Latest / Ryder Lee / A ClockWork Shining: MkUltra in Kubrick Film with Ryder Lee

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A ClockWork Shining: MkUltra in Kubrick Film with Ryder Lee · Ryder Lee

0:02
Speaker 1: Here we are again. Welcome to the show, everybody jen
0:08
Speaker 1: x News. Of course, we are streaming live today on
0:10
Speaker 1: x Rumble and YouTube, so we're gonna I'm gonna try
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Speaker 1: to behave. We're also streaming on my guest ryder Lee's YouTube,
0:18
Speaker 1: so we're gonna behave. No clips, no break in the laws.
0:21
Speaker 1: I'm gonna do this one good, no swearing, no bad
0:24
Speaker 1: words before I bring writer on. I want to show
0:30
Speaker 1: and tell, show and tell time. My husband bought me
0:34
Speaker 1: a book. I was listening to the audio version, but
0:36
Speaker 1: he actually bought me the book. And this fits most
0:39
Speaker 1: of the shows that I talk I talk about am
0:41
Speaker 1: Kalter and stuff like that all the time. So here
0:44
Speaker 1: we go. We got it. The Chaos. This is the
0:46
Speaker 1: one Candice Owens is reading Charles manson the CIA and
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Speaker 1: this secret history of the sixties. Haven't cracked in do
0:53
Speaker 1: it yet? Going to it's a thick book. Well, I
0:56
Speaker 1: bet you it's got Yeah, look at how much references.
0:59
Speaker 1: This is just the references right here, stock full of
1:03
Speaker 1: good information. So Chaos. I'll let you guys know how
1:05
Speaker 1: it is. Candice Owens was reading it face a lot
1:10
Speaker 1: of the stuff I talk about on this book, so
1:11
Speaker 1: it's gonna be fascinating. Anyways, thank you guys so much
1:14
Speaker 1: for joining us. We're going to be talking about Ryder
1:18
Speaker 1: Lee's documentary, A Clockwork Shining. I always go to say
1:21
Speaker 1: Clockwork Orange. I said that on my last show. I
1:24
Speaker 1: made a bloop. It's a Clockwork Shining, and he's he'll
1:28
Speaker 1: let you know what it's all about. But if you're
1:30
Speaker 1: a big fan of Stanley Kubrick and MK Ultra, it
1:33
Speaker 1: all comes together in his documentary and he's gonna lay
1:36
Speaker 1: out his evidence for why Stanley Kubrick was telling you
1:41
Speaker 1: about the MK Ultra program in the Shining. Actually, so
1:45
Speaker 1: before I bring right around, remember to subscribe to the
1:49
Speaker 1: platforms of your choice, whether it's X Rumble or YouTube.
1:54
Speaker 1: We've got gen x on x dot com. That is
1:56
Speaker 1: the website. On that website you will find the links
1:59
Speaker 1: to the livest You'll find the links to the audio podcast,
2:02
Speaker 1: which is growing. I was surprised to see the audience
2:04
Speaker 1: growing in the past few weeks. Got people from Ukraine, Israel, Japan,
2:08
Speaker 1: all over the place. It was great. You'll find that there.
2:12
Speaker 1: You also can be a subscriber on X for a
2:15
Speaker 1: monthly fee. I'm working on a little mini documentary on
2:19
Speaker 1: Ted Bundy and this location. I went film to Matt
2:23
Speaker 1: and some MK eltra, so I'm doing a little mini
2:25
Speaker 1: clip documentary. Went filming some stuff that's for subscribers, easy
2:29
Speaker 1: for subscribers, stuff like that. So gen xon x dot
2:33
Speaker 1: com and of course if you want to be a
2:34
Speaker 1: subscriber on X, the handle is gen X News on X.
2:39
Speaker 1: So that's the announcements today. I'm not going to wait
2:42
Speaker 1: much alone. Let's bring writer in and we're going to
2:44
Speaker 1: talk the shining in MK ultra. Welcome to the show, writer.
2:49
Speaker 2: What's all? Melissa's good to see you. And guess what,
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Speaker 2: I also have chaos. What do you know? Twins?
2:57
Speaker 1: My husband ordered it for me. He's like, something's coming
3:00
Speaker 1: for you and I think you'll really like it. And
3:02
Speaker 1: he sends me so much information. He used to work
3:05
Speaker 1: in intelligent stuff. He sends me stuff all the time
3:07
Speaker 1: and videos. I was just watching stuff he sent me early,
3:10
Speaker 1: so this was cool.
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Speaker 2: Yeah, it's really fascinating. I actually haven't got a chance
3:15
Speaker 2: to read all of it yet because it is a
3:17
Speaker 2: really thick book, but I've skimmed through it and like
3:20
Speaker 2: the details and everything that it's in there, like like
3:23
Speaker 2: you were mentioning with the references, It's like it's like, oh,
3:27
Speaker 2: it's you know, at this point, there's like no denying
3:30
Speaker 2: that the CIA had a hand and literally the counterculture
3:33
Speaker 2: of the sixties, and we get into that in our
3:36
Speaker 2: movie as well, and all that stuff that was going
3:38
Speaker 2: on in Lowell Canyon and look Out Mountain, and it's
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Speaker 2: like it's undeniable at this point. There's so much evidence
3:44
Speaker 2: that points to that in the fact that they were
3:47
Speaker 2: all over the the LSD phenomenon and they essentially created
3:52
Speaker 2: the counterculture to destroy the anti war movement. It's exactly what.
3:57
Speaker 1: And it certainly destroys the traditional cultures for sure, the family,
4:01
Speaker 1: it creates all sorts of mayhem outside of that. Now,
4:06
Speaker 1: pertaining to The Shining, I want to know when the
4:09
Speaker 1: first time you saw The Shining was and what prompted
4:12
Speaker 1: you to start looking at it in this way of
4:14
Speaker 1: mk Ultra.
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Speaker 2: Well, the first time that I had seen it, it
4:18
Speaker 2: was a long time ago, like when I was really young,
4:21
Speaker 2: when I was a kid, and to be honest, I
4:24
Speaker 2: did not like the movie. I thought that it was boring,
4:28
Speaker 2: it was uninteresting. Nothing really happens in the entire movie,
4:32
Speaker 2: and it wasn't until I watched it in order to
4:36
Speaker 2: bring Jay Weidner on my channel, because he's the one
4:41
Speaker 2: that really started the entire theory that the shining is
4:44
Speaker 2: Kubrick's confession to faking the moon landing, and I was
4:48
Speaker 2: bringing him on to interview him on my show Raised
4:52
Speaker 2: by Giants, and I was just watching it again and
4:56
Speaker 2: again because I was trying to find details that maybe
4:59
Speaker 2: other people had seen before, and then it kind of
5:02
Speaker 2: all like unfolded before me and I hadn't realized it
5:07
Speaker 2: before because I thought that the moon landing thing was
5:10
Speaker 2: definitely interesting. It's one of the ones that people love
5:13
Speaker 2: to hate, you know what I mean, like, oh, well,
5:17
Speaker 2: this is a super wacky theory and I don't hold
5:20
Speaker 2: any merit to it. All the while they actually do
5:24
Speaker 2: and they actually really do like the theory. You know.
5:26
Speaker 2: It's like one of those where they're like, oh, this
5:28
Speaker 2: is stupid, but in the back they're like, oh, this
5:31
Speaker 2: is actually a really good theory.
5:33
Speaker 1: I have friends who interviewed that guy that was on
5:36
Speaker 1: Joe Brogan not too long ago about the moon landing theory.
5:38
Speaker 2: And Barzabrel and I had him on my show, Melissa.
5:41
Speaker 2: I had him on my show, like a I don't know,
5:43
Speaker 2: almost two years ago, and I didn't get any bump
5:47
Speaker 2: from Joe Rogan having him on. I'm like, I got
5:50
Speaker 2: Bart Sibrel in the title of this freaking video. You're
5:53
Speaker 2: telling me that nobody, like the biggest podcast in the
5:56
Speaker 2: world has Bart Sibrel on there and no one will
6:00
Speaker 2: so put them. But it's just unfortunate. I think it's
6:06
Speaker 2: getting better. It's getting better now that we have this
6:08
Speaker 2: uh you know, the things that are going on. I
6:10
Speaker 2: think it's going to get a lot better. But there
6:12
Speaker 2: for a while, it was just like I was just
6:15
Speaker 2: it was just like doing the definition of insanity, right,
6:18
Speaker 2: I was just doing the same thing over and over,
6:19
Speaker 2: and it's like it's not getting me anywhere.
6:22
Speaker 1: How did you come across oh what's his name? Work
6:27
Speaker 1: about the shining in the moonline? Like how how did
6:29
Speaker 1: you like, were you into conspiracy theory?
6:33
Speaker 2: Yeah? I had always thought that there was a lot
6:36
Speaker 2: of things that was wrong with our reality that we
6:38
Speaker 2: found out from a really young age. I was, you know,
6:43
Speaker 2: I was like, if something's not right here or something
6:45
Speaker 2: is not going on, because no one kuld like tell me,
6:47
Speaker 2: because I would ask questions you know how like when
6:49
Speaker 2: you're a kid and you would ask like a lot
6:51
Speaker 2: of questions, and I think every kid naturally does, and
6:56
Speaker 2: none of the questions, none of the answers to the
6:58
Speaker 2: questions that I were asking, well is being answered, you know, adequately,
7:04
Speaker 2: And I'm like, there's something wrong with this entire equation here.
7:08
Speaker 2: There's something going on, and I can't quite put my
7:11
Speaker 2: thumb on it, you know, because I'm a kid. And
7:14
Speaker 2: then later on I watched the movie Zeitgeist, which then
7:17
Speaker 2: you know, blew the lead off of all kinds of things.
7:21
Speaker 2: It goes through the you know, every section of our
7:25
Speaker 2: reality through religion, it gets in the nine to eleven.
7:27
Speaker 2: Then it gets into the banking system and that our
7:31
Speaker 2: money is essentially worthless because it was changed from a
7:34
Speaker 2: goldback currency to a legal timber. And then it was
7:37
Speaker 2: just like it was all there. And then I just
7:40
Speaker 2: started going down and you know, really thinking about it,
7:44
Speaker 2: and it just you know, opened my mind to so
7:47
Speaker 2: many other possibilities, because that's one of the things like
7:50
Speaker 2: being in the community is like, oh, well, if they're
7:52
Speaker 2: lying about this, then what else are they lying about?
7:55
Speaker 2: They got to be lying about a bunch of other stuff.
7:57
Speaker 2: So it just kind of went for there from there.
8:00
Speaker 2: But Jay Widner, I had heard him on some shows
8:05
Speaker 2: in I think around twenty eighteen twenty nineteen area, and
8:11
Speaker 2: I wasn't familiar with his Kubric work on Stanley Kubrick
8:16
Speaker 2: because he had done two documentaries before this one. This
8:18
Speaker 2: one's kind of like the Quase third installment of his series.
8:24
Speaker 2: So the first one is a Cubric's Odyssey one in
8:27
Speaker 2: Kubric's Odyssey two, and this one's a clockwork shining to
8:29
Speaker 2: Cubric's Odyssey three. So it's like a Quase third installment
8:33
Speaker 2: of his series, completing the trilogy. And I had just
8:38
Speaker 2: heard him on someone's show and then I reached out
8:40
Speaker 2: to him and I was like, Hey, come on my
8:41
Speaker 2: show and talk about it. It was originally about like
8:43
Speaker 2: the Cross of Hindei was what we were talking about
8:46
Speaker 2: in these cycles and you know, the Cali Yuga cycles,
8:50
Speaker 2: and that's what our first show was really about. And
8:54
Speaker 2: then we got into JFK and the next time that
8:57
Speaker 2: I brought him back on and then the neck. Then
9:00
Speaker 2: I had looked more into him and I realized that
9:03
Speaker 2: he had done all these movies about Cubic and I
9:05
Speaker 2: was like, Okay, well, you know, come back on and
9:07
Speaker 2: let's talk about Cubic. Then I was like, and I
9:10
Speaker 2: had discovered this theory, I'd put everything together. It's essentially
9:15
Speaker 2: my theory as what a Clockwork Shining is about. And
9:21
Speaker 2: I mean, of course other people contributed to it as well,
9:24
Speaker 2: everyone in the documentary contributed to it. But I was
9:30
Speaker 2: once I realized exactly what was going on with the Shining,
9:33
Speaker 2: and I reached out to J and I was like, hey,
9:35
Speaker 2: we need to make a documentary about this, and he
9:38
Speaker 2: was like, yeah, we do. And instead of doing a
9:42
Speaker 2: Clockwork Shining first, we did another movie first. So we
9:44
Speaker 2: did jfk X first, and that is also yeah, that's
9:50
Speaker 2: me doing the voiceover work and JFKX and I edited
9:53
Speaker 2: it and directed it and put it all together. So
9:55
Speaker 2: that was all me as well. And of course J
9:57
Speaker 2: why needed that was you know, his theory. So did
10:00
Speaker 2: jfk X first in order to fund our second movie,
10:04
Speaker 2: which is the movie that we originally wanted to do
10:07
Speaker 2: Clockwork Shining.
