,
• 31:03
  Speaker 2: the dwarves bring snow White back to life by hitting
• 31:07
  Speaker 2: her thirty two times with magical hammers. And I feel
• 31:10
  Speaker 2: like there's there's got to be something to that. But
• 31:12
  Speaker 2: uh so, here's here's a couple of the dark backgrounds
• 31:16
  Speaker 2: behind snow White. One of them is a possible both
• 31:20
  Speaker 2: of these ladies were poisoned, a right, both of them
• 31:23
  Speaker 2: died from poisoning. Margaret von Waldack fifteen thirty three. And
• 31:27
  Speaker 2: this one's interesting because her dad owned a bunch of
• 31:30
  Speaker 2: copper minds in the region and a lot of early
• 31:34
  Speaker 2: mining and this is gonna come up in Pinocchio too.
• 31:36
  Speaker 2: A lot of early mining they just hire children because
• 31:39
  Speaker 2: children you have to you have to make the holes
• 31:41
  Speaker 2: as big, right to get those little kids like down
• 31:44
  Speaker 2: inside the mines. So they would literally just hire seven
• 31:47
  Speaker 2: year olds. And I think at one point they passed
• 31:50
  Speaker 2: a law and it was like, okay, seven's crazy, you
• 31:52
  Speaker 2: got to be at least ten. So then it was
• 31:54
  Speaker 2: like ten year olds are working in these mines, and
• 31:57
  Speaker 2: that there was a village nearby that's still calls it
• 32:00
  Speaker 2: snow Snow White Village. And in that Snow White village, historically,
• 32:04
  Speaker 2: if you were a child working in these mines, they'd
• 32:08
  Speaker 2: put you like twenty to like a little you know,
• 32:10
  Speaker 2: barracks essentially. So some of the archetypes that develop over
• 32:14
  Speaker 2: the next four hundred years that bring us the Disney
• 32:17
  Speaker 2: version of snow White that's developing over real stories about
• 32:22
  Speaker 2: children living in minds and they kind of turn into
• 32:26
  Speaker 2: like like euphemistically turned into gnomes earth elementals that are
• 32:30
  Speaker 2: down there finding diamonds. Like. No, they were seven year
• 32:34
  Speaker 2: olds dying from you know, black long and from like
• 32:37
  Speaker 2: sulfur poisoning. But that's one of the background stories. And
• 32:41
  Speaker 2: then she dies from being poisoned, just like snow White
• 32:44
  Speaker 2: eats the poison apple. And then there's another version, even
• 32:48
  Speaker 2: a little bit more recent, Maria Sophia Earthl She was
• 32:53
  Speaker 2: born in seventeen twenty nine. She was also poisoned, and
• 32:56
  Speaker 2: her family also owned mine that were attended by kids,
• 33:02
  Speaker 2: I mean kids just worked in minds. But another thing
• 33:04
  Speaker 2: is that she had this mirror called the Talking Mirror,
• 33:08
  Speaker 2: and that you can still see it today. It's in
• 33:10
  Speaker 2: a museum called like the Spesser Museum. And there's a
• 33:14
  Speaker 2: couple of different rumors about how it got this name
• 33:17
  Speaker 2: talking Mirror. One of the rumors is the most mundane one.
• 33:20
  Speaker 2: It was that it was just so crisp that you
• 33:23
  Speaker 2: could see so well and it was so true that
• 33:26
  Speaker 2: it basically could only speak the truth, and therefore it
• 33:29
  Speaker 2: was like a talking mirror. That's lame. I don't really
• 33:31
  Speaker 2: believe that one. The premise on this one. I think
• 33:34
  Speaker 2: if you actually go to this museum, they say that
• 33:37
  Speaker 2: when this was originally created, it was an acoustic toy
• 33:41
  Speaker 2: that also doubled as a mirror, so that if you
• 33:43
  Speaker 2: were to yell at it, it would reverberate in a
• 33:46
  Speaker 2: way that you could hear your voice come back out
• 33:48
  Speaker 2: of it, so that it was literally a talking mirror.
• 33:52
  Speaker 2: So that that might be another one of these different premises.
• 33:55
  Speaker 2: But again, both of these ladies were both poisoned both
• 33:59
  Speaker 2: of their fathers. This is real. Both of their fathers
• 34:01
  Speaker 2: owned minds in the area in which Snow White, the
• 34:04
  Speaker 2: original place took place, and they had children working in
• 34:08
  Speaker 2: those minds that would be represented by these gnomes. So
• 34:11
  Speaker 2: there's there's other ones too that we're going to get into.
• 34:15
  Speaker 1: You could almost rewrite that as the colbolt mines that
• 34:20
  Speaker 1: we currently mind right now.
• 34:23
  Speaker 2: If you got a cell phone, yeah, then then basically
• 34:26
  Speaker 2: then the earth elementals have exchanged. You gave them human
• 34:31
  Speaker 2: intellect and spirit and they give you a cell phone.
• 34:34
  Speaker 1: Exactly. We could rewrite that, sure, bros. Phone is the
• 34:40
  Speaker 1: scream here.
• 34:41
  Speaker 2: Bro, here, here's a little bit deeper, just as like
• 34:45
  Speaker 2: a little taste of like the occult Disney angle. So
• 34:48
  Speaker 2: there's also a story from he Owe and her name
• 34:54
  Speaker 2: means snow in Greek, and it's also been translated a Winner,
• 34:58
  Speaker 2: but basically a Greek version of snow White that obviously
• 35:01
  Speaker 2: predates the fifteen thirty three version, and basically she compares
• 35:07
  Speaker 2: her beauty to Artemis the Hunter, and that offends Artemis
• 35:12
  Speaker 2: so much that Artemis kills her. So the original story
• 35:15
  Speaker 2: of snow White is that the step mother is essentially
• 35:19
  Speaker 2: the old Crone archetype, and she is threatened by the
• 35:22
  Speaker 2: beauty of snow White. In the Greek version, Artemis is
• 35:26
  Speaker 2: being threatened by the beauty of a lady named snow Also,
• 35:30
  Speaker 2: Artemis is the hunter. In snow White, the evil stepmother
• 35:34
  Speaker 2: hires the hunter to go out and kill snow White.
• 35:37
  Speaker 2: So you've got another It's just it's an interesting blending.
• 35:40
  Speaker 2: So if it's not a direct adaptation, which I don't
• 35:43
  Speaker 2: think it is, at the very least, it's like a synchronicity. Right,
• 35:47
  Speaker 2: It's like the same archetype that people keep bumping into
• 35:50
  Speaker 2: and it keeps making sense to where it's never going
• 35:53
  Speaker 2: to die out, like you're going to keep seeing the
• 35:54
  Speaker 2: story play out over and over again. So I've from
• 35:57
  Speaker 2: between the two historical aspects, and then this, like Artemis
• 36:02
  Speaker 2: as the evil stepmother aspect, snow White just feels like
• 36:06
  Speaker 2: a reverberation of the same story over and over. You're
• 36:08
  Speaker 2: not You're not gonna get your kids to go and
• 36:10
  Speaker 2: see the story of Artemis. But they might go and
• 36:13
  Speaker 2: see snow White from Walt Disney or whatever the new
• 36:15
  Speaker 2: iteration of that's gonna be SpongeBob something or other.
• 36:18
  Speaker 1: Right, SpongeBob under the C two point zero story of Artemis.
• 36:25
  Speaker 2: So here's another example of a real story that kind
• 36:30
  Speaker 2: of gets hidden tangled, which was just a version of Rapunzel,
• 36:35
  Speaker 2: and a lot of people know Rapunzel. It's the girl
• 36:37
  Speaker 2: that puts the hair down out of the tower and
• 36:39
  Speaker 2: the guy goes up and he climbs it. Well, it's
• 36:42
  Speaker 2: interesting is that both of those stories are likely based
• 36:46
  Speaker 2: on a real historical figure as well, called Saint Barbara.
• 36:50
  Speaker 2: If you ever heard of the city Santa Barbara, she
• 36:53
  Speaker 2: is literally it was named after Saint Barbara. A lot
• 36:55
  Speaker 2: of people don't realize that she's the patron saint of artillery,
• 36:59
  Speaker 2: which is why you'll usually see her with cannons or
• 37:02
  Speaker 2: sometimes rifles. If it's like a modern thing, there's usually
• 37:06
  Speaker 2: going to be a tower in the background, just like
• 37:08
  Speaker 2: Rapunzel that she lived in, and there's a lightning strike.
• 37:11
  Speaker 2: So the premise of Rapunzel is that she gets locked
• 37:15
  Speaker 2: up in the tower and they're trying to like prevent
• 37:18
  Speaker 2: their virgin daughter from getting knocked up. Essentially, right, if
• 37:21
  Speaker 2: you're just going to oversimplify it, that's kind of the story.
• 37:24
  Speaker 2: In the story of Saint Barbara, it was her dad
• 37:28
  Speaker 2: was a pagan and she wanted to convert to Christianity,
• 37:31
  Speaker 2: and he didn't want that to happen because Christians were
• 37:34
  Speaker 2: starting to like, you know, flow through the nation. So
• 37:36
  Speaker 2: he ends up locking her in a tower to prevent
• 37:39
  Speaker 2: her from going and turning into a Christian. And you'll
• 37:42
  Speaker 2: see on a lot of the towers they'll actually have
• 37:45
  Speaker 2: like the little like Holy Trinity symbol to show that
• 37:49
  Speaker 2: even when she was locked up, she was still in
• 37:53
  Speaker 2: this search of becoming a Christian because of like everything
• 37:57
  Speaker 2: that she was doing. Her dad finds out about this,
• 38:00
  Speaker 2: he gets her out of the tower, beheads her, and
• 38:04
  Speaker 2: then he's immediately struck down by lightning and he dies.
• 38:07
  Speaker 2: So this is where you'll see Saint Barbara is Rapunzel,
• 38:12
  Speaker 2: is this artillery goddess, and the artillery being that her
• 38:16
  Speaker 2: death was immediately avenged by the gods through this lightning strike.
• 38:21
  Speaker 2: So now any form of lightning or firepower, explosives, gunpowder, bullets,
• 38:28
  Speaker 2: they're all attributed to Saint Barbara, who again is Rapunzel,
• 38:32
  Speaker 2: who ends up in a Disney movie called Tangled.
• 38:36
  Speaker 1: Is that supposed to be a true story or a
• 38:38
  Speaker 1: myth of Saint Barbara?