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Speaker 1: That's fantastic. So when when did like, what was it
10:14
Speaker 1: that gave you your aha moment when you're watching the
10:17
Speaker 1: Shiny to say, hey, I think this is about I
10:19
Speaker 1: think Stanley's trying to tell us about MK Ultra program.
10:23
Speaker 2: The first AHA moment was whenever Danny turns around and
10:26
Speaker 2: sees the twins in the background and there's the Monarch
10:29
Speaker 2: poster on the wall.
10:30
Speaker 1: Behind them, oh in the games room.
10:32
Speaker 2: In the games room. Now that I'm not professing to
10:36
Speaker 2: be the first person to see that. Several people have
10:38
Speaker 2: seen that poster before me. Okay, So I'm not saying
10:43
Speaker 2: that that's something that I only seen several people. And
10:45
Speaker 2: I've been seeing that because people try to come up
10:48
Speaker 2: and say, no, no, this is new blah blah blah blah
10:50
Speaker 2: blah blah blah. There is a lot of new things
10:52
Speaker 2: that at one know for a fact, no one has
10:54
Speaker 2: ever talked about or seen before that we talk about
10:56
Speaker 2: in a clockwork shining. But regardless, I saw the poster
11:00
Speaker 2: in the background and I immediately looked it up. I was,
11:04
Speaker 2: you know, researching about it, and it's seen what other
11:06
Speaker 2: people had been talking about referring to the poster, and
11:11
Speaker 2: they never mentioned Monarch MK Ultra. They kept going on
11:16
Speaker 2: about that it's referring to Monarch Mountain or Monarch Ski
11:20
Speaker 2: Resort in Colorado. And then also the poster looks like
11:26
Speaker 2: a minotaur in the background, and they kept going on
11:29
Speaker 2: about the mintaar and I'm like, this isn't what it's
11:32
Speaker 2: what it really is, but no one ever mentioned monarch
11:37
Speaker 2: mk Ultra, And immediately when I seen it, I knew
11:41
Speaker 2: and then that opened up everything else to here. Actually,
11:45
Speaker 2: i'll show you the the here it does. I got
11:50
Speaker 2: it up on the screen. I don't know if you
11:51
Speaker 2: can share it, but this is the monarch poster that's
11:53
Speaker 2: in the background when Danny turns around and sees the
11:56
Speaker 2: twins for the first time. And that's what sparked the
12:00
Speaker 2: entire theory. And then once I went back and watched
12:05
Speaker 2: it from the very beginning, everything else started to make sense.
12:10
Speaker 1: And his monarch's an earlier name of mk Ultra. Is
12:13
Speaker 1: that why that made that connection? Is that? Is that
12:16
Speaker 1: what it is?
12:17
Speaker 2: It's a subproject of.
12:21
Speaker 1: Okay, well that's interesting, so maybe he's talking about something
12:24
Speaker 1: even more specific.
12:27
Speaker 2: Yeah, and Mark Dovlin, you watched the movie. Did you
12:33
Speaker 2: watch it? You watched a Clockwork training?
12:36
Speaker 1: Yes, I watched it again today before it came on.
12:41
Speaker 3: Thank you, thank you.
12:42
Speaker 2: It really it was good.
12:43
Speaker 1: It was great. Yeah. I bought it because I didn't
12:45
Speaker 1: want to rent it for twenty four hours because I
12:47
Speaker 1: wanted my husband to see it.
12:48
Speaker 2: So, oh, that's awesome. What did he think? Did he
12:50
Speaker 2: like you?
12:51
Speaker 1: Yeah? He did, he did. There was some interesting stuff
12:53
Speaker 1: he thought, Oh wow, mk Eltrist Stanley Kubrick. And it's
12:58
Speaker 1: I mean, I can't speak for him. He'd have to
13:00
Speaker 1: be more specific because he I mean, like I said,
13:02
Speaker 1: he did work in intelligence for a little bit with military,
13:05
Speaker 1: and he was a cop for a very long time.
13:07
Speaker 1: Now he's a truck driver. He's like the heck with
13:09
Speaker 1: all that stuff. But so he he can tell when
13:12
Speaker 1: something's a stile up, like he knows, when he's like,
13:14
Speaker 1: they're always messing with us, like he knows. And so
13:18
Speaker 1: it's it's like he gets it probably more than I do.
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Speaker 2: No, that's really good. I'm glad that you guys enjoyed
13:25
Speaker 2: it and bought it, really appreciated it. And it's always
13:29
Speaker 2: great when someone stood you talking with someone and they've
13:32
Speaker 2: seen your work or like, well.
13:33
Speaker 1: Well, and I'm popping this up here. I'm recommending everybody
13:36
Speaker 1: right now to go out and either rent or purchase
13:38
Speaker 1: it on Prime. A clockwork shining Kubrick' SAUC three there
13:42
Speaker 1: it is, So please support writer with that, because that's
13:46
Speaker 1: how they're able to writers able to keep making more content,
13:50
Speaker 1: more films and funding stuff because everything, Like it's a
13:53
Speaker 1: lot of work even to make little clips for his podcasts,
13:56
Speaker 1: and like, it's a lot of work that goes into this.
13:59
Speaker 2: When you're a one man operation, things really take a
14:03
Speaker 2: toll on you a lot. So I really appreciate the
14:05
Speaker 2: shout out, and I hope people go and definitely watch it.
14:09
Speaker 2: And we kind of don't ruin or spoil the whole
14:12
Speaker 2: thing here, but it's so when I saw the Monarch poster,
14:17
Speaker 2: I was like, Okay, so let's go back to the
14:19
Speaker 2: beginning of this film and let's try and dissect this
14:22
Speaker 2: from the very beginning. So whenever Jack goes to Olman
14:26
Speaker 2: in the very beginning of the movie, which is unlike
14:29
Speaker 2: any other Kubrick movie that's ever been made, the dialogue
14:32
Speaker 2: between Alman and Jack essentially give away the entire plot
14:35
Speaker 2: of the movie. Allman says almost everything verbatim as to
14:42
Speaker 2: what happens to Jack in the rest of the movie,
14:46
Speaker 2: and that's really unlike Kubrick to do something like that.
14:49
Speaker 2: He doesn't really foreshadow well, he foreshadows, but he foreshadows
14:53
Speaker 2: in it's more in symbolism. And that's one of the
14:57
Speaker 2: things that Kubri was like completely against in doing is
15:04
Speaker 2: giving away the entire plot of the movie within the
15:07
Speaker 2: dialogue of the characters, which is a mistake that many
15:10
Speaker 2: filmmakers today now do. They leave no mystery to the
15:15
Speaker 2: movie or no mystery to the film. It's just exactly
15:21
Speaker 2: and they just explained that, like any mystery that may
15:24
Speaker 2: be set up, it's then explained later on within the dialogue,
15:27
Speaker 2: so it doesn't there's no mystery box. I remember listening
15:31
Speaker 2: to j. J. Abrams on a Ted talk and he
15:33
Speaker 2: was essentially like, you gotta have a mystery box. You
15:37
Speaker 2: got to set up your mystery box and within the
15:40
Speaker 2: first like ten minutes of the movie. And when you
15:44
Speaker 2: set up that mystery box, people continue to watch because
15:47
Speaker 2: they wanted the audience wants to try and figure it out.
15:51
Speaker 2: And that's what JJ Abrams has been pretty good with
15:55
Speaker 2: that besides like the Star Wars stuff, and you know,
15:58
Speaker 2: some some other films, but for the most part, that's
16:02
Speaker 2: the way that a movie is supposed to be structured,
16:04
Speaker 2: especially when you're doing a thriller or a suspense movie.
16:08
Speaker 2: You want to keep the audience intrigued by that mystery
16:12
Speaker 2: and you want them to try and start to figure
16:15
Speaker 2: it out. As the characters within the movie, you are
16:17
Speaker 2: figuring it out. And Cawdu Lake is probably the best
16:21
Speaker 2: example of a modern film that does it perfectly. And
16:25
Speaker 2: it was produced by m Night Shyamalan. It's on HBO
16:28
Speaker 2: called Cadu Lake. It's an amazing film. It's in my
16:31
Speaker 2: top ten.
16:32
Speaker 1: He's really good at mystery boxes.
16:37
Speaker 2: I'll tell you that he is really good. Fantastic mystery box.
16:42
Speaker 2: But some of them, like really fall flat, like The
16:44
Speaker 2: Village and the Happenings, garbage movies. But for the most part,
16:49
Speaker 2: But if people are interested in seeing the way that
16:51
Speaker 2: you're supposed to create that mystery box and tell the
16:53
Speaker 2: story through actually the camera and not telling the story
16:58
Speaker 2: through the dialogue of the characters, watch Cowder Lake. Because
17:02
Speaker 2: you have to pay attention to the movie or you
17:06
Speaker 2: have absolutely no idea what's going on. You're going to
17:09
Speaker 2: be completely lost. And even after the movie was over,
17:12
Speaker 2: I was still lost. I stayed up for like four
17:16
Speaker 2: hours after the movie was over trying to figure out
17:18
Speaker 2: what I just watched. And those are the best kind.
17:20
Speaker 1: Of movies for me, isn't that kind of what happens
17:23
Speaker 1: with The Shining is people go back and watch it
17:25
Speaker 1: because they're like, this is like, this doesn't feel like
17:29
Speaker 1: a horror movie, but you feel weird about it. And
17:32
Speaker 1: it's because of how he's designing it, the spatial stuff
17:34
Speaker 1: he does, all this stuff that makes like it's not
17:37
Speaker 1: really one person dies technically. You know. I don't want
17:41
Speaker 1: to ruin any plot lines people, in case you haven't
17:44
Speaker 1: seen it, but there's something really weird that makes you
17:47
Speaker 1: feel spooked out about it. So it's like you have
17:50
Speaker 1: to go back and keep watching it because you and
17:52
Speaker 1: you get something different every time.
17:55
Speaker 2: Yeah, and that's one of the things that I was
17:56
Speaker 2: really focused on. I was like, you know, because this
17:58
Speaker 2: movie's been dissect and turned upside down and probably a
18:03
Speaker 2: lot of things put in there that doesn't make any
18:06
Speaker 2: kind of sense. People trying to put two and two together.
18:08
Speaker 2: It's kind of really indicative of the community in general
18:12
Speaker 2: and as a whole. They're trying to fit a a
18:16
Speaker 2: square cube into a circle slot, you know, or a
18:20
Speaker 2: triangle slot. It just doesn't fit. So they end up
18:23
Speaker 2: making up their own ideas and trying to shoehorn things
18:29
Speaker 2: in there that doesn't fit, trying to put a freaking
18:31
Speaker 2: size fifteen foot into a size ten shoe, and it
18:35
Speaker 2: just doesn't work. But as I was like watching the
18:40
Speaker 2: movie over and over again, I'm seeing these like little
18:44
Speaker 2: details that really hint that this is something more than
18:49
Speaker 2: what people think that it is, because again, there's so
18:51
Speaker 2: many theories. There's the you know, the Holocaust theory. There's
18:56
Speaker 2: a Native American theory. There's the theory that all this
18:59
Speaker 2: is happening inside of Jack's head. There's a theory that
19:01
Speaker 2: all of us happening inside of Wendy's head. There's a
19:04
Speaker 2: moon landing theory. So as I was watching it, I
19:07
Speaker 2: was like, am I really going to find anything in
19:10
Speaker 2: here that's going to be any different? Because the monarch
19:14
Speaker 2: poster isn't really enough to go off of to create
19:19
Speaker 2: an almost two hour long movie, you have to have
19:22
Speaker 2: other details and other things. So I'm watching it over
19:25
Speaker 2: and over again, I'm trying to pick up on little
19:27
Speaker 2: details and things that people might have missed that I
19:29
Speaker 2: can relate to this being an experiment up at the overlook.
19:35
Speaker 2: And one of the first things was that Windy is
19:40
Speaker 2: reading a book by an intelligence officer JD. Solinger called
19:45
Speaker 2: Ketcher in the Rye and The Shining came out in
19:50
Speaker 2: nineteen eighty and both assassination attempts that happened that involved
19:55
Speaker 2: Ketcher in the Rye were the assassins had Catcher in
19:59
Speaker 2: the Rye on their person at the time, came within
20:02
Speaker 2: a year after the release of The Shiny.
20:06
Speaker 1: Yeah, that's interesting. I had written some notes down of
20:09
Speaker 1: the Catcher and a Rye and that's a bag like
20:11
Speaker 1: a trigger that's going on. But so I just wanted
20:14
Speaker 1: to touch bases on the fact that you're saying they
20:16
Speaker 1: laid it out in the first ten minutes the storyline.
20:19
Speaker 1: So did that prompt you to think that there's another
20:22
Speaker 1: storyline in subtext? Is that where you were going with
20:25
Speaker 1: that thought that we don't know about.
20:29
Speaker 2: Yes, there's something beneath the surface of the of the
20:33
Speaker 2: film that is going over people's heads. And when you
20:38
Speaker 2: look at you know mk ultra Manchurian style candidate theories
20:44
Speaker 2: and what people believe is going on there, and you
20:46
Speaker 2: relate that to Catcher in the Rye. And many people
20:48
Speaker 2: have related that book to being an mk Ultra Manchurian
20:52
Speaker 2: style candidate. Mind control trigger.
20:55
Speaker 3: Okay.
20:55
Speaker 2: John Hinckley Junior had it on his person. Mark David
21:00
Speaker 2: Chapman had it on his person. And what do you
21:05
Speaker 2: what is Jack doing throughout pretty much the entire movie.
21:09
Speaker 2: He's trying to kill his family.
21:11
Speaker 3: Yes, he's essentially.
21:14
Speaker 2: He's essentially being programmed to kill his family because it's
21:18
Speaker 2: a it's an operation that's going on up there. And
21:24
Speaker 2: Ollman and his assistant what is his name, uh, Bill Watson?
21:35
Speaker 1: Watson. Yeah, he's the odd guy out there.
21:37
Speaker 2: He's the very eye guy and he doesn't do anything.
21:39
Speaker 2: He just kind of stands there and like he says
21:43
Speaker 2: maybe two or three words in the entire movie. He's
21:49
Speaker 2: the observer. He's the real one that's running the entire operation.
21:53
Speaker 2: The guy that looks like JFK, which is Ollman, is
21:57
Speaker 2: like the front person.
21:59
Speaker 1: Oh, I get it. The people in Denver.
22:03
Speaker 4: You mentioned that, and they say that so many times,
22:08
Speaker 4: they said, we have a there's a clip in there
22:10
Speaker 4: of how many times they say are people in Denver
22:14
Speaker 4: in the movie.
22:15
Speaker 2: It's like five times.
22:16
Speaker 1: And so that you think that quiet guy might represent that.
22:21
Speaker 2: That's what we were going to kind of get into
22:23
Speaker 2: in the movie, but we really just didn't have enough time,
22:25
Speaker 2: So that's kind of like a snippet of information that's
22:30
Speaker 2: actually not in there because we wanted to relate Bill
22:35
Speaker 2: being related to Sidney Gottlieb, which was ahead of the
22:41
Speaker 2: mk ulture programs. But it's very difficult to find any
22:44
Speaker 2: pictures or any really identification or actually any stories or
22:48
Speaker 2: any documentation to it that's involved with Sidney Gottlieb.
22:52
Speaker 3: Because he was a very private person.
22:54
Speaker 2: Very few photos even exist of him. In some of
22:58
Speaker 2: the video that exists him, he's like pretty much covering
23:02
Speaker 2: his face. There's one video that I found that he's
23:05
Speaker 2: like playing tennis on a tennis court, and by the
23:07
Speaker 2: time that you actually get to see who it is
23:09
Speaker 2: is out there playing tennis as he's walking back inside,
23:11
Speaker 2: he's got his head like shielded down into his arm.
23:17
Speaker 2: So it was the few existing photos that I could
23:21
Speaker 2: find a Sidney Gottlieb are the ones that are in
23:24
Speaker 2: the movie.
23:26
Speaker 1: So how does the Catcher in the Rye show up
23:31
Speaker 1: in this? Because it's mentioned that The Catcher in the
23:35
Speaker 1: Rye was a book that the people who assassinated Reagan
23:39
Speaker 1: and John Lennon read. What's going on and where is
23:43
Speaker 1: the Catcher in the rye in the Chindel, Like, where
23:45
Speaker 1: does he Cooprick allude to the catcher in the rye
23:48
Speaker 1: and what's so important about the book?
23:51
Speaker 2: Okay, well on, let me find the slide here and
23:55
Speaker 2: I actually bring it up.
24:02
Speaker 3: Where is it?
24:05
Speaker 2: Okay? So whenever we first see Wendy and Danny in
24:09
Speaker 2: the Shiny, when they're at their apartment in Boulder, because
24:14
Speaker 2: Wendy and Danny and Jack they live in Bolder, and
24:18
Speaker 2: then they're traveling to the hotel and eventually they have
24:21
Speaker 2: to move there because Jack got the job. And that's
24:24
Speaker 2: whenever the doctor comes in visits Wendy and Danny in
24:29
Speaker 2: their apartment to assess Danny to see if he had,
24:33
Speaker 2: you know, what was going on with him and why
24:36
Speaker 2: he was receiving his visions. Which is another really interesting
24:38
Speaker 2: aspect of this whole thing, because she says that the
24:43
Speaker 2: reason that he experiences these types of episodes and has
24:47
Speaker 2: these types of vision is through self hypnosis. She says,
24:52
Speaker 2: it's like self hypnosis, and that kind of relates to these,
24:57
Speaker 2: you know, these types of programs and these types of
25:00
Speaker 2: mk Ultra programs. I mean, that's what There are several
25:05
Speaker 2: mk Ultra subprojects that were attempting to unlock psychic abilities
25:10
Speaker 2: within the patient or within the subject that they were
25:14
Speaker 2: using these techniques.
25:17
Speaker 1: And so I remember in your documentary you showed that
25:21
Speaker 1: clip of Britney Spears where she did an interview and
25:25
Speaker 1: she was triggered and she went all weird and then
25:27
Speaker 1: she composed herself. Is that kind of like the same
25:29
Speaker 1: thing where someone I don't know, maybe do they get
25:33
Speaker 1: a phone call and they say some line from the
25:35
Speaker 1: Catcher in the Rye and someone goes crazy?
25:38
Speaker 2: Well there, Well, anything can technically be a trigger, according
25:43
Speaker 2: to some of the MK Ultra victim survivors, like Kathy
25:48
Speaker 2: O'Brien that is in our movie, Like things can be
25:52
Speaker 2: certain phrases, callers, sounds, things that you may read can
25:59
Speaker 2: be a phrase for you to essentially activate this type
26:05
Speaker 2: of behavior within you. So you're essentially programmed with a
26:12
Speaker 2: certain word. And several people have believed that Catcher in
26:18
Speaker 2: the Rye has.
26:19
Speaker 3: Some sort of trigger word or.
26:21
Speaker 2: Trigger phrase within the book that whenever someone may read
26:28
Speaker 2: it and they obsess over it. I mean, there's been
26:30
Speaker 2: several people that have supposedly been obsessed with the book
26:36
Speaker 2: and it's not been verified. But Oswald was Lee. Harvey
26:41
Speaker 2: Oswald was said to have been obsessed with Catcher in
26:44
Speaker 2: the Rye. So people believe that there's like a phrase
26:50
Speaker 2: or a word that's within the book that may trigger
26:53
Speaker 2: them to commit these Hannus acts on others.
26:57
Speaker 1: Right, Yeah, which is its scary because you never know.
27:01
Speaker 1: Like when I saw that, I seen that interview with
27:03
Speaker 1: Brittany before i'd seen in a documentary, and I felt
27:07
Speaker 1: really awful for her, And you got to wonder how
27:10
Speaker 1: they use these techniques, and because the CIA all these
27:13
Speaker 1: places they're invested in Hollywood music industry, I just it
27:18
Speaker 1: seems so cruel. I mean, it seems like a really
27:21
Speaker 1: cruel thing to do to somebody. And then there's this
27:24
Speaker 1: idea that you know, they're basically with mkltor creating assassins
27:29
Speaker 1: or in mind control and truth serums or something like that.
27:32
Speaker 1: So it just whenever I see this stuff, I'm like, Wow,
27:35
Speaker 1: those people didn't stand a chance.
27:38
Speaker 2: Yeah, It's like what we were talking about when you
27:39
Speaker 2: were on my show last week or the week before.
27:43
Speaker 2: We were talking about how Jim Jones would essentially you know,
27:47
Speaker 2: mind control, like you would drug these people and then
27:51
Speaker 2: make them believe that they had done something that they
27:53
Speaker 2: had and so that he can miraculously heal them. That
27:55
Speaker 2: I mentioned the Hashitian order of Islam, where they would
27:59
Speaker 2: just say actually do the same things. It's essentially like
28:03
Speaker 2: it's it's mind control. You're manipulating the person's mind to
28:07
Speaker 2: make them believe something is real when it's not. Or
28:10
Speaker 2: you can do it the opposite way and make them
28:15
Speaker 2: believe that something is real when it's not. You can
28:19
Speaker 2: work both ways well.
28:21
Speaker 1: Because even in the movie, Jack Nicholson seems like he's
28:24
Speaker 1: seeing like they're they're they're seeing ghosts. There's things that
28:28
Speaker 1: Wendy doesn't even see. So it's really interesting that you say.
28:31
Speaker 2: That that's because Wendy hasn't been her mind hasn't been
28:35
Speaker 2: taken over. Yeah, her mind hasn't been fractured like Danny's
28:40
Speaker 2: mind has. She hasn't had the trauma yet, right, but
28:43
Speaker 2: Danny has. Danny had the trauma because Jack injured Danny's
28:48
Speaker 2: arm and broke his arm whenever.
28:51
Speaker 1: And there's a subcontext even below that about other abuses.
28:54
Speaker 1: But I'm reading a lot of stuff about that, Like
28:57
Speaker 1: I was watching that interview with that woman. Oh I
29:00
Speaker 1: forgot her name now, it was in my head. But
29:02
Speaker 1: she was talking about she was a sex slave and
29:04
Speaker 1: abused and used by like Pierre Eliot Trudeau and a
29:07
Speaker 1: whole bunch of people, and she was saying that trauma,
29:10
Speaker 1: they're breaking down trauma and they get you to be
29:13
Speaker 1: a sex slave and do all that stuff. But it
29:14
Speaker 1: also creates a psychic ability intactly.
29:18
Speaker 2: That's what several of the victims also mentioned as well,
29:21
Speaker 2: including Kathy O'Brien. She says that it unfortunately unlocks or
29:28
Speaker 2: brings that ability to the forefront of the mind. Because
29:30
Speaker 2: I believe that we're all we all have the ability
29:33
Speaker 2: to be psychic on one level or another. I think that
29:37
Speaker 2: we have all experienced it, whether it's of an intuitive
29:40
Speaker 2: nature or if it's like way more direct. I mean,
29:44
Speaker 2: I've experienced it pretty much my entire life, and I've
29:47
Speaker 2: been experiencing it more and more as of late, Like
29:50
Speaker 2: where I'll think of a friend that I haven't heard
29:54
Speaker 2: from in a long time, and almost immediately after I
29:58
Speaker 2: think of them, they're messaging me, We're calling me.