• 38:40
  Speaker 2: I believe it's it's supposed to be a true story,
• 38:44
  Speaker 2: not a myth. And of course I think it's probably
• 38:47
  Speaker 2: been embellished, and you know, through syncretism, it's kind of
• 38:51
  Speaker 2: meshed with other stories over time a little bit. But
• 38:53
  Speaker 2: I do believe that the core of that is true,
• 38:56
  Speaker 2: that a pagan dad locked his daughter up and then
• 39:01
  Speaker 2: when she went against his word, he killed her, and
• 39:04
  Speaker 2: then he got he died from a lightning strike. All
• 39:06
  Speaker 2: that sounds like something that could reasonably happen in the
• 39:09
  Speaker 2: real world, you know.
• 39:12
  Speaker 1: Sounds like Christian propaganda to me.
• 39:17
  Speaker 2: So here's another here's a more fun version of Disney
• 39:20
  Speaker 2: Villains and Chernobog. And the first thing to note is
• 39:24
  Speaker 2: that this is from Fantasia, and this is a night
• 39:28
  Speaker 2: on Bald Mountain. And if you look at the silhouette
• 39:32
  Speaker 2: of Chernibog when he has his wings up, because he's
• 39:34
  Speaker 2: like a legitimate demon, his his name translates to the
• 39:38
  Speaker 2: black God, and he was a Slavic Germanic entity, which
• 39:43
  Speaker 2: we're this is gonna get kind of deepier. But look
• 39:46
  Speaker 2: at the silhouette and you'll see that that silhouette is
• 39:49
  Speaker 2: repeated by Disney in a lot of their other villain designs.
• 39:53
  Speaker 2: The one that's the most obvious is Maleficent, so you
• 39:56
  Speaker 2: can see, like Mollficen's head is the exact same shape
• 39:59
  Speaker 2: as the wings of Chernobog. And this is intentional what
• 40:04
  Speaker 2: Fantasia does. And I really believe this one strongly. Fantasia
• 40:09
  Speaker 2: is a literal magical spell that Disney cast onto the
• 40:13
  Speaker 2: world to create a fit like a reality, to make
• 40:17
  Speaker 2: the Disney world a real world, right like like it's
• 40:21
  Speaker 2: it's an actual thing that exists in a way that
• 40:24
  Speaker 2: me and you could be dead for one hundred years
• 40:26
  Speaker 2: and no one will ever remember either of us have
• 40:28
  Speaker 2: ever existed or anything we ever said, but Disney, the
• 40:31
  Speaker 2: company and the corporation, they will They will outlive almost
• 40:35
  Speaker 2: anyone on the planet right now. So in that way,
• 40:38
  Speaker 2: like the spell worked, and that every time someone watches Fantasia,
• 40:43
  Speaker 2: or any time a new movie comes out that uses
• 40:46
  Speaker 2: a theme from Fantasia, whenever I'm a Lificent remake comes out,
• 40:50
  Speaker 2: it's just recasting that spell over and over again and
• 40:53
  Speaker 2: just making it stronger each time. And I think that's
• 40:56
  Speaker 2: that's almost how you can interpret most Disney movies, is like, oh,
• 40:59
  Speaker 2: let's time to put another spell on real quick, and
• 41:02
  Speaker 2: it all starts with Fantasia.
• 41:03
  Speaker 1: In my opinion, that makes sense because you're totally right,
• 41:09
  Speaker 1: Disney and Disney movies will outlive probably everyone. And always
• 41:16
  Speaker 1: thought that that would be interesting. What if someone in
• 41:18
  Speaker 1: two hundred years just stumbles across the random movie Have
• 41:24
  Speaker 1: you ever seen the movie Galaxy Quest?
• 41:26
  Speaker 2: Yeah, Tim Mallen.
• 41:28
  Speaker 1: Right, Yeah, where these real aliens come down and they
• 41:34
  Speaker 1: think that the show that these people were about was
• 41:37
  Speaker 1: about real events. They think they were real space ship
• 41:42
  Speaker 1: people going around, you know, killing aliens in space. Like
• 41:46
  Speaker 1: what if that would actually happen in like two to
• 41:49
  Speaker 1: three hundred years in the future. People take a lot
• 41:51
  Speaker 1: of these movies that we've made as like historical documents
• 41:56
  Speaker 1: and historical fact If.
• 41:57
  Speaker 2: It were Disney and it were nineties or pre nineties,
• 42:01
  Speaker 2: then they'd still be right. I don't know if Galaxy
• 42:03
  Speaker 2: Quests would be as accurate, but I feel like Disney
• 42:07
  Speaker 2: was is accurately retelling real things that happened that just
• 42:13
  Speaker 2: turned into mystery school stories. And then mystery school stories
• 42:16
  Speaker 2: over thousands of years turned into old wives tales and
• 42:20
  Speaker 2: stories that Grandma would tell the youngins. But they're essentially
• 42:23
  Speaker 2: the same accurate stories being told over and over again.
• 42:27
  Speaker 2: And then here's another example of how Chernobog. And again
• 42:32
  Speaker 2: this is not like, oh well, Disney is sneaking in
• 42:35
  Speaker 2: you know these these evil references. No, this is all
• 42:39
  Speaker 2: completely out in the open. No one ever denied this.
• 42:41
  Speaker 2: There's interviews with the music director that said why he
• 42:46
  Speaker 2: picked all of these different songs. And for example, churnal
• 42:51
  Speaker 2: Bog is also the name of a mountain called journal Bog,
• 42:56
  Speaker 2: and journal Bog had the name of Hell and Devilstone,
• 43:00
  Speaker 2: and that also there's this area around this Zernobo, which
• 43:06
  Speaker 2: is where they said there's ancient objects. There's a place
• 43:09
  Speaker 2: called Devil's pulpit, devil's window, and a sacrificial cauldron. So
• 43:14
  Speaker 2: these this is a real factual place that the chernobug
• 43:19
  Speaker 2: demon that they decided to depict in this episode of Fantasia.
• 43:22
  Speaker 2: This is like some of the oldest cult like word
• 43:26
  Speaker 2: like black magic worshiping cults that they decided to kind
• 43:29
  Speaker 2: of archetype this after. So none of this is just
• 43:32
  Speaker 2: by accident, and it's all really fascinating to me. So
• 43:36
  Speaker 2: this it's gonna go a little bit deeper. I'm not
• 43:38
  Speaker 2: gonna just straight up read it, but if you look
• 43:39
  Speaker 2: into the region itself, these weren't just regular Slavs. These
• 43:44
  Speaker 2: Slavs end up becoming part of eastern Germany. So the
• 43:50
  Speaker 2: reason why this is important is because look at all
• 43:52
  Speaker 2: of the early Disney films outside of Pinocchio, a large
• 43:57
  Speaker 2: majority are Grim fairy Tales, and Grim fairy Tales were
• 44:00
  Speaker 2: largely Germanic folklore, and the Grim fairy Tales was second
• 44:06
  Speaker 2: only to the Bible, so in terms of sales, in
• 44:09
  Speaker 2: terms of popularity, and I would even argue that when
• 44:13
  Speaker 2: the Grim fairy Tales were out, if you had Grim's
• 44:15
  Speaker 2: fairy Tales and you had the Bible in your bookshelf.
• 44:18
  Speaker 2: There's a good chance you read Grim's fairy Tales more
• 44:21
  Speaker 2: than the Bible, because you had to have the Bible,
• 44:23
  Speaker 2: Like everyone had to have a copy of the Bible.
• 44:26
  Speaker 2: Otherwise you could be like someone would be like, hey,
• 44:28
  Speaker 2: how come you don't have a copy of the Bible? Right,
• 44:30
  Speaker 2: But if you had Grim's fairy Tales, it was likely
• 44:32
  Speaker 2: because you were actively reading it, or you're reading it
• 44:35
  Speaker 2: to kids, or you were reading it yourself. Like this
• 44:37
  Speaker 2: was like incredible, Like it was the only Harry Potter
• 44:40
  Speaker 2: that existed. Right. So, the popularity of Grim's fairy Tales
• 44:46
  Speaker 2: paired with the German identity crisis that was going on
• 44:49
  Speaker 2: at the tail end of the nineteenth in the early
• 44:52
  Speaker 2: twentieth century, combined with Walt Disney repopularizing Grim's fairy Tales
• 44:58
  Speaker 2: all over again through his animation in the nineteen thirties.
• 45:03
  Speaker 2: I've then there's a strong argument here that like all
• 45:05
  Speaker 2: of this kind of like comes to a head. And
• 45:08
  Speaker 2: I'm not saying that that Walt Disney started World War Two,
• 45:11
  Speaker 2: but he invigorated, he helped invigorate this you know, Germanic
• 45:16
  Speaker 2: nation that had been going through an identity crisis, and
• 45:18
  Speaker 2: then was all of a sudden popular with the entire
• 45:22
  Speaker 2: world over who and we're gonna we're going to return
• 45:29
  Speaker 2: to that too, because it's gonna come up again a
• 45:31
  Speaker 2: few different times, which is a you know, the the
• 45:34
  Speaker 2: Werner von Braun and Heinz Haber who also came over
• 45:37
  Speaker 2: in paper Clip. He doesn't get as much recognition, but
• 45:40
  Speaker 2: he also had a kids show on the Disney Channel.
• 45:45
  Speaker 1: So a lot of these original stories originally from Germany,
• 45:50
  Speaker 1: these original fair.
• 45:52
  Speaker 2: Grim fairy tales, and they would they would often go
• 45:54
  Speaker 2: to Grim fairy Tales. Disney has a they would revisit
• 45:58
  Speaker 2: Grim for a lot of their inspiration on early movies.
• 46:02
  Speaker 2: And I'll go into some non Grim fairy Tales ones too,
• 46:05
  Speaker 2: but that was definitely all all sort of Germanic or
• 46:09
  Speaker 2: at least like Slavic Eastern European folklore. That essentially, if
• 46:14
  Speaker 2: you're not familiar with Grim fairy tales, the Grim Brothers
• 46:18
  Speaker 2: were actually historians, and before the fairy tales, they wrote
• 46:22
  Speaker 2: the history of Germany like they were like the the
• 46:25
  Speaker 2: number one book on Germanic history, and they basically applied
• 46:29
  Speaker 2: the exact same level of research and detail to folklore,
• 46:33
  Speaker 2: so they weren't just guys that were interested in stories
• 46:37
  Speaker 2: that people were telling their kids. They were actively trying
• 46:40
  Speaker 2: to reconstruct an entire cultural identity that had been lost
• 46:45
  Speaker 2: for however long, hundreds or thousands of years.
• 46:48
  Speaker 1: It seems, wow, that's super fascinating.
• 46:53
  Speaker 2: So we're gonna we're gonna keep going on to Oh
• 46:56
  Speaker 2: and another fun little fact is that there is this
• 47:01
  Speaker 2: was discovered in two thousand and eight, but there's some
• 47:04
  Speaker 2: sort of an astrological alignment where you can witness the
• 47:09
  Speaker 2: Winner solstice at the actual Churnobog location at the very
• 47:14
  Speaker 2: top of this mountain called the Hand of the Gods.
• 47:18
  Speaker 2: So anyways, there this specific location in which Fantasia and
• 47:23
  Speaker 2: Chernobog are introduced, like the very first Disney villain. Essentially
• 47:29
  Speaker 2: that there's all sorts of astrological alignment to it, so
• 47:31
  Speaker 2: I'm sure it's probably just a coincidence. And then here
• 47:33
  Speaker 2: is a quote from Deams Taylor. Deams Taylor was the
• 47:37
  Speaker 2: master of ceremonies in Fantasia. Since it's essentially like a musical,
• 47:42
  Speaker 2: He's the one that decided what music would go in
• 47:45
  Speaker 2: and he said quote Bald Mountain, according to jurdition, is
• 47:50
  Speaker 2: the gathering place of Satan and his followers on Wahlberger's Night,
• 47:53
  Speaker 2: the equivalent of our Halloween. So he is talking about
• 47:57
  Speaker 2: why they included this scene because they wanted something to
• 48:00
  Speaker 2: represent a Satanic ritual by name. This isn't trying to
• 48:06
  Speaker 2: read between the lines. This is literally the guy that
• 48:09
  Speaker 2: put that song and that scene in there. And then
• 48:13
  Speaker 2: if you want to go on a whole Wallburger's tangent.
• 48:17
  Speaker 2: But it's essentially like the movie, the A twenty four movie.
• 48:23
  Speaker 2: I'm flanking on the name, but the may Day not hereditary,
• 48:26
  Speaker 2: but it was the other one that's essentially just another
• 48:30
  Speaker 2: variation of this Wallburger's Night. And then Midsummer there you
• 48:36
  Speaker 2: go with wicker Man, like all of the like, these
• 48:38
  Speaker 2: were all different variations of a similar, similar ritual that
• 48:43
  Speaker 2: happened at the same time, either like the day before
• 48:45
  Speaker 2: the day after. There's also a Satan John's Day. And
• 48:49
  Speaker 2: then here I told you we were gonna we're gonna
• 48:51
  Speaker 2: keep going back to World War two and like these
• 48:53
  Speaker 2: interesting notes here, and you mentioned the Olympics when we
• 48:57
  Speaker 2: first started talking. Interesting this is a fun one to
• 49:00
  Speaker 2: come up on trivia night. The first television tower in
• 49:04
  Speaker 2: the entire world ever in human history, the first television
• 49:07
  Speaker 2: tower was built on the Brocken, which is the mountain
• 49:13
  Speaker 2: in which Wahberger's Night was actually being celebrated, in which
• 49:18
  Speaker 2: Churn of Bogs depicted that actual mountain in real human history.
• 49:22
  Speaker 2: Was the first television station antenna to ever be erected,
• 49:27
  Speaker 2: and it was erected by the Nazis specifically to broadcast
• 49:30
  Speaker 2: the Olympics one time, and then they took it down.
• 49:33
  Speaker 2: So they erected an antenna on Devil's Mountain just to
• 49:38
  Speaker 2: broadcast the first television broadcast ever and then took it
• 49:42
  Speaker 2: back down again. I just I find that endlessly fascinating.
• 49:46
  Speaker 1: I knew that the TV was of the Devil.
• 49:49
  Speaker 2: Paranoid American, seriously, add this one to your notebook. Man,
• 49:53
  Speaker 2: This one is uh, it's it's hard to disprove because
• 49:57
  Speaker 2: it is so well documented because of the Olympic aspect
• 50:01
  Speaker 2: to it. Okay, here's another fun one. So let's get
• 50:05
  Speaker 2: out of grim for a second. Now we're going to
• 50:08
  Speaker 2: get into Italian occultism. So we got Pinocchio. Some people
• 50:13
  Speaker 2: have rightfully connected the story of Pinocchio to the Golden
• 50:17
  Speaker 2: Ass and long story short, it's that if you reject
• 50:21
  Speaker 2: an education, if you reject logic and reason and the
• 50:25
  Speaker 2: ability to think with your mind, then you're going to
• 50:27
  Speaker 2: be forced to work with your hands. That you're going
• 50:30
  Speaker 2: to become a beast of burden if you can't elevate
• 50:32
  Speaker 2: your mind. That was sort of like this very high
• 50:35
  Speaker 2: ambitious political version of Pinocchio and of the Golden Ass. However,
• 50:41
  Speaker 2: Pinocchio gets even more a cult and specific than that connection.
• 50:46
  Speaker 2: That one's a strong one because they follow almost the
• 50:49
  Speaker 2: same beats where they leave school and he goes into
• 50:53
  Speaker 2: a circus, and then it starts, you start turning into
• 50:55
  Speaker 2: an animal, and you actually become a literal beast of burden. However,
• 51:00
  Speaker 2: the guy that wrote the real og Pinocchio story, it
• 51:04
  Speaker 2: was Carlo Lorenzini, and he had a pen name but
• 51:09
  Speaker 2: in Lorenzeni. In addition to writing Pinocchio, which came out
• 51:13
  Speaker 2: in political newspapers at the time, it was he was
• 51:17
  Speaker 2: basically like a strong political activist that was writing under
• 51:20
  Speaker 2: these pen names and revolutionary newspapers. And one of these
• 51:25
  Speaker 2: newspapers he had written a sympathetic article to the Carbonari.
• 51:30
  Speaker 2: The Carbonari were basically a Masonic Italian political offshoot, also
• 51:37
  Speaker 2: known as the Charcoal burners in that they would meet
• 51:40
  Speaker 2: in the middle of the night clandestinely and they would
• 51:43
  Speaker 2: burn you know, charcoal as to not have like an
• 51:45
  Speaker 2: open fire, so that they could see but not attract.
• 51:49
  Speaker 2: And then also that they would write symbols or sigils
• 51:52
  Speaker 2: or messages with the charcoal. And if you look at
• 51:55
  Speaker 2: early interpretations of the Italian Pinocchio, there are references to
• 51:59
  Speaker 2: the charcoles because they would go into like a hut
• 52:02
  Speaker 2: and expect to see like a scene with a pot
• 52:06
  Speaker 2: boiling at a stove in the hearth, and they'd see
• 52:10
  Speaker 2: that was actually etched into the wall or etched in
• 52:12
  Speaker 2: with charcoal. This was a reference to them being a carbonari.
• 52:17
  Speaker 2: So there's like a political aspect to it. The symbol
• 52:21
  Speaker 2: in the middle that was the symbol of the Carbonari,
• 52:24
  Speaker 2: like their their Masonic version of like a little magical sigil.
• 52:28
  Speaker 2: And then again man this concept of Pinocchio going and
• 52:35
  Speaker 2: becoming a beast of burden, this was something that was
• 52:38
  Speaker 2: actively happening in Italy, specifically all over Italy, but in Sicily.
• 52:45
  Speaker 2: There were these Sicilian sulfur mines that I think were
• 52:49
  Speaker 2: in existence up until like mid twentieth century, and it
• 52:53
  Speaker 2: took a lot of different people to basically bring this.
• 52:58
  Speaker 2: I think like Booker T. Washington, he actually was quoted
• 53:02
  Speaker 2: as saying that when he found out about these sulfur
• 53:04
  Speaker 2: mines in Sicily, that it was worse than anything that
• 53:07
  Speaker 2: any like, you know, black slave in America had gone
• 53:11
  Speaker 2: through compared to what these kids were going through. And
• 53:13
  Speaker 2: this was also happening in the time when Pinocchio was
• 53:15
  Speaker 2: being written, So part of this story about kids being
• 53:19
  Speaker 2: kidnapped and forced to work was really happening during the
• 53:23
  Speaker 2: lifetime in which the book itself came out.
• 53:29
  Speaker 1: Pinocchio was a slave bro we was slaves.
• 53:34
  Speaker 2: And then here's a there's an actual name for it,
• 53:37
  Speaker 2: so Carusu or carusi. It's a Sicilian word for the
• 53:42
  Speaker 2: term boy, but it basically just translated to any of
• 53:45
  Speaker 2: these kids that were working in these mines. And this
• 53:48
  Speaker 2: was going on until the nineteen fifties, so this is
• 53:52
  Speaker 2: this was going on for hundreds of years, and this
• 53:55
  Speaker 2: is essentially what Pleasure Island would evolve into. Like Pleasure
• 53:58
  Speaker 2: Island is where they would get they would lure you
• 54:01
  Speaker 2: away from going to school so that you know, you'd
• 54:05
  Speaker 2: drink alcohol, you'd smoke cigarette, just anything other than going
• 54:09
  Speaker 2: to school and becoming part of the system. And once
• 54:11
  Speaker 2: they were able to remove you from the system, then
• 54:13
  Speaker 2: they could kidnap you and literally force you to work
• 54:15
  Speaker 2: for the rest of your life.
• 54:17
  Speaker 1: Okay, islands here, real quick, paranoid American. There was a
• 54:23
  Speaker 1: period of time that the Disney World Cruise would take people,
• 54:30
  Speaker 1: take the children over to Little Saint James Island.
• 54:33
  Speaker 2: Well, okay, I know, actually know a little bit about
• 54:37
  Speaker 2: this one. I didn't go on this excursion. So it
• 54:40
  Speaker 2: was a Disney cruise line. Disney owns their own islands.
• 54:44
  Speaker 2: One of their islands is adjacent to Little Saint James,
• 54:49
  Speaker 2: and they had an excursion so that while while you
• 54:53
  Speaker 2: were at Disney's island, your family could have paid a
• 54:57
  Speaker 2: lot of money, probably a few hundred dollars at least,
• 55:00
  Speaker 2: to go on a coral reef excursion at Little Saint
• 55:03
  Speaker 2: James to where you would like, you know, go over
• 55:06
  Speaker 2: there for the afternoon, snorkel and then hopefully you make
• 55:10
  Speaker 2: your way back to the cruise ship. So it wasn't
• 55:13
  Speaker 2: that Disney ship was going there or that Disney was
• 55:16
  Speaker 2: sending people there. It was that they had an excursion
• 55:20
  Speaker 2: and that someone from Little Saint James would take your
• 55:23
  Speaker 2: money and bring you to the island. I don't know
• 55:25
  Speaker 2: if I'm splitting hairs here, but I just I just
• 55:28
  Speaker 2: felt like we could be exact on this.