30:02
Speaker 1: It's almost like you're you're like a beacon or something.
30:07
Speaker 2: Right, Yeah, that's what it seems like. And I think
30:09
Speaker 2: that this is like we're just in like an infinite
30:11
Speaker 2: data field of things, because there's other things that happened
30:14
Speaker 2: to me too, where I'll have an idea to do
30:17
Speaker 2: something and I don't end up doing the idea, but
30:22
Speaker 2: then a few days later, I'll see someone have do
30:26
Speaker 2: that exact same thing that I thought of doing, and
30:29
Speaker 2: I was like, well, that's freaking impossible. How can they know?
30:33
Speaker 2: Were they just in my mind? But I think that
30:35
Speaker 2: it's some it's just some kind.
30:36
Speaker 1: Of collective of information.
30:39
Speaker 2: Yes, that's just out there, and some people can tap
30:42
Speaker 2: into it, and some people, like there's a certain amount
30:47
Speaker 2: of people that all get the same type of I
30:50
Speaker 2: know it sounds super woo woo and super.
30:53
Speaker 1: No no no no, you're probably not going to get too
30:55
Speaker 1: woo for me. It's okay, But.
30:58
Speaker 2: That's the only thing that I can put together on
31:01
Speaker 2: my mind because that has happened to me like several
31:04
Speaker 2: times over and over and over again, and I'm like, okay, Well,
31:07
Speaker 2: anytime that I have a thought or an idea, I
31:09
Speaker 2: just need to immediately do it because if I don't,
31:11
Speaker 2: then I know for a fact somebody else eventually, either
31:16
Speaker 2: tomorrow the next day, you got to.
31:17
Speaker 1: Jump on it.
31:18
Speaker 2: They're going to do it.
31:19
Speaker 1: Yeah, they're going to do it. Yeah, exactly. So there's
31:23
Speaker 1: a lot of scenes in the Shining that there's spacial scenes. Spacially,
31:28
Speaker 1: the whole place doesn't make sense. It's like it's ever
31:30
Speaker 1: shifting and changing, like things happen in a dream or
31:33
Speaker 1: your mind. But there's also scenes where items up here
31:36
Speaker 1: and they disappear and they do strange things. I never
31:39
Speaker 1: caught that when I was younger, until I was older
31:41
Speaker 1: and I started to There were so many cool websites
31:44
Speaker 1: back in the early two thousands about the Shining and
31:47
Speaker 1: stuff like that, and I would read them. I don't know,
31:49
Speaker 1: they're gone somewhere. I don't know where they are anymore.
31:52
Speaker 1: But it's something you guys talk about, this spatial stuff
31:55
Speaker 1: and things being there and not being there.
31:59
Speaker 2: Yeah, this one here, this is there's no hedge maze,
32:02
Speaker 2: and behind the overlook the first opening establishing shot of
32:06
Speaker 2: the overlook, there's no hedge maze, which people have said
32:10
Speaker 2: they combat a lot of these as, but it's still continuity.
32:15
Speaker 2: As a continuity, there is when something was there previously
32:18
Speaker 2: in the shot and then it's not there, or something
32:20
Speaker 2: has been moved or that. I mean, Kubrick should have
32:24
Speaker 2: known that there wasn't a maze in behind the establishing
32:27
Speaker 2: shots because the top photo of this panel was shot
32:31
Speaker 2: in Oregon at Timberline Lodge. All the exterior shots and
32:34
Speaker 2: the rest of the film was shot on sets in England.
32:37
Speaker 2: But you should have known that there wasn't going to
32:39
Speaker 2: be a maze in the background of the establishing shot
32:42
Speaker 2: in Oregon, because there is no maze in Oregon. That
32:45
Speaker 2: the hotel doesn't have a maze.
32:47
Speaker 1: That is I never I never even saw that before
32:51
Speaker 1: I'm seeing this for the first time, that the maze
32:53
Speaker 1: isn't there in the overhead flight of the helicopters scene.
32:57
Speaker 2: That's right, also have the tie on Jack's Several people
33:03
Speaker 2: have already pointed this out. A lot of this stuff
33:05
Speaker 2: isn't in our movie, but some of it is. The
33:08
Speaker 2: tie looks like it's the same pattern of the maze
33:13
Speaker 2: sticker disappearing on Danny's door. We weren't the first person
33:16
Speaker 2: to see that. There are several people who have seen
33:18
Speaker 2: this as dopey the drawer. So the first time, right
33:22
Speaker 2: before Danny sees his vision, there's a dope the dwarf
33:25
Speaker 2: sticker on the left hand side, and then whenever the
33:28
Speaker 2: doctor comes to visit him and examine him. The sticker's gone.
33:32
Speaker 2: The kool aid on top of the fridge. Did I
33:34
Speaker 2: bring this up with you whenever I had you on
33:37
Speaker 2: my show with the kool Aid? Because this was being
33:39
Speaker 2: shot during the.
33:40
Speaker 1: Exact kool Aid. Yes, Jim Jones drink the kool Aid. No,
33:46
Speaker 1: we never talked about that.
33:48
Speaker 3: Man.
33:48
Speaker 2: I got some comments on that video. Everyone was so
33:50
Speaker 2: upset because apparently it wasn't kool aid.
33:53
Speaker 1: No, it wasn't kool aid. But that's such a small
33:56
Speaker 1: that's a small thing. The notion was drinking the kool aid.
34:01
Speaker 1: That was the quote right away. We're not it wasn't
34:03
Speaker 1: kool aid. But it doesn't matter. It's what's in the
34:07
Speaker 1: public's mind, what the CIA put in the public's mind,
34:10
Speaker 1: and the story that they told everybody. That's the point.
34:13
Speaker 1: They're missing the point.
34:15
Speaker 2: Yeah, and well, but actually what I looked it up
34:19
Speaker 2: to find out what.
34:20
Speaker 1: Is it exactly was some it was some kind of
34:22
Speaker 1: grape ait or I don't know, I can't remember.
34:24
Speaker 2: Yeah, it was some kind of mixed drink or something.
34:26
Speaker 2: So it's very sithing.
34:27
Speaker 1: Most most of them didn't drink the kool aid. Most
34:30
Speaker 1: of them got injected in the arm or shot. So
34:34
Speaker 1: the drink, the kool aid thing is like.
34:37
Speaker 2: Yeah, so that event happened in seventy eight, right.
34:45
Speaker 1: And this movie was released in eighty.
34:47
Speaker 2: Yeah, the movie was being filmed during the time that
34:51
Speaker 2: the Jim Jones stuff was happening. Kannuitier with a plastic
34:55
Speaker 2: tarp in the background of the set when Danny's driving
34:58
Speaker 2: around on his which is a little small, minor detail,
35:02
Speaker 2: but this has to pass through so many people's hands,
35:05
Speaker 2: and so many people have to look at this stuff,
35:07
Speaker 2: and if it gets past Stanley, then is it going
35:10
Speaker 2: to get past all these other people? And also appear
35:13
Speaker 2: on the wall this Uh, this the candles and the
35:17
Speaker 2: lights on the wall where my cursor looks like Eleven's.
35:20
Speaker 2: There's so much eleven symbolism within the shining the double
35:24
Speaker 2: All the doors are pretty much double doors. There's you
35:28
Speaker 2: got the twins look like eleven.
35:33
Speaker 1: Yeah.
35:34
Speaker 2: This one is a chair disappearing behind Jack. So this
35:38
Speaker 2: is all in the same scene.
35:40
Speaker 3: The chair is there in.
35:41
Speaker 2: One shot, the next shot it's gone, and then the
35:45
Speaker 2: next shot it's reappeared with a little on the table
35:48
Speaker 2: beside of it.
35:50
Speaker 1: Shout out to Sean Thompson. He said the right name,
35:52
Speaker 1: Flavor Aid.
35:53
Speaker 2: Flavor Aid. That's it. Yep, Yeah, let's go. This is
36:00
Speaker 2: a teddy Bear one where my audience has seen these
36:03
Speaker 2: a lot, so they'll probably be complaining this. This teddy
36:10
Speaker 2: Bear looks like it's getting a hard on from the
36:14
Speaker 2: fire truck coming up. And this is also where Wendy
36:16
Speaker 2: picks up.
36:17
Speaker 3: The bat off of the back of the couch.
36:19
Speaker 2: But there's another one where the bat is also spotted
36:22
Speaker 2: throughout the movie. So whenever Jack is going to look
36:24
Speaker 2: at the maze, when he's throwing the tennis ball against
36:26
Speaker 2: the wall and is bouncing off of the wall, he
36:28
Speaker 2: looks down, he looks he's making an eye contact with
36:33
Speaker 2: the bat. So it was downstairs on the couch earlier
36:37
Speaker 2: in the movie, and then it appears upstairs in their
36:40
Speaker 2: apartment that they're living in where Wendy picks it up
36:43
Speaker 2: off of the back of the couch. And then you
36:45
Speaker 2: got the cartoon character here holding a bat. And people
36:50
Speaker 2: have pointed out that this this goofy doll looks very
36:55
Speaker 2: similar to the outfit that Wendy is wearing, but it's
36:59
Speaker 2: just a goofy doll.
37:01
Speaker 3: Uh, that's the bat.
37:02
Speaker 2: That he hits it.
37:03
Speaker 3: So this one is a door in the background.
37:04
Speaker 2: Whenever Danny fir sees Room two thirty seven, there's a
37:08
Speaker 2: door that's shut in the background, and then in the
37:11
Speaker 2: next shot it's open.
37:13
Speaker 3: Carver pattern. This is all.
37:15
Speaker 2: Oh, this is foreshadowing, foreshadowing from Cubic early in the
37:19
Speaker 2: movie with the bear, the Danny's laying on when the
37:22
Speaker 2: doctor's examining him, and then the bear later on when
37:25
Speaker 2: Wendy goes up there, because then she's now been traumatized.
37:29
Speaker 2: So now Wendy is susceptible to the MK ultra mind manipulation.
37:33
Speaker 2: I mean that's exactly like what Grady was talking to
37:38
Speaker 2: Jack about whenever Wendy takes his body into the storage room. Okay,
37:44
Speaker 2: So that whole dialogue between Grady and Jack in that
37:49
Speaker 2: in that scene is very important. They essentially switch it
37:54
Speaker 2: to see the first time that Jack meets Grady is
37:59
Speaker 2: in the back through, and the objective then is to
38:02
Speaker 2: go after Danny. He's saying that Danny is a problem. Okay,
38:07
Speaker 2: you need to figure out how to eliminate Danny, like
38:11
Speaker 2: I eliminated my wife and daughters. Okay. And then the
38:15
Speaker 2: second time that he's speaking with Jack. Now the focus
38:18
Speaker 2: has shifted to Wendy, and Grady even mentions to Jack,
38:24
Speaker 2: He's like, she's stronger than what we thought. Yeah, now
38:29
Speaker 2: that doesn't mean physically stronger, that means mentally stronger. Okay,
38:36
Speaker 2: So she's not susceptible to the programming that we're trying
38:39
Speaker 2: to get her with here because she hasn't been traumatized.
38:44
Speaker 1: That just like I feel that, man, that's like I
38:47
Speaker 1: never saw it before, but that it's like some theories
38:49
Speaker 1: you're like, yeah, maybe, but you're like no, that's like
38:52
Speaker 1: that has some really strength empower behind that theory.
38:55
Speaker 2: And after Jack tries to kill her with the axe,
39:01
Speaker 2: is when she goes downstairs and she sees that Hallarin.
39:06
Speaker 2: So that's one trauma, right, Jack trying to kill her
39:09
Speaker 2: with an axe when she he's trying to get into
39:12
Speaker 2: the bathroom to get her and Danny. Then Halaren pulls up.
39:18
Speaker 2: He goes downstairs. He hears the snowmobile pulling up, so
39:22
Speaker 2: he goes downstairs real quick, runs into Hallarin, kills Hallarin
39:26
Speaker 2: with an axe, and then Danny runs outside and he
39:29
Speaker 2: goes after chasing Danny. So then Wendy comes downstairs and
39:32
Speaker 2: Windy sees Holarin's body dead on the ground. That's trauma
39:36
Speaker 2: number two. And after she sees Halarin's body dead on
39:40
Speaker 2: the ground is when she starts seeing all this weird stuff.
39:44
Speaker 3: So it's trauma.
39:47
Speaker 2: Then she starts. Then she sees the guy that's in
39:49
Speaker 2: the hallway that has the split down his head, which
39:52
Speaker 2: is symbolizing that she has been mind fractured, that she's
39:56
Speaker 2: in the process of being mind controlled. He has a crack,
40:00
Speaker 2: this going right down the blood, this going right down.
40:02
Speaker 1: Oh yeah, yeah yeah, And he says something about a
40:09
Speaker 1: party or something.
40:10
Speaker 2: Like that, Nice party, isn't it.
40:13
Speaker 1: Nice party, isn't it?
40:14
Speaker 2: Yeah?
40:14
Speaker 1: Yeah, it's a nice party, all right.
40:17
Speaker 2: And then she goes upstairs and then that's when she
40:19
Speaker 2: sees the guy dressed up in the bear costume. Essentially,
40:24
Speaker 2: you're performing oral moral stuff to this gentleman in.
40:32
Speaker 1: The Yeah, so totally disturbing. Now, before I wanted to
40:38
Speaker 1: get into Laurel Canyon and stuff in the second half
40:41
Speaker 1: air before we do. This movie is not the book.
40:47
Speaker 1: And there's some imagery in there that Kubrick put that
40:50
Speaker 1: basically is saying, to heck with you, Stephen King, Why
40:55
Speaker 1: do you think he kind of he's kind of basically
40:59
Speaker 1: telling you this is not Stephen King's book, this is
41:03
Speaker 1: better or this is my story.
41:07
Speaker 2: Yeah, yeah, because Kybrick is a master filmmaker. He's a
41:11
Speaker 2: he's a book adaptationist. He takes books and then he
41:16
Speaker 2: creates movies out of them. And if you've noticed, most
41:21
Speaker 2: books do not create good movies. If you follow the
41:25
Speaker 2: book verbatim, it just does not work. It's it's because
41:30
Speaker 2: it's different than writing something down over and over again
41:34
Speaker 2: than it is visually show it. Yes, so things have
41:39
Speaker 2: to be changed around and things have to be rewritten.
41:41
Speaker 2: And I know that's not what people want to hear.
41:43
Speaker 2: They don't want to hear that. They want to make
41:45
Speaker 2: the faithful adaptation of the original contact. But that's not
41:49
Speaker 2: the way that it works. You. Things that are written exactly,
41:54
Speaker 2: it doesn't always translate the film. So that's like Kubrick's saying, like, Okay, King,
41:59
Speaker 2: you may be a really good fiction horror novelist. You
42:04
Speaker 2: might be able to make best selling books, but you're
42:07
Speaker 2: not a filmmaker.
42:08
Speaker 1: And Stephen King proved that by doing his own version.
42:12
Speaker 2: Which was complete and total garbage.
42:14
Speaker 1: Yes, oh my god, that was so bad. When the
42:16
Speaker 1: wolf guy jumped out went wrong in the Little Kid?
42:20
Speaker 1: I was like, is this sesame Street? Or is this
42:22
Speaker 1: supposed to be I'm supposed to be scared?
42:25
Speaker 2: Yeah, And the haunted bushes and the haunted swing set
42:28
Speaker 2: and like it was just it was a complete disaster.
42:32
Speaker 2: And that's why people they don't realize is that you
42:37
Speaker 2: know things books that are written. It's very difficult to
42:41
Speaker 2: do a faithful adaptation to the book because it just
42:47
Speaker 2: nine times out of ten does not transfer well the
42:51
Speaker 2: screen and the visual aspects of the book because you
42:54
Speaker 2: can go so many different places with a book. When
42:57
Speaker 2: when you're reading a book, you're essentially inside of the
43:01
Speaker 2: reader's head, and it's hard to get inside of somebody's
43:05
Speaker 2: head by showing them visual aspects. But that's also what
43:11
Speaker 2: Stanley Kubrick was really good at. That's why his films
43:14
Speaker 2: had so much meaning behind them because he was able
43:17
Speaker 2: to achieve them. When people watch his films, they feel
43:20
Speaker 2: like they're actually there, they're actually a part of what's
43:24
Speaker 2: being made. And that's why he wanted everything super realistic.
43:28
Speaker 2: He wanted he didn't want fake sets. If there was
43:31
Speaker 2: a set, he wanted it to all be real. Things
43:34
Speaker 2: like in the storage room in The Shining. None of
43:37
Speaker 2: that stuff is fake props. All that stuff is real food.
43:41
Speaker 2: It's all real things. And that's the way that he
43:44
Speaker 2: wanted it. He wanted it hyper realistic.
43:46
Speaker 1: So I noticed, like it's called the Clockwork Shining, so
43:49
Speaker 1: you're obviously referencing a Clockwork Orange as well, because that
43:54
Speaker 1: is outright telling you there's mind control, like there's there's
43:58
Speaker 1: a really overt stuff. But you're tying the two together,
44:01
Speaker 1: and you bring some of the imagery and the themes
44:03
Speaker 1: from a Clockwork Orange into the documentary as well. What
44:07
Speaker 1: are the I don't know for anyone who hasn't watched
44:10
Speaker 1: A Clockwork Orange, it can be graphic. Some people get
44:12
Speaker 1: upset by the film, right, there's some graphic imagery in
44:16
Speaker 1: that as well. But what was the main themes from
44:18
Speaker 1: a Clockwork Orange that he's Kubrick's carrying on in The Shining.
44:23
Speaker 1: Is it this similar thing?
44:25
Speaker 2: Well, it proves that Qubic knew that mk Ultra existed.
44:33
Speaker 2: So mkulture was essentially disclosed to the public in seventy five,
44:37
Speaker 2: so that was five years before the release of The Shining,
44:42
Speaker 2: and then The Clockwork Orange was in seventy seventy it
44:46
Speaker 2: was either seventy I'm pretty sure it was seventy.
44:48
Speaker 1: No, No, I think Barry Linden was seventy three or
44:51
Speaker 1: something and Clockwork Orange was like seventy or something.
44:53
Speaker 2: Yeah, so you got five years after and then five
44:56
Speaker 2: years before. So it's apparent that qbic knew about the
45:02
Speaker 2: MK ultra mind control programs, just sheerly based off of
45:05
Speaker 2: the fact that he made a clockwork Orange. Like the
45:09
Speaker 2: entire movie is essentially drugging and making people watch movies
45:15
Speaker 2: to essentially control their nine. And there's a lot of
45:20
Speaker 2: similarities between a Clockwork Orange and the Shining And there's
45:25
Speaker 2: several like this photo here. Let me see if I
45:29
Speaker 2: can bring it up. This is kind of a well
45:32
Speaker 2: known one, but it is one that I've been sharing
45:34
Speaker 2: a lot. So in the background of the shot when
45:37
Speaker 2: when Alex is walking through up in the up in
45:41
Speaker 2: this right hand corner, it's kind of cut off right here,
45:43
Speaker 2: but it looks like a dream reads a drin chrome. Okay,
45:49
Speaker 2: Then when you look at essentially the sequel to The
45:55
Speaker 2: Shining Doctor Sleep, that's what the entire movie is essentially about.
46:02
Speaker 2: It's about these.
46:03
Speaker 3: Vampires that this is a good film.
46:06
Speaker 2: Take little kids souls.
46:09
Speaker 1: Okay, that's they look for the special kids that really
46:13
Speaker 1: have the shining, like that power, like intensely, and they're like, literally, yeah,
46:19
Speaker 1: it's brutal. I was like, holy.
46:20
Speaker 3: God, yep.
46:24
Speaker 2: And then also in the in the Shining, you have
46:27
Speaker 2: like hints of that as well with with the handprint
46:32
Speaker 2: on the back of the lady's dress that bumps into
46:36
Speaker 2: Grady that makes him spill the alcohol on Jack right here.
46:43
Speaker 2: So this lady, whenever Jack stands up from the bar,
46:48
Speaker 2: the lady walks in behind him, she hits Grady right
46:52
Speaker 2: here that has the alcohol on the tray, spills it
46:56
Speaker 2: on Jack. And that's when they go into the bathroom
46:58
Speaker 2: and they tries to get it off a Jack. But
47:01
Speaker 2: this hamdprint here and now people say, oh, that it's
47:05
Speaker 2: built into the dress. Well, well it may be. I'm
47:08
Speaker 2: not saying that it was literally actually someone put red
47:12
Speaker 2: paint on the ass of this lady. I'm saying that
47:15
Speaker 2: it looks like a freaking handprint. Now regardless if it's
47:19
Speaker 2: a part of the dress or not a part of
47:21
Speaker 2: the dress, it's still there. And Kubrick approved it and
47:24
Speaker 2: put it in his movie. And it looks very similar
47:28
Speaker 2: to this Wilson the volleyball with the hamdprint on it.
47:37
Speaker 2: So there you.
47:40
Speaker 1: Someone Amazon driver came to the door and the dogs
47:42
Speaker 1: are barking, Oh.
47:44
Speaker 2: No, not the dreaded not the dreaded Amazon.
47:46
Speaker 1: Driver, the dreaded Amazon driver.
47:51
Speaker 2: But this is just to prove and show that four
47:54
Speaker 2: fingered hamdprints do exist like that. It's it's on the
48:00
Speaker 2: the freaking castaway volleyball with Tom Hanks, which came out
48:03
Speaker 2: in year of two thousand. I mean, it's way after
48:08
Speaker 2: the shraining, but it's just an example of exactly what
48:11
Speaker 2: it looks like. And you can all the information has
48:14
Speaker 2: kind of come out about Tom Hanks, sir, which we're
48:16
Speaker 2: not going to get into because it's very censorable things.
48:19
Speaker 2: But you can just put two and two together on
48:21
Speaker 2: your own there and do a little do a little
48:25
Speaker 2: research into that.
48:27
Speaker 1: So you go into Laurel Canyon and Hollywood and lookout
48:33
Speaker 1: Mountain and all that kind of stuff that it's like
48:37
Speaker 1: these places just popped up and didn't exist before that.
48:41
Speaker 1: It's suspicious. So we're not just being manipulated by drugs.
48:46
Speaker 1: We're also they're producing film content. How does that? How
48:51
Speaker 1: does does Stanley Kruper? How does Stanley Kubrick show that
48:54
Speaker 1: in the film, Does he show like an idea? Is
48:58
Speaker 1: he telling us that you know this ias in on
49:01
Speaker 1: films and all this stuff in the culture and music?
49:06
Speaker 2: Well, absolutely they. I mean that Lookout Mountain Air Force
49:09
Speaker 2: Base is just on the top of Laurel Canyon, and
49:13
Speaker 2: Laurel Canyon was literally where the entire music scene popularized
49:18
Speaker 2: from was that area. And Kubrick lived in la for
49:22
Speaker 2: a couple of years as well, so he had to
49:24
Speaker 2: have been familiar with the area and knew. I'm sure
49:28
Speaker 2: everyone at that time knew what was going on up
49:31
Speaker 2: at Lookout Mountain Air Force Studios. Yeah, so several films
49:36
Speaker 2: were made up there. Several prominent Hollywood actors had access
49:41
Speaker 2: to the place. They had top secret security clearance for
49:45
Speaker 2: the facility. Ronald Reagan had it, Marilyn Monroe had it,
49:48
Speaker 2: James Stewart, Carrie Grant, like all of these famous people
49:52
Speaker 2: of the day had top secret security clearance for Lookout
49:56
Speaker 2: Mountain Air Force Base. You have to why is that?