• 55:32
  Speaker 1: But still either way, either way if Disney taking there
• 55:37
  Speaker 1: from the island, coming to get them.
• 55:41
  Speaker 2: Honestly, since we're on that topic too, I might as
• 55:43
  Speaker 2: well point this one out. I don't have a slide
• 55:45
  Speaker 2: for it, but there's an image of Gislaine Maxwell who's
• 55:50
  Speaker 2: like dancing next to a Pluto on a stage and
• 55:54
  Speaker 2: it says Disney or something in the background behind her,
• 55:57
  Speaker 2: and that often comes up as looks she was, you know,
• 56:02
  Speaker 2: working for Disney. She was on the payroll. She was
• 56:04
  Speaker 2: like recruiting kids. Like I believe that that was actually
• 56:08
  Speaker 2: like a Channel four event and that Channel four had
• 56:12
  Speaker 2: paid for Disney characters to show up and like be
• 56:17
  Speaker 2: on stage and stuff, but it was not a Disney event,
• 56:20
  Speaker 2: and that Gislaine Maxwell didn't work for Disney. She worked
• 56:24
  Speaker 2: doing something for Channel four. Again, I don't know if
• 56:26
  Speaker 2: it's splitting hairs. It just it's another interesting Epstein Gislaine
• 56:29
  Speaker 2: Maxwell Disney connection.
• 56:31
  Speaker 1: Well, people found out through the files that Epstein had
• 56:36
  Speaker 1: like a year long or multiple year long past to
• 56:42
  Speaker 1: Disney World.
• 56:43
  Speaker 2: Or I'm surprised that he wasn't Club thirty three.
• 56:48
  Speaker 1: Club thirty three baby, because.
• 56:52
  Speaker 2: Club thirty three at that point is just a flex,
• 56:56
  Speaker 2: but it also means that you never have to wait
• 56:58
  Speaker 2: in line. So I feel like he he'd be the
• 57:00
  Speaker 2: kind of guy that would have gotten the Club thirty
• 57:02
  Speaker 2: three pass, and then you don't. You don't need the more.
• 57:07
  Speaker 2: And I think the Club thirty three is like fifty
• 57:09
  Speaker 2: thousand dollars a year per park, So if you want
• 57:13
  Speaker 2: to be a member in three different parks, it's one
• 57:15
  Speaker 2: hundred and fifty a year.
• 57:18
  Speaker 1: That's nothing to the multi billion.
• 57:24
  Speaker 2: It's a flex more than it's like a thing that
• 57:25
  Speaker 2: you would care about. So Okay, here's the one of
• 57:29
  Speaker 2: the theories that I'm not going to take credit for
• 57:32
  Speaker 2: that I can't remember who I heard this from, or
• 57:35
  Speaker 2: maybe I should just take credit. But yeah, it's called
• 57:37
  Speaker 2: the Disney proxy, and it's it can be more complicated,
• 57:42
  Speaker 2: but the dumbest version, the most simplified version, is that
• 57:46
  Speaker 2: you traumatize a kid, you introduce them to a cute
• 57:51
  Speaker 2: little sidekick that's their savior, and then you sell that
• 57:54
  Speaker 2: kid chochkeys related to their savior and that in if
• 58:00
  Speaker 2: your kids like so, here's here's the general premise is
• 58:04
  Speaker 2: that you sit your kid down in front of the
• 58:06
  Speaker 2: TV and you gotta go do taxes, you gotta go
• 58:09
  Speaker 2: do dishes, you gotta go fix the car, whatever it is.
• 58:12
  Speaker 2: You're like, I just need an hour to go and
• 58:14
  Speaker 2: do adult stuff. So we're gonna PLoP you down in
• 58:17
  Speaker 2: front of the TV. We're gonna put on Disney tape
• 58:20
  Speaker 2: because Disney is more or less like I can trust
• 58:23
  Speaker 2: that it's not gonna do something horrible to you. That's
• 58:25
  Speaker 2: the sale right of Disney is like family friendly, so
• 58:29
  Speaker 2: that if I go in the other room, I can
• 58:31
  Speaker 2: just leave you to it. So when that happens, if
• 58:33
  Speaker 2: you're five years old and your parent leaves the room,
• 58:37
  Speaker 2: to a five year old mind with maybe still developing
• 58:41
  Speaker 2: the concept of like per object permanence, right, if mom
• 58:44
  Speaker 2: leaves the room, mom might as well be dead until
• 58:47
  Speaker 2: you know she comes back into the room. You're still
• 58:49
  Speaker 2: figuring things out. So you put your five year old
• 58:51
  Speaker 2: in front of this show. In that movie, Bambi's mom
• 58:56
  Speaker 2: becomes the kid's mom because the kids mom's in the
• 58:59
  Speaker 2: other room. She's doing or something. So now like you're
• 59:02
  Speaker 2: bonding with this character or the dad of its lion king, right,
• 59:06
  Speaker 2: and then when the mom dies, this kid might for
• 59:09
  Speaker 2: a five year old mind, it might be the first
• 59:11
  Speaker 2: time in their life where they've gone through this psychological
• 59:15
  Speaker 2: mental exercise of mommy died, What do I do? What
• 59:19
  Speaker 2: do I do if mom dies? Wow, I've never considered
• 59:22
  Speaker 2: that before. What happens when my mom actually dies? And
• 59:25
  Speaker 2: they start thinking, even if they're not actively thinking that
• 59:28
  Speaker 2: the back of the head like seeds are being planted.
• 59:31
  Speaker 2: So now it's kind of traumatic. If that's the first
• 59:34
  Speaker 2: time you've ever thought about your own mortality or the
• 59:37
  Speaker 2: mortality of your parents and your loved ones, it could
• 59:41
  Speaker 2: kind of spiral you a little bit. If your head's
• 59:43
  Speaker 2: not big enough to fully contemplate it, you still kind
• 59:46
  Speaker 2: of get stuck in this trauma mode. So there's three
• 59:49
  Speaker 2: main ways that happens in Disney movies. Either the parent dies,
• 59:53
  Speaker 2: which is a pretty obvious one, or you get separated
• 59:56
  Speaker 2: or lost. You could almost consider like maybe an Alice
• 59:59
  Speaker 2: in Wonderland would be like this, Maybe Mary Poppins would
• 1:00:02
  Speaker 2: be like this, where the kids are removed from any
• 1:00:06
  Speaker 2: authority figures and they're out in the world fending for
• 1:00:09
  Speaker 2: themselves and it's unknown if they ever make it back.
• 1:00:11
  Speaker 2: And then the third one is a more extreme version
• 1:00:15
  Speaker 2: of that where you get kidnapped. But all three of
• 1:00:17
  Speaker 2: these are forcing a young mind to actually go through
• 1:00:22
  Speaker 2: via this process of oh my god, my mom just died,
• 1:00:26
  Speaker 2: or oh my god, I'm lost and I might never
• 1:00:28
  Speaker 2: get home, or oh my god, I was just kidnapped.
• 1:00:31
  Speaker 2: So once they're in this new traumatic state thinking new thoughts,
• 1:00:36
  Speaker 2: the first thing that Disney's gonna do is put a
• 1:00:38
  Speaker 2: very cute sidekick savior character. They're gonna save you. And
• 1:00:43
  Speaker 2: what happens is that you now have this nlp anchor
• 1:00:46
  Speaker 2: of in this case Thumper. We're gonna have a bunch
• 1:00:48
  Speaker 2: of examples, and now whenever you're gonna see Thumper, after
• 1:00:53
  Speaker 2: you've seen this movie, you're gonna feel a little bit
• 1:00:55
  Speaker 2: of relief. You're gonna be like, oh, I don't know why,
• 1:00:58
  Speaker 2: but I feel like a little more at e then
• 1:01:00
  Speaker 2: I just did five seconds ago. It might be you
• 1:01:03
  Speaker 2: were walking down the isle in Walmart and you saw
• 1:01:05
  Speaker 2: a Thumper backpack. You don't know why you felt that way,
• 1:01:08
  Speaker 2: but this is the reason it's because sometime earlier in life,
• 1:01:12
  Speaker 2: Thumper saved, like literally saved you and became your new
• 1:01:16
  Speaker 2: parental figure. And you're gonna see this happen over and
• 1:01:19
  Speaker 2: over again. Lion King is an example. You kill the parent,
• 1:01:22
  Speaker 2: you introduce the cute sidekicks, you sell the chochkeys with
• 1:01:26
  Speaker 2: the sidekicks, and up, even if it's not a kid
• 1:01:30
  Speaker 2: that's dying here, you've got like an old man that
• 1:01:33
  Speaker 2: loses someone gets a sidekick, the sidekick gets cool little chochkeys.
• 1:01:38
  Speaker 2: Even in Frozen Frozen she gets she ages a little bit,
• 1:01:42
  Speaker 2: her parents go away on a trip and just never
• 1:01:44
  Speaker 2: come back. And then you get ol Off, and then
• 1:01:46
  Speaker 2: oll Off becomes an expensive Lorcana card or a Funko pop. Right, So,
• 1:01:51
  Speaker 2: like this constant theme that I called a Disney proxy
• 1:01:55
  Speaker 2: where traumatize the kid, introduced the kid to a cute
• 1:01:59
  Speaker 2: little character that's then gonna be a happy meal toy
• 1:02:03
  Speaker 2: or a Lorcanic card, or a or a sneaker or
• 1:02:06
  Speaker 2: something out in the real world, and then just keep
• 1:02:09
  Speaker 2: capitalizing on that for the rest of their life. Because
• 1:02:12
  Speaker 2: and this is where Disney adults become so useful. Where
• 1:02:16
  Speaker 2: a Disney adult is still feeling some sort of ease
• 1:02:19
  Speaker 2: by seeing Thumper, even when they're like fifty years old.
• 1:02:24
  Speaker 2: Whoa bro.