50:00
Speaker 2: Why would they Why would all these actors have where
50:03
Speaker 2: the military is filming top secret movies up there. There
50:09
Speaker 2: was more movies that were produced a Lookout Mountain Air
50:13
Speaker 2: Force Studio than all of Hollywood up until that point.
50:19
Speaker 2: What were they doing.
50:20
Speaker 1: About are Well, it's bizarre because a lot of these
50:24
Speaker 1: people that are involved all had like these tragic deaths,
50:27
Speaker 1: like marily Monroe, Jim Morrison, they just you know, they
50:34
Speaker 1: and and they got involved with politicians. So it's it's
50:37
Speaker 1: interesting how everything sort of has six degrees of separation.
50:42
Speaker 2: Yeah. Absolutely. And also with like Lookout Mound, there used
50:46
Speaker 2: to be a hotel that sat on the exact same
50:49
Speaker 2: location as to where the Lookout moundin Air Force Base
50:53
Speaker 2: later was built, and it was called Lookout Mountain Hotel.
50:57
Speaker 2: So you got to Overlook Hotel in Stephen King's novel
51:03
Speaker 2: and in Stanley Kubrick's version of The Shining, and then
51:06
Speaker 2: you have Lookout Mountain Hotel that was there that also
51:12
Speaker 2: burnt down. And at the end of Stephen King's book
51:14
Speaker 2: The Shining, the Hotel the Overlook Hotel burns to the ground.
51:19
Speaker 2: Cubric didn't do that in his version of The Shining,
51:22
Speaker 2: but then they did it at the end of Doctor Sleep,
51:25
Speaker 2: which is the sequel to The Shining, the Overlook burnt
51:28
Speaker 2: to the ground.
51:31
Speaker 1: Yeah, and it's interesting that they put that in there
51:34
Speaker 1: and it's so crazy. We have a comment and interesting
51:37
Speaker 1: comment about adrenochrome on Rumble. Bill Dozer seventy four says,
51:42
Speaker 1: I was just talking about the shining and the messed
51:45
Speaker 1: up sequel Doctor Sleep literal adrenochrone harvesting. They call it
51:48
Speaker 1: steam when they torture special children to the end, the
51:51
Speaker 1: steam keeps them young. They is this like this elite
51:56
Speaker 1: adrenochrome stuff. You hear about this all the time. It's
52:00
Speaker 1: so bizarre, And I really liked Doctor Sleep.
52:04
Speaker 2: I mean it's not, as you know, cryptic, it's way
52:09
Speaker 2: completely I mean, obviously it's not the same director, but
52:13
Speaker 2: they use some of the same types of locations and images.
52:18
Speaker 2: They use the carpet pattern of the floor, they go
52:21
Speaker 2: back to the overlook, and they were, of course replaced
52:25
Speaker 2: Jack Nicholson's character, and they had another guy, which was
52:28
Speaker 2: a very big missed opportunity. They should have just brought
52:32
Speaker 2: Jack Nicholson bank. That would have made it one hundred
52:34
Speaker 2: times better. But I still really enjoyed it because it's
52:37
Speaker 2: essentially like psychic abilities, right, it's remote viewing. That's exactly
52:43
Speaker 2: what they were doing. They were by locating astral projection,
52:48
Speaker 2: astral traveling. I mean, that's what the little girl did
52:52
Speaker 2: the entire time. That's what the head vampire lady with
52:56
Speaker 2: the hat the hat woman would do as well. So
53:00
Speaker 2: they both had that type of ability. And it's essentially
53:05
Speaker 2: a technique that you're it's like a very advanced form
53:09
Speaker 2: of remote viewing. And Ingo Swan talked about this remote
53:14
Speaker 2: viewing ability which is called perfect side integration. I don't
53:17
Speaker 2: know if I mentioned it when you were on my show,
53:20
Speaker 2: but that's essentially what it is. You're able to get
53:23
Speaker 2: into such a deep state of remote viewing that you're
53:26
Speaker 2: able to literally bilocate to another location. Yeah, and that's
53:30
Speaker 2: what they're doing in Doctor Sleep.
53:32
Speaker 1: Here's what's really weird about this stuff is it seems
53:35
Speaker 1: like the kids or the psychic shiny people, they can
53:38
Speaker 1: do it themselves. It's like these evil people they can't.
53:41
Speaker 1: They need your juice or your whatever to do it.
53:43
Speaker 1: They need the energy from other people like they're vampires, right,
53:46
Speaker 1: they can't produce it themselves. So that's an interesting because
53:50
Speaker 1: these children and even the older Danny character, they can
53:53
Speaker 1: do it themselves. They don't need to hurt or harm
53:55
Speaker 1: anybody or kill anyone.
53:58
Speaker 2: And I think that what that's interesting about that is
54:01
Speaker 2: that this in Doctor's Sleep, I think that it's mentioned
54:05
Speaker 2: because whenever the old when the Old Man dies, the
54:12
Speaker 2: hat Lady is essentially that you've taken down rulers and emperor,
54:17
Speaker 2: basically meaning that this guy's lived for thousands of years. Yeah,
54:24
Speaker 2: he's seen cities rise, cities fall. It's taking he's seen
54:30
Speaker 2: it all essentially, So they've been doing it for a
54:33
Speaker 2: really long time. But yeah, I don't think that that
54:38
Speaker 2: might be something that you can do to essentially live
54:43
Speaker 2: forever forever, but you probably have to have the ability
54:46
Speaker 2: as well. Because whenever they go to recruit the Curly
54:51
Speaker 2: horror girl the I think she's like fifteen, she's fourteen
54:54
Speaker 2: or fifteen in the movie. When they go to recruit
54:57
Speaker 2: her at the movie theater, she had her ability. So
55:05
Speaker 2: stealing the essence of the children isn't creating the ability
55:12
Speaker 2: still in the essence is making them to where they're
55:16
Speaker 2: essentially immortal, doesn't give them the ability. They already have
55:21
Speaker 2: the psychic ability or the shine.
55:25
Speaker 1: Yeah, that's interesting. One of the other I was just
55:29
Speaker 1: thinking about this when I was looking at the images.
55:32
Speaker 1: You said something in the documentary, we're kind of going
55:36
Speaker 1: backwards here could we talked about adrena chrome and we
55:39
Speaker 1: know there's a lot of stuff we can't really say
55:41
Speaker 1: about that. But there's an image. I'm going to pop
55:43
Speaker 1: it right up here in the screen and you can
55:45
Speaker 1: see it right in this left hand corner on the wall.
55:47
Speaker 1: You say, there's a Nazi symbol that you noticed, Wayne,
55:51
Speaker 1: Did you notice this? And how does Nazism and fascism
55:55
Speaker 1: tie into this film?
55:56
Speaker 2: Like?
55:56
Speaker 1: What what is Cooper trying to say? Because I never
56:00
Speaker 1: noticed that until your documentary mentioned it to me.
56:04
Speaker 2: Yeah. So I seen the movie on the big screen.
56:10
Speaker 2: They were doing a reshowing of it for Halloween last year,
56:18
Speaker 2: so it would have been October of not last year,
56:21
Speaker 2: but the year before. So the October of twenty twenty three,
56:24
Speaker 2: they were doing a special screening of The Shining in
56:28
Speaker 2: a big movie theater. So I got to see it
56:32
Speaker 2: really big. And this was before we started really working
56:36
Speaker 2: on the movie. And when you see something really big
56:40
Speaker 2: like that that's meant to be seen in a theater,
56:42
Speaker 2: you can see things that you normally wouldn't watching it
56:45
Speaker 2: on a smaller TV or a smaller screen. And I
56:50
Speaker 2: was watching them walk through the gold Room and I
56:52
Speaker 2: looked back in the corner. I was like, because it
56:54
Speaker 2: was super prominent on the big screen, but I had
56:58
Speaker 2: never seen it when I was watching it on my TV,
57:00
Speaker 2: and I was like, that's a freaking Nazi swastika in
57:04
Speaker 2: the background there. And that relates to what other people
57:08
Speaker 2: have seen as well with the the end of the
57:13
Speaker 2: movie when the cubric fades the far away shot of
57:18
Speaker 2: the picture on the wall that when you scroll down, uh,
57:22
Speaker 2: it looks like Jack gets like a little Hitler mustache.
57:26
Speaker 2: And then also you have you know, mind control not
57:33
Speaker 2: m k M k Ultra did not originate in Germany, Okay,
57:38
Speaker 2: but they were doing because that's a that's an American term.
57:41
Speaker 2: Mk ultra is just describing mind controlled. The mk ultra
57:46
Speaker 2: programs were a CIA program in America. So people get
57:51
Speaker 2: that confused because I'll say, well, m k ultra started
57:56
Speaker 2: in Germany, and then they'll come back at me and
57:59
Speaker 2: be like, mk ultra never started in Germany.
58:04
Speaker 1: Technically they bring some German Nazis over here.
58:06
Speaker 2: So but they're technically right when they say that, because
58:10
Speaker 2: the term mk ultrade did not exist as a form
58:14
Speaker 2: of mind control program until it was brought to the
58:16
Speaker 2: United States. But there's a lot of evidence that Nazi
58:21
Speaker 2: Germany was trying to figure out how to essentially brainwash
58:26
Speaker 2: and mind control people. It's it's a fact, Okay. So
58:31
Speaker 2: the terminology with these people like you gotta be like
58:34
Speaker 2: somehow be perfect and everything single thing that you say,
58:37
Speaker 2: and I mess up anything.
58:39
Speaker 1: I'm just going to say this, When you guys hear
58:41
Speaker 1: someone talk on a podcast, it's hard to remember everything.
58:44
Speaker 1: You're here for an hour and you're going to catch
58:46
Speaker 1: them because you're sitting there watching. It's easy to do
58:48
Speaker 1: that then, you know, and when you don't know the
58:51
Speaker 1: difficulty of recalling information on a podcast, so it's easier
58:55
Speaker 1: said than done.
58:58
Speaker 2: Yeah, And I just want to like, like I of
59:00
Speaker 2: clarify that because technically they are right, but it's a
59:03
Speaker 2: very nitpicky thing. And whenever I say mk ultr, I
59:07
Speaker 2: just mean mind control in general, because that's what the
59:10
Speaker 2: term relates to, right, and that's what people are familiar with.
59:14
Speaker 2: Mind control being associated with is the CIA in the
59:17
Speaker 2: United States, in the mk Ultra programs and all the
59:21
Speaker 2: subprojects that followed that. So it relates to what they
59:25
Speaker 2: were doing in Nazi Germany during World War Two. Then
59:29
Speaker 2: it with their mind control programs with what's his name,
59:36
Speaker 2: the head of the intelligence over there, Joseph Mangel was
59:42
Speaker 2: essentially a head of all that and during World War Two.
59:45
Speaker 2: So that's the connective tissue there, and that's probably why
59:50
Speaker 2: Qubriic had it in the film, is to let people
59:55
Speaker 2: know that this is a this is an experiment. We're
59:58
Speaker 2: running an experiment pure at this hotel. And he's also
1:00:02
Speaker 2: you know, talking about the origin of the MK Waltra
1:00:05
Speaker 2: programs and the origins of mind control, which goes back
1:00:09
Speaker 2: to Nazi Germany.
1:00:12
Speaker 1: That's interesting, the mind control. Now I've got two pictures
1:00:16
Speaker 1: of Jack there. He is in the famous here's Johnny See,
1:00:18
Speaker 1: which apparently he had lived, and then here's the hymn
1:00:22
Speaker 1: just before when he's saying little pig, Little Pig. That's
1:00:24
Speaker 1: a really interesting thing. The nursery rhyme. I don't know
1:00:27
Speaker 1: what it means or if it's substantial, but he's like
1:00:30
Speaker 1: just totally losing it and he's you know, shouting a
1:00:32
Speaker 1: nursery rhyme and axing the door down to his family
1:00:35
Speaker 1: like he's totally gone, and they're like the iconic imagery
1:00:39
Speaker 1: that goes with the movie. Like that's why I rented
1:00:42
Speaker 1: the movie when I was little. It was the Jack
1:00:44
Speaker 1: Nicholson face was on the eighties cover with this kind
1:00:47
Speaker 1: of green and black cover, and that was the face.
1:00:49
Speaker 1: And I'm like, huh that I should check that out.
1:00:52
Speaker 1: And I was like ten years old, and you know,
1:00:54
Speaker 1: gen xers got away with a lot. We got away
1:00:58
Speaker 1: with renting the craziest stuff. Our parents had no idea
1:01:01
Speaker 1: what we're up to you. That's kind of interesting.
1:01:04
Speaker 2: Well, this is a crazy one right here. So whenever
1:01:06
Speaker 2: Jack pokes his head through the quarter panel and he says,
1:01:09
Speaker 2: here's Johnny, and whenever he turns around and he hears
1:01:11
Speaker 2: holler and pulling up in the snowmobile, MM, we only
1:01:16
Speaker 2: see him knock out one the It would be the
1:01:20
Speaker 2: right hand corner panel if he was looking at the door,
1:01:23
Speaker 2: and it would be the left hand corner panel if
1:01:25
Speaker 2: the camera.
1:01:26
Speaker 3: Was turned around.
1:01:27
Speaker 2: So whenever he turns around, both corner panels and this
1:01:31
Speaker 2: bottom panel of this image have been knocked out when
1:01:35
Speaker 2: we only seen him knock out this one right.
1:01:38
Speaker 3: Here where my cursor is circling.
1:01:43
Speaker 1: Interesting, that's interesting. Now. I was gonna ask a question
1:01:49
Speaker 1: and I'm just totally I went playing, can I do that.
1:01:54
Speaker 1: I'm like, I hate it when I do. There's something
1:01:56
Speaker 1: about fake death, like is it all just an illusion?
1:02:00
Speaker 1: Like apparently some people. Look, I know someone who's been
1:02:02
Speaker 1: to Jim Morrison. Graves is huge Jim Morrison fan. He's
1:02:05
Speaker 1: from England, and when I said something about maybe Jim
1:02:08
Speaker 1: Morrison's still alive, he thought that was a hogwash or
1:02:11
Speaker 1: it was a fake death. Do you think that some
1:02:14
Speaker 1: of this stuff they're just actors and they do this
1:02:16
Speaker 1: fake sort of thing, but they're alive somewhere as somebody else.
1:02:22
Speaker 2: I don't think everyone, but for sure, for sure it's
1:02:28
Speaker 2: it's happened because a lot of these people are actors.
1:02:35
Speaker 2: I mean, that's what Jim Morrison. We showed in our documentary.
1:02:40
Speaker 2: He was in a commercial for Florida State University just
1:02:44
Speaker 2: a very short period of time before he went to
1:02:47
Speaker 2: California and he started the doors. Okay, so he's an
1:02:53
Speaker 2: actor and his dad runs the in the military, for
1:02:57
Speaker 2: he was a high up naval commander and was responsible
1:03:00
Speaker 2: for the Gulf of Tonkin incident falls flying that killed
1:03:03
Speaker 2: one hundreds of thousands of people. Okay, So the reason
1:03:07
Speaker 2: that he was acting out and doing the things that
1:03:10
Speaker 2: he was doing is because he knew that he wasn't
1:03:12
Speaker 2: going to have any consequences for any of his actions.
1:03:15
Speaker 2: He was immediately going to be let off the hook
1:03:18
Speaker 2: because his dad is this high up, high ranking military individual.
1:03:24
Speaker 2: So he could just go off and do whatever he wanted,
1:03:26
Speaker 2: Like you could jerk off on stage if he wanted,
1:03:28
Speaker 2: he could perform naked, you know whatever, be super drunk.
1:03:34
Speaker 2: I'm pretty sure. I'm pretty sure that that's factual. I'm
1:03:36
Speaker 2: pretty sure that he did, you know, play with himself
1:03:42
Speaker 2: on stage one time, and then he got arrested.
1:03:44
Speaker 1: Yeah, then he got a restence for indecency. It's it's
1:03:50
Speaker 1: it's totally yeah, it's totally true. Jim Morrison and The
1:03:56
Speaker 1: Doors was a boomer sigh. Up. I wasn't to them
1:04:00
Speaker 1: until the movie came out with bel Kilmer in it,
1:04:02
Speaker 1: and I was young, and then the Doors were big
1:04:06
Speaker 1: trippy stuff, trippy stuff. They say, Okay, here's what I
1:04:11
Speaker 1: was going to ask. U. Kubrick was this kind of
1:04:16
Speaker 1: guy who had a lot of time to make movies,
1:04:18
Speaker 1: which is really unfounded. Like, it's not it's not often
1:04:26
Speaker 1: that directors can take a year to film a film
1:04:29
Speaker 1: like and take as much time as they want. And
1:04:31
Speaker 1: I also read that he did a lot of prep
1:04:34
Speaker 1: time working up to the film and he looked at
1:04:36
Speaker 1: a lot of Freudian stuff to base this on. And
1:04:42
Speaker 1: I'm thinking maybe for I mean Freud, there's a there's
1:04:44
Speaker 1: a whole bunch of crazy stuff about Freud and how
1:04:46
Speaker 1: he's a fraud and into my control. And of course
1:04:49
Speaker 1: we know his was his nephew Bernsee was into propaganda
1:04:53
Speaker 1: and marketing and all that stuff and mind control. Yeah,
1:04:58
Speaker 1: so it's all there in the background in Kubrick's researching.
1:05:02
Speaker 1: I would love to be able there's the stuff. There's
1:05:05
Speaker 1: a museum of Kubrick's stuff. I think it's in England.
1:05:08
Speaker 1: I don't know if it was traveling, but I would
1:05:10
Speaker 1: love to be able to see it in his notes
1:05:11
Speaker 1: and stuff. But he did a lot of research on
1:05:15
Speaker 1: Freud and Freud's concepts of family and abuse, where a
1:05:18
Speaker 1: lot of it was to cover up for rich people
1:05:21
Speaker 1: at the time, their daughters were going in and saying
1:05:23
Speaker 1: they were being essay for your channel, I don't care
1:05:29
Speaker 1: if it said on my channel, and all this stuff,
1:05:30
Speaker 1: and instead of listening to them. A lot of these
1:05:33
Speaker 1: people were wealthy elites, and Freud made up this, Oh,
1:05:36
Speaker 1: they're just projecting some neuroticism they have for their father.
1:05:40
Speaker 1: When it was a lie, it was actually true. This stuff,
1:05:43
Speaker 1: this abuse was happening, and it's in the archives. Candice
1:05:45
Speaker 1: Owens was talking about it. So I find like anything
1:05:48
Speaker 1: Freud really disturbing. So when I realized that Kubrick read
1:05:52
Speaker 1: a lot of Freud for this, I was like, oh, dear, there's.
1:05:56
Speaker 2: A lot of dark things we could talk about that
1:05:59
Speaker 2: was going on with Cube Break that you could possibly
1:06:02
Speaker 2: just kind of put two and two together. The audience
1:06:04
Speaker 2: can put two and two together on. So, whenever Kubri died,
1:06:10
Speaker 2: there were men that showed up at his house and
1:06:18
Speaker 2: they somehow had keys to his office. So only him
1:06:21
Speaker 2: and one other person ever had the key to Kueber's
1:06:23
Speaker 2: office inside of his house. So his friend shows up
1:06:27
Speaker 2: at his house after he passed away, and he's seen
1:06:29
Speaker 2: all of these men at his house and they were
1:06:32
Speaker 2: essentially taking things out of his house, like they had
1:06:35
Speaker 2: him all in like boxes, like and they were just
1:06:40
Speaker 2: getting all this stuff out of his home. So you
1:06:45
Speaker 2: had to put just shut up. Yeah, you have to
1:06:51
Speaker 2: put two and two together there. But if you relate
1:06:54
Speaker 2: that to.
1:06:54
Speaker 3: Some other.
1:06:56
Speaker 2: People they want to know recent time they and you
1:07:00
Speaker 2: can get the answer to what I'm talking about.
1:07:03
Speaker 1: Kubrick was obsessed with stationary and paperwork, like he had
1:07:07
Speaker 1: like phenomenal amounts of filed paperwork and stuff like he
1:07:12
Speaker 1: had phenomenal amounts of information. And I think his wife
1:07:15
Speaker 1: kind of says, oh, we gave it away to a
1:07:17
Speaker 1: foundation to have a museum. But right after his death,
1:07:20
Speaker 1: people come in, that's really suspicion, suspicious and yeah.
1:07:26
Speaker 2: And then kind of looked like, yeah, it is really
1:07:30
Speaker 2: it is really suspicious.
1:07:31
Speaker 3: And I'm just going to kind of leave it there
1:07:32
Speaker 3: because yeah.
1:07:34
Speaker 2: You know, it doesn't it doesn't do us any good
1:07:37
Speaker 2: to you know, trash somebody like that or bring their
1:07:43
Speaker 2: name through the mud. But I'm sure that people can
1:07:47
Speaker 2: put two and two together, or they can just look
1:07:49
Speaker 2: into it on their own and they'll they'll find some
1:07:52
Speaker 2: things on it that will probably shed more light.
1:07:55
Speaker 1: On to kind of tie things up, because I don't
1:07:57
Speaker 1: want to keep you here too long. What would be
1:08:01
Speaker 1: what's Kubrick's purpose of this? Like why make a movie
1:08:04
Speaker 1: and risk your safety and put all this stuff out
1:08:07
Speaker 1: in a movie for like, you know, why put it there?
1:08:12
Speaker 1: Does he think no one's going to see it? Is
1:08:13
Speaker 1: he hoping people see? Like, what do you think his
1:08:16
Speaker 1: objective is and putting all this code in his movies?
1:08:21
Speaker 2: Well, I think as like a as a creative person,
1:08:25
Speaker 2: you just want to put things in there that that
1:08:29
Speaker 2: is interesting, Like I do that in my thumbnails for
1:08:34
Speaker 2: all of my shows. I put little hidden things in
1:08:39
Speaker 2: there that probably no one has ever seen. Only I know,
1:08:44
Speaker 2: I'm going to.
1:08:44
Speaker 1: Go look at your thumbnails now, and well it's kind
1:08:48
Speaker 1: of hard to see because he can't really zoom in
1:08:50
Speaker 1: on them, so you have to take a screenshot and
1:08:51
Speaker 1: then zoom around the thumbnail to find stuff.
1:08:55
Speaker 2: So on one side, it's like a creative aspect to
1:09:00
Speaker 2: it and to put something in there that you know
1:09:02
Speaker 2: that's only kind of meant for you. But I think
1:09:07
Speaker 2: that it goes over so many people's heads, especially of
1:09:11
Speaker 2: that time, that they can't they don't even recognize exactly
1:09:15
Speaker 2: what it is that they're seeing. And that was kind
1:09:18
Speaker 2: of what was going on with Eyes Wide Shot as well,
1:09:22
Speaker 2: Like that was a only a few people that were
1:09:27
Speaker 2: a part of these, you know, types of clubs, which
1:09:31
Speaker 2: is a very few minority. I would know exactly what
1:09:36
Speaker 2: he's trying to say. So therefore it's kind of like safe.
1:09:40
Speaker 2: But it's a testament to the movie that it's been
1:09:44
Speaker 2: what how many years now, Like it came out in
1:09:48
Speaker 2: nineteen eighty forty five years and no one has come
1:09:55
Speaker 2: out with this information until now. So it's like a
1:09:58
Speaker 2: it's very well hidden and is definitely a subplot of
1:10:02
Speaker 2: the movie. And it doesn't take away from what everybody
1:10:07
Speaker 2: else thinks is going on either. If anything, it adds
1:10:10
Speaker 2: to it. It adds too all.
1:10:12
Speaker 1: Certainly that gives it more dimensions. So you don't think
1:10:15
Speaker 1: that Stanley Kubrick was controlled by the CIA and told
1:10:19
Speaker 1: to make these movies. You think he's doing this. He's
1:10:21
Speaker 1: self driven, all on his own.