• 1:02:27
  Speaker 1: That is a deep rooted psychological manipulation, and I can
• 1:02:31
  Speaker 1: definitely see how that works. As you were explaining that,
• 1:02:35
  Speaker 1: I was immediately thinking to one of the first Disney
• 1:02:38
  Speaker 1: movies that I ever saw, which was Tarzan. Tarzan the
• 1:02:43
  Speaker 1: animated movie, and what happens in that Tarzan loses his parents.
• 1:02:49
  Speaker 2: There's some theories that the parents and Frozen are the
• 1:02:54
  Speaker 2: parents in Tarzan. Here's another fun This is my favorite
• 1:02:58
  Speaker 2: part about Tarzan. If you look at the original story
• 1:03:02
  Speaker 2: of Tarzan. The premise. Again, this is like kind of
• 1:03:07
  Speaker 2: Rosicruciani maybe, but it was that the blood of a
• 1:03:12
  Speaker 2: British aristocrat was so inherently superior to any other race
• 1:03:17
  Speaker 2: of human being that you could literally take a British aristocrat,
• 1:03:22
  Speaker 2: drop them in the middle of a jungle and they
• 1:03:25
  Speaker 2: would thrive. Not only would they thrive, they would become
• 1:03:28
  Speaker 2: the king of the jungle. And that's what Tarzan is.
• 1:03:31
  Speaker 2: Tarzan represents that British aristocracy is just inherently better than
• 1:03:38
  Speaker 2: anything else in the world, and that it will always
• 1:03:40
  Speaker 2: thrive no matter what environment you put it in.
• 1:03:45
  Speaker 1: This is really crazy right here. I believe this absolutely,
• 1:03:50
  Speaker 1: that this is happening, and this explains why kids are
• 1:03:54
  Speaker 1: so crazy about Disney movies because they've been traumatized by
• 1:03:58
  Speaker 1: watching it, and they get their best friend within that movie,
• 1:04:03
  Speaker 1: and they're put into that type of scenario even though
• 1:04:06
  Speaker 1: it's not real life, they're watching a fictional version of it.
• 1:04:10
  Speaker 1: And then the parents don't understand why they like these
• 1:04:13
  Speaker 1: characters so much, especially in the beginning. You know, of
• 1:04:16
  Speaker 1: course people are now parents that grew up with a
• 1:04:19
  Speaker 1: lot of the stuff, but I feel like even in
• 1:04:21
  Speaker 1: the nineties or in the eighties, parents didn't really understand
• 1:04:25
  Speaker 1: why their kids like these shows so much. But this
• 1:04:30
  Speaker 1: explains it.
• 1:04:31
  Speaker 2: And I think it's also really interesting to note that
• 1:04:35
  Speaker 2: I think Disney found this formula out on accident because
• 1:04:39
  Speaker 2: they came out with Bambi and something called the Bambi
• 1:04:43
  Speaker 2: effect happened, or you can look up like Bambi syndrome.
• 1:04:47
  Speaker 2: But essentially, after Bamby came out and everyone saw Bambi's
• 1:04:50
  Speaker 2: mom die and here's this adorable Bamby yawning and mom,
• 1:04:54
  Speaker 2: where are you mom? Right, like, people were upset and
• 1:04:58
  Speaker 2: there was actual legislation and cultural change where it became
• 1:05:03
  Speaker 2: less acceptable socially to hunt and eat deer, and it
• 1:05:09
  Speaker 2: actually got so out of control that there became an
• 1:05:13
  Speaker 2: overpopulation issue with deer, and then they had to start
• 1:05:16
  Speaker 2: aggressively overcoming the deer because they had let it go
• 1:05:20
  Speaker 2: unchecked for too long again because of like like public
• 1:05:23
  Speaker 2: pressure that people saw the Disney movie and complain to
• 1:05:28
  Speaker 2: their local you know, politicians, and it changed the landscape
• 1:05:32
  Speaker 2: for the worst. And I think when this happened first,
• 1:05:35
  Speaker 2: Disney was like, Okay, that's interesting, Like, we have some
• 1:05:38
  Speaker 2: real power here. We have to be a little bit
• 1:05:41
  Speaker 2: more careful now about how we wield this power. But
• 1:05:43
  Speaker 2: I think also the when they realize, oh, if you
• 1:05:47
  Speaker 2: kill the authority figure, it does something extra. Even though
• 1:05:51
  Speaker 2: it's just a cartoon, it does like something beyond what
• 1:05:54
  Speaker 2: anyone was expecting. So again, I feel like that when
• 1:05:58
  Speaker 2: they killed Bambi's mom, it was like a happy accident.
• 1:06:01
  Speaker 2: They were like, oh, what was this. Let's keep trying
• 1:06:04
  Speaker 2: this out, and then over the years they make it
• 1:06:06
  Speaker 2: so that it's almost like a formula, and then you've
• 1:06:09
  Speaker 2: got movies that can do this over and over again,
• 1:06:11
  Speaker 2: where they can kill characters over and over. Like Coco
• 1:06:14
  Speaker 2: is a good example, where like they have regular death
• 1:06:17
  Speaker 2: and they have like a second in deaths, So now
• 1:06:19
  Speaker 2: like everybody gets to die and see their loved ones
• 1:06:22
  Speaker 2: die and go back to like it gets but again,
• 1:06:24
  Speaker 2: then that one's almost like a logmarthic function, whereas this
• 1:06:27
  Speaker 2: is like the most simple algebraic version of that first.
• 1:06:32
  Speaker 1: Wow, then they just kept repeating the same formula over
• 1:06:36
  Speaker 1: and over and over again.
• 1:06:37
  Speaker 2: So here's here's what I would consider the darker side
• 1:06:42
  Speaker 2: of Disney. And we won't get too much beyond this one,
• 1:06:44
  Speaker 2: but it's so easy to ruin a Disney movie for yourself.
• 1:06:49
  Speaker 2: If you look into it just enough, you're gonna find
• 1:06:52
  Speaker 2: something that's gonna be like, eh, I wish I didn't
• 1:06:54
  Speaker 2: know that. So here's my example is that Sword in
• 1:06:58
  Speaker 2: the Stone was probably my favorite Disney movie of all time.
• 1:07:01
  Speaker 2: I absolutely love this movie. I think I saw it
• 1:07:03
  Speaker 2: the most times out of anything. Where this one gets
• 1:07:07
  Speaker 2: kind of weird is just if you look at the
• 1:07:10
  Speaker 2: original author Sword in the Stone by THH. White. THH.
• 1:07:14
  Speaker 2: White was this old old guy that didn't develop any
• 1:07:19
  Speaker 2: adult relationships with anyone, and he fell in love with
• 1:07:22
  Speaker 2: a twelve year old boy when he was in his
• 1:07:24
  Speaker 2: late fifties, and that a lot of the work and
• 1:07:28
  Speaker 2: a lot of his diary entries basically we were just
• 1:07:31
  Speaker 2: talking about this constant struggle that he was going through,
• 1:07:34
  Speaker 2: that if he wanted to express the love that he
• 1:07:39
  Speaker 2: had in his soul, that society would reject him, and
• 1:07:43
  Speaker 2: that it was like the most painful thing ever. And
• 1:07:46
  Speaker 2: his later biographer basically said that this turned him into
• 1:07:50
  Speaker 2: a sado massachis that he he he might have had
• 1:07:53
  Speaker 2: some like pretty strong other diary entries that never made
• 1:07:58
  Speaker 2: it to like the full public light. But when you
• 1:08:01
  Speaker 2: start learning about this guy's actual background, and then I'm
• 1:08:05
  Speaker 2: like rewatching Sword in the Stone and I'm just like, damn,
• 1:08:08
  Speaker 2: here's this old guy that looks kind of like him,
• 1:08:10
  Speaker 2: smoking the pipe, lives out in the middle of the woods,
• 1:08:13
  Speaker 2: and he's luring an orphaned boy to learn all about magic,
• 1:08:18
  Speaker 2: and he's not allowed to go home and tell any
• 1:08:20
  Speaker 2: of the adults about it. All of a sudden, now
• 1:08:23
  Speaker 2: it's like the story of Sword in the Stone and
• 1:08:25
  Speaker 2: the story of an old guy that literally lured a
• 1:08:28
  Speaker 2: young twelve year old away from his family to try
• 1:08:31
  Speaker 2: and teach him magic. As a you know, a euphemism.
• 1:08:35
  Speaker 2: So here's just an example of I mean, if another
• 1:08:39
  Speaker 2: maybe a darker one, who would be like powder, But
• 1:08:41
  Speaker 2: we're not going to get into powder because it's not animated.
• 1:08:44
  Speaker 1: Well, that's kind of the story of the original Star
• 1:08:48
  Speaker 1: Wars trilogy too. Well, we wantingob be an old man
• 1:08:51
  Speaker 1: luring a teenage boy into the woods to teach him magic.
• 1:08:58
  Speaker 2: It's a story as old as time. It's of here's
• 1:09:03
  Speaker 2: an here's an example of a thing that comes up constantly,
• 1:09:07
  Speaker 2: and this is the Walt Disney was a freemason, and
• 1:09:10
  Speaker 2: I just maybe with an asterisk. So if if you
• 1:09:14
  Speaker 2: care about the fine details, there's plenty of examples where
• 1:09:18
  Speaker 2: Walt drew Mickey Mouse as a day Olay. There was
• 1:09:22
  Speaker 2: even an entire skit where he opens up the Barnyard
• 1:09:26
  Speaker 2: chapter of dam Olay, and it has a lot of
• 1:09:28
  Speaker 2: the different characters that you'll see repeatedly coming out in
• 1:09:32
  Speaker 2: the rest of the early Disney movies. So here's a
• 1:09:36
  Speaker 2: photo in the bottom right corner with Walt Disney and
• 1:09:40
  Speaker 2: some other dem Olay and then on the bottom left corner,
• 1:09:43
  Speaker 2: this is the modern version of Dame Olay. But it
• 1:09:46
  Speaker 2: is basically cub Scouts for Masons if you're too young
• 1:09:50
  Speaker 2: to join the actual Masons, So if you're not like
• 1:09:52
  Speaker 2: twenty yet, but either you have a family member that
• 1:09:56
  Speaker 2: wants you to be in it, or you know it
• 1:09:58
  Speaker 2: like it's a it's a sort of like an after
• 1:10:01
  Speaker 2: school curricular thing. Who knows. Who knows how a kid
• 1:10:04
  Speaker 2: winds up in the Masons or in the the Damola,
• 1:10:07
  Speaker 2: which is cub Scouts for Masons. Walt Disney not only
• 1:10:11
  Speaker 2: did he find himself in the Masons, but he was
• 1:10:14
  Speaker 2: actually under the wing of the original, the founder of
• 1:10:18
  Speaker 2: Dame Olay. It's this guy named Frank Sherman Land, and
• 1:10:22
  Speaker 2: everyone called him Dad, and that still goes on now.