1:10:25
Speaker 2: I could flip either way, but I think that the
1:10:28
Speaker 2: type of person that that Qubrick was, I feel like
1:10:31
Speaker 2: he was. He didn't he doesn't listen to people. So
1:10:35
Speaker 2: if you everre to tell him to do something, yeah,
1:10:38
Speaker 2: he's just gonna flip him off and be like, I'm
1:10:41
Speaker 2: gonna do my own thing. I'm gonna do what I
1:10:43
Speaker 2: want to do. And we see evidence of that with
1:10:47
Speaker 2: as White shut That's essentially exactly what happened. They wanted
1:10:52
Speaker 2: him to cut some things out of the movie. He
1:10:54
Speaker 2: wasn't having it. You didn't want it, he wasn't going
1:10:57
Speaker 2: to do it. It wasn't going to ruin his movie.
1:11:00
Speaker 2: And then he died yep.
1:11:03
Speaker 1: And they cut it anyways. I don't know. I wonder
1:11:07
Speaker 1: if they burnt all that footage or it's somewhere somewhere
1:11:09
Speaker 1: and one day someone will come up with it. Mostly
1:11:12
Speaker 1: all the eyes wide shut twisted real narrative, because if
1:11:15
Speaker 1: you just if you cut twenty minutes out of a movie,
1:11:18
Speaker 1: that's going to change the whole story.
1:11:20
Speaker 2: It doesn't. There's also the ending to the Shining of
1:11:22
Speaker 2: that no one has ever seen. That's right, their original ending.
1:11:26
Speaker 1: I've seen images of it, but I've I heard that
1:11:29
Speaker 1: people saw it in like a test film, in like
1:11:32
Speaker 1: a test screening of the movie, and then they changed
1:11:35
Speaker 1: it and cut it out. I kind of like the
1:11:38
Speaker 1: ending that they did go but it was a little ominous,
1:11:40
Speaker 1: that alternate ending. You can go ahead and explain it.
1:11:43
Speaker 2: Yeah, So the original ending was completely different than the
1:11:47
Speaker 2: ending that we all know of today with you know,
1:11:50
Speaker 2: Jack essentially freezes to death, and then it pans into
1:11:54
Speaker 2: the the hotel and you see the picture on the
1:11:57
Speaker 2: wall where Jack is. You know still there, says July fourth,
1:12:04
Speaker 2: nineteen twenty one. So the original ending was that Wendy
1:12:10
Speaker 2: wakes up in a hospital with Danny, and Olmen comes
1:12:16
Speaker 2: to visit.
1:12:16
Speaker 3: Her at the hospital.
1:12:18
Speaker 2: And essentially tells her that everything that she had explained
1:12:24
Speaker 2: to the police and the doctors and the nurses and
1:12:27
Speaker 2: everything wasn't true. They didn't find any evidence of anything
1:12:31
Speaker 2: that she explained that happened up there, and that really
1:12:36
Speaker 2: tied in the we I personally one believe that if
1:12:42
Speaker 2: you would have left that original ending in there, that
1:12:44
Speaker 2: just completely gives away the entire movie. It's exactly like
1:12:47
Speaker 2: what I was talking about in the beginning of the show,
1:12:50
Speaker 2: like you don't give away the entire plot of the
1:12:55
Speaker 2: movie within the dialogue, and that ending did not create
1:12:59
Speaker 2: any kind of mischie Now what did create the mystery
1:13:02
Speaker 2: box is when he sent his editor to the to
1:13:07
Speaker 2: the testing of the of the movie was where it
1:13:11
Speaker 2: was showing and had him splice the reel to where
1:13:16
Speaker 2: it just has Jack immediately dead and it doesn't show
1:13:19
Speaker 2: the hospital scene and all that. So then in the
1:13:22
Speaker 2: original ending, Ollmen then throws Danny the tennis ball that
1:13:28
Speaker 2: Jack was bouncing off the wall.
1:13:30
Speaker 1: You know one that rolled up to him in the
1:13:32
Speaker 1: hallway exactly. M h.
1:13:35
Speaker 2: So that's the telltale sign that the whole thing was
1:13:38
Speaker 2: an experiment and they just went in and covered the
1:13:40
Speaker 2: whole thing up. There was an operation that was going
1:13:44
Speaker 2: on there, and they went in and cleaned it all up.
1:13:48
Speaker 2: And then that's why he came in and said, oh, well,
1:13:51
Speaker 2: everything that you explained to the police and everyone at
1:13:55
Speaker 2: the hospital asked to what happened, we didn't find any
1:13:58
Speaker 2: evidence of it.
1:13:58
Speaker 1: Because they do close to an ending that you're right,
1:14:01
Speaker 1: that ruins the mystery box that actually kills all the
1:14:05
Speaker 1: layers that are literally inserted in there. It really doesn't.
1:14:10
Speaker 1: It says this is the final outcome, this is a story. Instead,
1:14:14
Speaker 1: what we get leaves it open so you can have
1:14:17
Speaker 1: all these levels of different messages and allow them to
1:14:20
Speaker 1: flow easier.
1:14:23
Speaker 2: And that was ultimately Kubrick's goal. Because we have Kubrick
1:14:26
Speaker 2: at the end of the film, as the credits are rolling,
1:14:30
Speaker 2: he's talking about that very thing. He's like, I don't
1:14:33
Speaker 2: do very many interviews. I don't talk with people because
1:14:35
Speaker 2: I don't want to explain my film because then that
1:14:39
Speaker 2: ruins the audience interpretation that they can get as they're
1:14:42
Speaker 2: watching my film, and he's essentially like, I love putting
1:14:45
Speaker 2: things in there that makes people think, Well, was that
1:14:50
Speaker 2: on purpose or was it not on purpose? Were these
1:14:55
Speaker 2: all these continuity rors that we show some of them
1:14:58
Speaker 2: on the show here tonight. Were these done on purpose
1:15:02
Speaker 2: or were these a mistake? And just based off of
1:15:05
Speaker 2: the fact that he said.
1:15:06
Speaker 1: That he's kind of gaslighting us.
1:15:08
Speaker 2: He's aware and he knows, so therefore they all are
1:15:13
Speaker 2: on purpose.
1:15:15
Speaker 1: He's actually making us the audience, doubt our own senses
1:15:18
Speaker 1: too and go cut a little crazy the same way
1:15:20
Speaker 1: Jack's going crazy, and they're like, did I see those twins?
1:15:24
Speaker 1: Did I do this? Is this like he's making us
1:15:27
Speaker 1: go what's going on? I'm not sure? Exactly clever clever.
1:15:32
Speaker 2: That's exactly Yeah, that's exactly what he's doing.
1:15:34
Speaker 3: Yep.
1:15:35
Speaker 1: Wow, all right, Well, do you have any last messages
1:15:37
Speaker 1: or anything that you want to say about The Shining
1:15:39
Speaker 1: before we tie off here?
1:15:41
Speaker 2: Thank you so much for having me on and thanks
1:15:43
Speaker 2: everyone is watching your audience. I hope that you really
1:15:46
Speaker 2: enjoyed it, and please go out in rent or rather
1:15:49
Speaker 2: you purchase the film because it helps us. On is
1:15:51
Speaker 2: only in like five dollars more for you to purchase
1:15:55
Speaker 2: the movie and then you'll have it forever and you
1:15:56
Speaker 2: can go back and tell your friends about it, tell
1:15:59
Speaker 2: your family about it. For my audience, I know that
1:16:02
Speaker 2: you've heard me go on about this, but it's my
1:16:04
Speaker 2: movie and that's really important to me. And any opportunity
1:16:08
Speaker 2: that I can get to talk about it and come
1:16:11
Speaker 2: on shows like this and help promote it and get
1:16:13
Speaker 2: more eyes on it, I'm going to take that opportunity.
1:16:16
Speaker 2: So it's just a bonus episode for my audience over
1:16:19
Speaker 2: there on my side. But thank you all very much.
1:16:22
Speaker 2: I hope you guys enjoyed it. Please support my movie
1:16:26
Speaker 2: so I can continue to do the work that I do,
1:16:29
Speaker 2: And thank you guys.
1:16:30
Speaker 1: That's great. And you guys can go on there and
1:16:33
Speaker 1: buy the It's on Amazon Prime and you can delve
1:16:36
Speaker 1: into it multiple times the way that Rider has many
1:16:40
Speaker 1: of us have with the Shining. There is stuff you miss,
1:16:44
Speaker 1: Like there's Steph Ryders showing me now that I miss
1:16:46
Speaker 1: from the documentary and things he's saying that I totally
1:16:48
Speaker 1: didn't My brain didn't register. So you can watch it lot.
1:16:51
Speaker 1: Let's just purchase it. It's really good, yeah, there's a.
1:16:54
Speaker 2: Lot of things in there that because it's really packed
1:16:58
Speaker 2: with information. It's a very fast, the moving documentary. And
1:17:02
Speaker 2: I know that people like to say, oh, well, just
1:17:04
Speaker 2: watch it a couple of times or whatever, but that's
1:17:07
Speaker 2: the reason that you want to buy it, because you're
1:17:10
Speaker 2: inevitably going to miss little nuances and things that are
1:17:15
Speaker 2: talked about with in the movie.
1:17:16
Speaker 3: I mean, we have.
1:17:18
Speaker 2: Five people in the documentary. We got me, Jay Widner,
1:17:22
Speaker 2: Joe Attwell, Mark Devlin, Kathy O'Brien, and Walter Bosley. So
1:17:26
Speaker 2: we're all in the movie and we're all sharing our
1:17:30
Speaker 2: what's going on. So it's to pick up some of
1:17:34
Speaker 2: the minor details and the things that we say, it's
1:17:36
Speaker 2: going to require a couple of viewings. And thank you
1:17:40
Speaker 2: very much Melissa for watching it to begin with and
1:17:43
Speaker 2: then rewatching it before we did the show.
1:17:45
Speaker 3: I really appreciate it.
1:17:46
Speaker 1: I love all the theories on the Shining. It's one
1:17:49
Speaker 1: of my favorite horror movies. So I don't mind spending
1:17:51
Speaker 1: money on a really good documentary like that.
1:17:55
Speaker 2: Thank you.
1:17:55
Speaker 1: All right, Well, I'm going to pop you into the
1:17:57
Speaker 1: green room and tie up the show just one moment here,
1:18:00
Speaker 1: all right, guys, Thank you so much for joining the show.
1:18:02
Speaker 1: It's really cool documentary. Please do go and support writer
1:18:06
Speaker 1: Lee in this documentary. We should all be supporting small
1:18:09
Speaker 1: podcasts like me. Writer has his own podcast. I'm gonna
1:18:13
Speaker 1: pop that up right now. You can find him on
1:18:15
Speaker 1: Race by Giants. Because even a lot of the podcasts
1:18:17
Speaker 1: we see out there now, they are like being funded
1:18:20
Speaker 1: by big money. They got huge audiences. They have the
1:18:23
Speaker 1: algorithm in their favor. So you have to support people
1:18:26
Speaker 1: like me writer, smaller people who don't get the attention
1:18:29
Speaker 1: because we talk about topics that are a little more
1:18:32
Speaker 1: fringe maybe, but it helps. So subscribe to me but
1:18:37
Speaker 1: writers on YouTube at Race by Giants. So go there
1:18:40
Speaker 1: and just visit my website. Please and subscribe either on
1:18:43
Speaker 1: rumble x or YouTube for the live streams, and you
1:18:46
Speaker 1: can also all the links are there. You can subscribe
1:18:48
Speaker 1: on X. I've got a subscriber things when I work
1:18:52
Speaker 1: on content. You can go to the audio podcast. There's
1:18:55
Speaker 1: tons of links for different things. That's gen x on
1:18:57
Speaker 1: x dot com. I thank you guys so much. I'm
1:19:00
Speaker 1: just going to end this stream right now, no intro,
1:19:04
Speaker 1: outro music. I really appreciate you guys, and take care
1:19:08
Speaker 1: and yeah, stay spooky with the shining. Go watch it
1:19:12
Speaker 1: right now. Go get his documentary Prime Amazon Prime,