• 1:10:25
  Speaker 2: If you join the Day Malay, you usually call your
• 1:10:28
  Speaker 2: equivalent of like your Scout master. They call him Dad,
• 1:10:32
  Speaker 2: just a little bit weird. And then here's a photo
• 1:10:34
  Speaker 2: of Walt Disney and Vivian and with Frank Land later
• 1:10:39
  Speaker 2: on in life. And I think that his experience in
• 1:10:43
  Speaker 2: Dame Olay, this is where he got his occultism, and
• 1:10:46
  Speaker 2: this is where he got his drive and his ability
• 1:10:49
  Speaker 2: to just say, like, I'm gonna make my own reality.
• 1:10:52
  Speaker 2: Because as a young kid, you know, as like a
• 1:10:55
  Speaker 2: thirteen or fourteen year old learning about the Knight's Templar
• 1:10:59
  Speaker 2: and learn about all of these esoteric principles doing literal
• 1:11:04
  Speaker 2: magical rituals because they do the same Masonic footwork where
• 1:11:08
  Speaker 2: they you know, they go around certain number of times,
• 1:11:11
  Speaker 2: they like certain number of candles, they say like little oaths.
• 1:11:14
  Speaker 2: All of that's happening. So you've got this very young
• 1:11:17
  Speaker 2: Walt Disney going through a very real secret society initiation
• 1:11:22
  Speaker 2: based on knights Templar. Of course he's going to come
• 1:11:25
  Speaker 2: out and put occultism into everything he does. There's no
• 1:11:28
  Speaker 2: way that he can't. That's this is what shaped him
• 1:11:30
  Speaker 2: as a young kid. Absolutely, And I want to say
• 1:11:38
  Speaker 2: the most insidious of Disney movies. The common examples, the
• 1:11:44
  Speaker 2: one that comes up the most maybe are the dick
• 1:11:47
  Speaker 2: castles in Little Mermaid poster, right, the little castle in
• 1:11:51
  Speaker 2: the background. They look like little decks. Then you've got
• 1:11:54
  Speaker 2: the the Rescuers where they're flying down a city scape
• 1:11:59
  Speaker 2: and there's like a naked lady in one of the windows.
• 1:12:01
  Speaker 2: Really quickly, there's the line that some people say is
• 1:12:05
  Speaker 2: all teenagers take off your clothes in Aladdin. There's the
• 1:12:10
  Speaker 2: part in Lion King where he jumps into the little
• 1:12:13
  Speaker 2: cloud of like dust and feathers and it spells out
• 1:12:16
  Speaker 2: the word sex and the sky really briefly. There's even
• 1:12:19
  Speaker 2: a deleted scene and Who Framed Roger Rabbit in which
• 1:12:22
  Speaker 2: Jessica Rabbit gets into a car wreck and her she
• 1:12:27
  Speaker 2: opens her legs as she falls out of the car,
• 1:12:30
  Speaker 2: And they intentionally created that scene and then deleted it
• 1:12:35
  Speaker 2: just so they could have a deleted scene that like
• 1:12:37
  Speaker 2: people would talk about. These are the ones that I
• 1:12:39
  Speaker 2: think I might have missed one or two, but those
• 1:12:42
  Speaker 2: are the ones that come up the most in that
• 1:12:44
  Speaker 2: Disney's trying to corrupt your kids. Disney's trying to convert
• 1:12:48
  Speaker 2: your kids into sex crazed maniacs. I don't think that
• 1:12:53
  Speaker 2: your kids seeing three letters on the screen for like
• 1:12:56
  Speaker 2: a half second is going to do it. I don't
• 1:12:58
  Speaker 2: think a dick Castle is going to do it. You
• 1:13:00
  Speaker 2: Know what I do think can harm your child, though,
• 1:13:03
  Speaker 2: is teaching them that it's toys love him back, and
• 1:13:05
  Speaker 2: that they feel physical pain, and that if you if
• 1:13:09
  Speaker 2: you relinquish control over your material possessions, that you're essentially
• 1:13:14
  Speaker 2: killing them, that you are torturing these things that love you.
• 1:13:18
  Speaker 2: I think That is probably one of the most insidious
• 1:13:22
  Speaker 2: lessons that Disney can put into anything. I would much
• 1:13:24
  Speaker 2: rather dick castles and churnal bug and black magic and
• 1:13:29
  Speaker 2: horoscopes than teaching my kids that, you know, like, your
• 1:13:33
  Speaker 2: toys love you back, so therefore you should put like
• 1:13:37
  Speaker 2: a spiritual investment into your material possessions. That is so
• 1:13:41
  Speaker 2: crazy to me. And Toy Story is one of the
• 1:13:43
  Speaker 2: bigger examples. Toy Story. I would say that, like, what
• 1:13:47
  Speaker 2: is it, brave Little toaster walk so Toy Story can run.
• 1:13:50
  Speaker 2: They both are the exact same premise that material possessions
• 1:13:54
  Speaker 2: have a soul and a spirit and therefore it's almost
• 1:13:57
  Speaker 2: bad to get rid of them. Yeah.
• 1:14:00
  Speaker 1: There's also one in the marriage scene of The Little
• 1:14:05
  Speaker 1: Mermaid where the preacher or the priest or whatever looks
• 1:14:09
  Speaker 1: like he has a boner.
• 1:14:11
  Speaker 2: Right, Well, again, I would say that even if let's
• 1:14:14
  Speaker 2: just say that that is one hundred percent of boner,
• 1:14:16
  Speaker 2: and I would say it is I'm not I am
• 1:14:18
  Speaker 2: a hug like that he has a boner. I don't
• 1:14:21
  Speaker 2: know if that's gonna if that's gonna harm a young
• 1:14:25
  Speaker 2: viewer that sees that versus being taught that their toys
• 1:14:29
  Speaker 2: love them back and to not throw out their toys.
• 1:14:32
  Speaker 2: And even better, if you look at the first toy
• 1:14:34
  Speaker 2: story Sid, who's seen as like the bad guy, because
• 1:14:38
  Speaker 2: what a Sid do? Sid takes broken toys and he
• 1:14:41
  Speaker 2: puts them back together, So he's like making his own toys.
• 1:14:45
  Speaker 2: He's recycling things, which is not what Disney wants you
• 1:14:48
  Speaker 2: to do. Disney wants you to go to the store
• 1:14:51
  Speaker 2: and buy your ass a brand new license, trademark, you know,
• 1:14:55
  Speaker 2: approved Disney product, and that if you are making your
• 1:14:58
  Speaker 2: own toys, then you're essentially a monster. At least that's
• 1:15:01
  Speaker 2: Sid rules and Toy Story one. They change that a
• 1:15:03
  Speaker 2: little bit when you get to like Toy Story.
• 1:15:04
  Speaker 1: Four, that's very true. That's very true. Don't make your
• 1:15:10
  Speaker 1: own buy ours consumerism.
• 1:15:14
  Speaker 2: Here's another fun one. Almost every Disney villain is gay.
• 1:15:20
  Speaker 2: Have you heard this one?
• 1:15:21
  Speaker 1: No, I haven't told me about this.
• 1:15:24
  Speaker 2: So if let's just say that, like all of the
• 1:15:28
  Speaker 2: Disney female villains share whatever, they're lesbians. Just let's save
• 1:15:32
  Speaker 2: it for conversation for later. You go through all of
• 1:15:34
  Speaker 2: the male villains, they all follow this again like this aristocratic,
• 1:15:41
  Speaker 2: but like a Yankee doodle, a dandy archetype. Every single
• 1:15:45
  Speaker 2: one of these guys is a dandy. You've got Scar
• 1:15:50
  Speaker 2: who basically talks with like a very specific accent and
• 1:15:55
  Speaker 2: that sounds like a like a West, you know, Hollywood
• 1:15:58
  Speaker 2: sort of gay. You've got the line that sucks his
• 1:16:03
  Speaker 2: thumb constantly. You've got sher Khan who also has that
• 1:16:06
  Speaker 2: exact same accent. Pretty much every single Captain hook Ursula
• 1:16:11
  Speaker 2: is essentially a drag queen. Ja'afar has that exact same
• 1:16:17
  Speaker 2: like very you know, has like a very specific way
• 1:16:21
  Speaker 2: of talking, I would say, and then even Radinger of
• 1:16:24
  Speaker 2: the Great Mouse Detective this very specific. And there's actually
• 1:16:28
  Speaker 2: a documentary that I found this from the point of
• 1:16:31
  Speaker 2: this out. It's a documentary called Do I Sound Gay?
• 1:16:34
  Speaker 2: And it was about a guy that went away to
• 1:16:37
  Speaker 2: college and came back after like three or four years,
• 1:16:40
  Speaker 2: and some of his friends were like, why are you
• 1:16:41
  Speaker 2: talking like that? And he realized that after he had
• 1:16:45
  Speaker 2: gone away to school, he basically started talking gay because
• 1:16:48
  Speaker 2: he fit in with like a gay crowd, and he
• 1:16:50
  Speaker 2: like picked up on these different mannerisms and a certain
• 1:16:53
  Speaker 2: way of talking, and he had he actually had to
• 1:16:55
  Speaker 2: go to a speech therapist to unlearn all of this.
• 1:16:57
  Speaker 2: And as he was doing that he's he had seen
• 1:17:00
  Speaker 2: a few Disney movies and he was like, hey, every
• 1:17:04
  Speaker 2: one of these these male Disney villains talk like they're gay,
• 1:17:09
  Speaker 2: Like they they speak the way that I'm trying to unlearn.
• 1:17:14
  Speaker 1: That would make sense, That would make sense. That and
• 1:17:17
  Speaker 1: the reason why they're they're so evil, their clauset gay.
• 1:17:20
  Speaker 2: Bro it gives the motivation. Here's okay, here's one of
• 1:17:25
  Speaker 2: the I think I'm winding down here. So here's another
• 1:17:28
  Speaker 2: really fun one is the Disney Pixar theory. So this
• 1:17:32
  Speaker 2: isn't mine. This one gets floated around and improved by
• 1:17:35
  Speaker 2: a bunch of people, but it's based on things that
• 1:17:37
  Speaker 2: happen specifically in the Pixar movies. So in in Brave,
• 1:17:41
  Speaker 2: and if you pay attention in Pixar, most Pixar movies
• 1:17:45
  Speaker 2: are self referential. They will like refer to previous Pixar
• 1:17:49
  Speaker 2: movies or future Pixar movies, so it kind of implies
• 1:17:53
  Speaker 2: that they're all aware of each other. So in Brave,
• 1:17:57
  Speaker 2: there's a scene in which they're talking to the old
• 1:18:00
  Speaker 2: Witch and the witch has a truck. And the truck,
• 1:18:05
  Speaker 2: I believe is one of the trucks you see in
• 1:18:06
  Speaker 2: Toy Story or something inside of it, or it's in cars.
• 1:18:10
  Speaker 2: It's a truck that's in cars. So Brave is seen
• 1:18:13
  Speaker 2: as the very first, the very first movie in the
• 1:18:16
  Speaker 2: Pixar universe, happening around the fourteenth century. Then you've got
• 1:18:22
  Speaker 2: Toy Story and Finding Nemo, which are leading up to
• 1:18:26
  Speaker 2: the demise of humans. They're kind of they took place
• 1:18:29
  Speaker 2: in the time period that they seem to have taken place,
• 1:18:31
  Speaker 2: which is like the nineteen nineties. Then you've got Ratitude.
• 1:18:35
  Speaker 2: Then you have cars, And this is one of my
• 1:18:37
  Speaker 2: favorite examples of how this goes off, is that Wally happens,
• 1:18:43
  Speaker 2: and Wally is basically humans have polluted the Earth until
• 1:18:48
  Speaker 2: it's no longer habitable and they have to go out
• 1:18:50
  Speaker 2: in the outer space. And then Wally is in search
• 1:18:54
  Speaker 2: of signs of life on the planet so that once
• 1:18:58
  Speaker 2: they find the Earth can sustain life again, humans can return.
• 1:19:01
  Speaker 2: That's a premise of Wally. While Wally is happening, pollution
• 1:19:07
  Speaker 2: makes the Earth unlivable and humans start to create these
• 1:19:11
  Speaker 2: like these shells, so the shells slowly become their cars.
• 1:19:17
  Speaker 2: People start living in their cars to the point where
• 1:19:20
  Speaker 2: they fuse with their cars. So the premise is that
• 1:19:23
  Speaker 2: if you go into these Disney Pixar car movies, if
• 1:19:26
  Speaker 2: you were to open up one of those doors, it
• 1:19:28
  Speaker 2: would just be a fleshy mass of like nerves and
• 1:19:31
  Speaker 2: cartilage and like brain matter, because the inside of that
• 1:19:35
  Speaker 2: car is now the inside of a human body, and
• 1:19:38
  Speaker 2: they have this like exoskeleton that looks like a car.
• 1:19:42
  Speaker 2: And this was an evolutionary requirement to even continue living.
• 1:19:47
  Speaker 2: And then you've got bugs life that comes after this,
• 1:19:50
  Speaker 2: So very humans even survive that version of iterations, So
• 1:19:55
  Speaker 2: then it becomes just bugs that survive, and the bugs
• 1:19:57
  Speaker 2: become basically sentient. The same Rosicrucian spirit that give human
• 1:20:03
  Speaker 2: that spark of life, it gets passed on to the
• 1:20:06
  Speaker 2: bugs because the bugs are the next best thing. And
• 1:20:08
  Speaker 2: then finally you've got the Monsters Inc. And Monsters University
• 1:20:13
  Speaker 2: reality in which they live in the most distant future
• 1:20:16
  Speaker 2: from now and they're actually their door system is trying
• 1:20:20
  Speaker 2: to travel back into the past and fix things that
• 1:20:23
  Speaker 2: went wrong.
• 1:20:27
  Speaker 1: Who I really like Monsters, Monsters, Inc. And Monsters University.
• 1:20:35
  Speaker 1: That makes sense. I never even watched Wally, though I've
• 1:20:38
  Speaker 1: heard Wally's good, but I've never never seen it.
• 1:20:43
  Speaker 2: Wally was remarkable when it first came out and it
• 1:20:48
  Speaker 2: got a lot of press because I think it's silent
• 1:20:52
  Speaker 2: for the first twenty minutes or so, which is sort
• 1:20:55
  Speaker 2: of out of character for a blockbuster children's three D
• 1:21:00
  Speaker 2: movie that would just be completely silent. But it's essentially
• 1:21:02
  Speaker 2: just Wally driving around and looking at stuff. But and
• 1:21:07
  Speaker 2: while he is a deep dive in itself, man Wally
• 1:21:11
  Speaker 2: is all about the Garden of Eden. That's why it's
• 1:21:14
  Speaker 2: Eve comes down, and Eve is trying to lure humans
• 1:21:19
  Speaker 2: away from the Garden of Eden. Like they have found
• 1:21:22
  Speaker 2: a way to sustain themselves in space, maybe without any war,
• 1:21:27
  Speaker 2: without anyone dying, there's no old people. They they have
• 1:21:31
  Speaker 2: found a way to actually sustain forever. But Eve finds
• 1:21:35
  Speaker 2: a way to lure them back to Earth again, where
• 1:21:37
  Speaker 2: they're basically going to go back through that same doom cycle.
• 1:21:41
  Speaker 2: This ignores the theory though, that everyone's eating each other
• 1:21:46
  Speaker 2: on the spaceship in Wally, and that basically there's like
• 1:21:48
  Speaker 2: a soilent green operation going on, and that's why you
• 1:21:51
  Speaker 2: don't see old people.
• 1:21:54
  Speaker 1: Supposedly, they're making a new Toy Story movie, and I
• 1:22:00
  Speaker 1: think that it's going to be about technology.
• 1:22:06
  Speaker 2: It's gonna be about tablets.
• 1:22:09
  Speaker 1: Yeah, and now the toys have to fight back against technology.
• 1:22:13
  Speaker 2: Yeah, but I mean it's gonna be the friends they
• 1:22:15
  Speaker 2: make along the way probably, And honestly, the only way
• 1:22:21
  Speaker 2: that it can work out is that technology is going
• 1:22:24
  Speaker 2: to have to become accepted as a new toy and
• 1:22:28
  Speaker 2: the tablet and a natural evolution of things. Children are
• 1:22:32
  Speaker 2: going to be taught that their tablet loves them back
• 1:22:35
  Speaker 2: like this. That has been the premise of toy story
• 1:22:39
  Speaker 2: since the very beginning. So there's no way that formula
• 1:22:42
  Speaker 2: necessarily changes. It's going to be that technology is the
• 1:22:45
  Speaker 2: new outsider, but it still loves whoever the human is,
• 1:22:50
  Speaker 2: so therefore it's worthy of this Rosicruci spiritual evolution, like
• 1:22:55
  Speaker 2: it's it's ready to be next in line.
• 1:23:00
  Speaker 1: Dolphin or almost blue dolphin.
• 1:23:03
  Speaker 2: One other quick one. Just look, I'm not going to
• 1:23:05
  Speaker 2: go through all these, but look into children's book authors
• 1:23:08
  Speaker 2: that have connections to military intelligence. There's just like lots
• 1:23:12
  Speaker 2: and lots and lots and lots of examples. Oh and
• 1:23:17
  Speaker 2: here's a parting one a fever dream. So most people
• 1:23:24
  Speaker 2: have heard of one hundred and one Dalmatians, right, you've
• 1:23:26
  Speaker 2: heard of one hundred and one Dalmatians, and the premise
• 1:23:29
  Speaker 2: of one hundred and one Dalmatians was something called the
• 1:23:32
  Speaker 2: Twilight Bark, and this is when dogs would go out
• 1:23:35
  Speaker 2: in the middle of the night and they would howl
• 1:23:37
  Speaker 2: into the darkness, and a dog on another rooftop would
• 1:23:40
  Speaker 2: hear that and they would howl, and essentially they could
• 1:23:43
  Speaker 2: communicate with each other and form this like mesh network
• 1:23:47
  Speaker 2: of dog howls. So if I need to get a
• 1:23:50
  Speaker 2: message four hundred miles away, I could do that through
• 1:23:53
  Speaker 2: this twilight bark, right is That's kind of like the
• 1:23:56
  Speaker 2: basic premise of this. So the sequel to one hundred
• 1:24:00
  Speaker 2: and one Dalmatians, which was also written by the same author,
• 1:24:03
  Speaker 2: Dodie Smith. This one never got a Disney sequel, it
• 1:24:07
  Speaker 2: did get a live action make and like the early
• 1:24:10
  Speaker 2: two thousands, it's a weird movie. But the sequel to
• 1:24:14
  Speaker 2: one hundred and one Dalmatians is a book called The
• 1:24:16
  Speaker 2: Starlight Barking, which is slightly different than the Twilight Bark.
• 1:24:21
  Speaker 2: The Starlight Barking what happens is that a god from
• 1:24:26
  Speaker 2: the serious Dog Star comes to Earth freezes humanity in
• 1:24:32
  Speaker 2: a like cryogenic state essentially, and then dogs gained the
• 1:24:37
  Speaker 2: ability to fly at supersonic speeds. They can control technology,
• 1:24:43
  Speaker 2: and they can communicate with each other telepathically, and they
• 1:24:47
  Speaker 2: collectively discuss with this dog god from the Serious Star
• 1:24:51
  Speaker 2: System that says, hey, humans are ruining the Earth. There's
• 1:24:55
  Speaker 2: wars going on, like everything is going horrible. All of
• 1:25:00
  Speaker 2: you dogs can come back with me to the Serious
• 1:25:03
  Speaker 2: Star System and you'll be treated as kings and gods
• 1:25:07
  Speaker 2: just like I am. Or you can stay here and
• 1:25:10
  Speaker 2: hang out with humans. And they he was like, you, guys,
• 1:25:13
  Speaker 2: you know, think it over a little bit. Spoiler alert.
• 1:25:16
  Speaker 2: The dogs decide they're going to stay here and help
• 1:25:18
  Speaker 2: humans rather than go back to the Dog Star. But
• 1:25:22
  Speaker 2: it's a wild story about these supersonic telepathic technology using dogs,
• 1:25:29
  Speaker 2: like the dogs are literally flying around the streets and
• 1:25:32
  Speaker 2: opening and closing garage doors with their minds because they
• 1:25:36
  Speaker 2: can control technology. So just another weird fever dream that
• 1:25:40
  Speaker 2: most people don't know about. Because this is the sequel
• 1:25:43
  Speaker 2: that I wish Disney would make out of all the
• 1:25:45
  Speaker 2: sequels they keep making over and over again. But the
• 1:25:48
  Speaker 2: reason is because Dodie Smith, after she gets popular from
• 1:25:54
  Speaker 2: the one hundred and one Dalmatians, she becomes a pacifist
• 1:25:59
  Speaker 2: and a conscient, just objector, and she ends up leaving
• 1:26:04
  Speaker 2: Europe in order to come to the States in order
• 1:26:07
  Speaker 2: to like avoid something with her husband of getting like
• 1:26:10
  Speaker 2: enlisted or anything. So she then becomes this like anti
• 1:26:15
  Speaker 2: war political non person because if you were anti war
• 1:26:19
  Speaker 2: back then you were kind of anti state as well.
• 1:26:22
  Speaker 2: So she kind of lost all of her credibility, which
• 1:26:24
  Speaker 2: is one of the reasons that you haven't heard about
• 1:26:26
  Speaker 2: the Starlight barking, but you should have.
• 1:26:30
  Speaker 1: That sounds incredible. That sounds way better than anything. One
• 1:26:33
  Speaker 1: hundred and one dominationis, bro, it's a good sequel of
• 1:26:36
  Speaker 1: going I don't know if I would believe that about
• 1:26:38
  Speaker 1: dogs cats. If it was cats, I believe it.
• 1:26:43
  Speaker 2: Well, I don't. I think cats would have left us.
• 1:26:45
  Speaker 2: They'd be like, oh, yeah, we're out of here. At
• 1:26:47
  Speaker 2: least dog. I do believe dogs might be dumb enough
• 1:26:50
  Speaker 2: to try and hang out and help us out.
• 1:26:55
  Speaker 1: Yeah. I think cats are super smart. Bro, they know
• 1:26:58
  Speaker 1: what's up. I think they got I think they know.
• 1:27:03
  Speaker 1: I think cats know the secrets of the universe.
• 1:27:09
  Speaker 2: That's like cats don't need to know. They don't really care,
• 1:27:12
  Speaker 2: and that's that's the secret to the universe.
• 1:27:16
  Speaker 1: I've seen those people on TikTok that are cat's psychics
• 1:27:21
  Speaker 1: will read your cat's mind Uh.
• 1:27:25
  Speaker 2: I believe that people pay for people to read their
• 1:27:29
  Speaker 2: cat's minds. Yeah.
• 1:27:29
  Speaker 1: Absolutely, I think it's funny. It's interesting. It would be
• 1:27:37
  Speaker 1: pretty fascinating to find out if they what they actually
• 1:27:42
  Speaker 1: think about. You know, I don't know if there's a
• 1:27:46
  Speaker 1: lot going on inside of a dog, but there's definitely
• 1:27:51
  Speaker 1: a lot going on inside of a cat for shut.
• 1:27:54
  Speaker 2: You know, when when people say things like, oh, humans
• 1:27:59
  Speaker 2: are the only animals that kill for sport or you know,
• 1:28:02
  Speaker 2: the only animals that are cruel, like I immediately think
• 1:28:06
  Speaker 2: of cats. I immediately think of I have a ced
• 1:28:08
  Speaker 2: a cat, just kill a creature for the sheer fun
• 1:28:12
  Speaker 2: of it. Didn't wasn't hunting, wasn't hungry, was just like
• 1:28:16
  Speaker 2: I want to see that thing cry a little bit.
• 1:28:19
  Speaker 1: Did you see that documentary on I think it was
• 1:28:22
  Speaker 1: on Netflix. Don't f with Cats?
• 1:28:24
  Speaker 2: No. Oh, it's about the guy that was like torturing
• 1:28:28
  Speaker 2: a cat online and internet and.
• 1:28:30
  Speaker 1: They found him Brown. I found him the internet. Did that? Dude?
• 1:28:37
  Speaker 2: Wow?
• 1:28:38
  Speaker 1: It's like, dude, if we can if we can figure
• 1:28:41
  Speaker 1: that out, then why are we not figuring out a
• 1:28:44
  Speaker 1: bunch of other stuff.
• 1:28:46
  Speaker 2: Yeah, well the cat didn't have friends in high places,
• 1:28:51
  Speaker 2: I gets or the guy hurting the cat didn't have
• 1:28:53
  Speaker 2: friends in nine places.
• 1:28:56
  Speaker 1: Yeah, he couldn't hide. So what is your ultimate conclusion
• 1:29:00
  Speaker 1: year about about Disney and what they're doing now?
• 1:29:04
  Speaker 2: Yes, Disney teaches occultism to kids, but that's only the
• 1:29:09
  Speaker 2: good Classic Disney, the New Disney. The only thing that
• 1:29:13
  Speaker 2: they're doing is that proxy there. They have figured out
• 1:29:16
  Speaker 2: that formula that if they can traumatize your kid and
• 1:29:20
  Speaker 2: then they can save your kid using a cute, friendly, catchy,
• 1:29:26
  Speaker 2: you know, little sidekick, then that little sidekick will be
• 1:29:30
  Speaker 2: selling them French fries and cars for the rest of
• 1:29:32
  Speaker 2: their entire life. And it's just a cheat code and
• 1:29:36
  Speaker 2: that anyone can kind of fall forward. It's it's weaponized nostalgia.
• 1:29:40
  Speaker 2: And they have figured out a way to do this.
• 1:29:42
  Speaker 2: And not only have they figured had a way to
• 1:29:44
  Speaker 2: do it, but it's now a global conglomerate that I
• 1:29:48
  Speaker 2: would argue is becoming almost like an aggregre. Right, it's
• 1:29:52
  Speaker 2: an aggregor, the same way that the FBI is an aggregor.
• 1:29:55
  Speaker 2: That you could fire everyone in the FBI and the
• 1:29:59
  Speaker 2: second you start high ring them again, no one has
• 1:30:01
  Speaker 2: to teach the new guys like how to It's almost
• 1:30:04
  Speaker 2: like a Stanford prison experiment, Like there's this eggrigor of
• 1:30:08
  Speaker 2: a prison or like a warden master and a prisoner,
• 1:30:12
  Speaker 2: and like those archetypes exist in the same way that
• 1:30:15
  Speaker 2: like a Disney adult archetype exists now because Disney created
• 1:30:19
  Speaker 2: that and they're going to foster that forever and they
• 1:30:22
  Speaker 2: have more resources in time than me or you or
• 1:30:25
  Speaker 2: even like ten thousand of our best friends. So don't
• 1:30:29
  Speaker 2: don't fight it. And if you're gonna criticize Disney, criticize
• 1:30:33
  Speaker 2: the newer stuff for not having occultism, not not criticizing
• 1:30:38
  Speaker 2: Disney for being a cult, like that's the only good
• 1:30:41
  Speaker 2: part of Disney.
• 1:30:45
  Speaker 1: Disney put the occult stuff back in to the movies. Bro,
• 1:30:49
  Speaker 1: give us more Illuminati. Ask about the Illuminati.
• 1:30:53
  Speaker 2: But what we're talking about with scientology and even Mormonism
• 1:30:57
  Speaker 2: that I that I always shoehorn in. But if they
• 1:31:00
  Speaker 2: would just change their positioning, as like if Mormons were like, hey,
• 1:31:06
  Speaker 2: you like you like masonry, Hey you like magic, you
• 1:31:08
  Speaker 2: like a little bit of of Cray mysticism and magical
• 1:31:11
  Speaker 2: talismans and magic underwear, Well we've got you know, the
• 1:31:14
  Speaker 2: religion for you, And the same thing with scientology. It's like, hey,
• 1:31:17
  Speaker 2: do you want to believe in a volcano full of
• 1:31:21
  Speaker 2: bad feelings and thoughts that latch onto you and that
• 1:31:24
  Speaker 2: you know, the whole Xenu story? Like if you lead
• 1:31:27
  Speaker 2: with that, then I think that you might start attracting
• 1:31:30
  Speaker 2: a new wave of people that aren't going to discover
• 1:31:33
  Speaker 2: it later and then feel duped and feel like an
• 1:31:35
  Speaker 2: idiot or be like, oh, this is what I signed
• 1:31:37
  Speaker 2: up for. Why not get people that want to sign
• 1:31:40
  Speaker 2: up for the thing? So I kind of feel the
• 1:31:42
  Speaker 2: same about Disney, Like Disney should start courting more sort
• 1:31:46
  Speaker 2: of occultism. They should. They should start making more Rosicrucian
• 1:31:50
  Speaker 2: themed animations.
• 1:31:54
  Speaker 1: I think so too. I think this should have been
• 1:31:57
  Speaker 1: Paranoid American things. So much for coming on, brother, I
• 1:32:00
  Speaker 1: really appreciate it. Very fascinating conversation. You've put a lot
• 1:32:02
  Speaker 1: of work into decoding a lot of this stuff and
• 1:32:06
  Speaker 1: finding a lot of it. Really appreciate it. Can you
• 1:32:09
  Speaker 1: let people know where they can find you online?
• 1:32:13
  Speaker 2: The only safe place is Paranoid American dot com. I've
• 1:32:16
  Speaker 2: got all kinds of stuff. While I was working at Disney,
• 1:32:20
  Speaker 2: I ended up believing to just start my own comic
• 1:32:24
  Speaker 2: publishing company to do what Disney was teaching me to do,
• 1:32:27
  Speaker 2: but for stuff that I wanted to do, and I've
• 1:32:29
  Speaker 2: been doing that for going on fifteen years now. So
• 1:32:32
  Speaker 2: you can see one of sixty titles that I should
• 1:32:35
  Speaker 2: have on the main site. If you just go to
• 1:32:37
  Speaker 2: paranoid American dot com, I'm guaranteed to have something there
• 1:32:40
  Speaker 2: that's probably up your alley.
• 1:32:43
  Speaker 1: The links to Paranoid American's website is in the description
• 1:32:47
  Speaker 1: of this video. Please go over there, support him, check
• 1:32:49
  Speaker 1: out his work on his website, and all of my
• 1:32:53
  Speaker 1: links are also in the description below. Hits thumbs up
• 1:32:56
  Speaker 1: button out the channel on the algorithm. Sure subscribe at
• 1:32:58
  Speaker 1: the bellicon as well or notifications, and we'll see you
• 1:33:02
  Speaker 1: guys next time. Bye bye ye h.