Latest / Cosmic Peach / BREAKDOWN- SHAKEDOWN: Back To The Future

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BREAKDOWN- SHAKEDOWN: Back To The Future · Cosmic Peach

• 0:00
  Speaker 1: Baby, I'm a game statue.
• 0:02
  Speaker 2: It takes a lot of tangle. You don't want mess
• 0:06
  Speaker 2: with me.
• 0:06
  Speaker 1: Mess with me baby a gangstato.
• 0:13
  Speaker 3: Pouch.
• 0:14
  Speaker 1: Baby, You're a game statoo.
• 0:23
  Speaker 4: For Good Warner.
• 0:25
  Speaker 5: This podcast is designed to take you outside of your
• 0:27
  Speaker 5: comfort zone and make you question reality.
• 0:30
  Speaker 4: Listener Discretion is a vibe.
• 0:38
  Speaker 3: Talk with the fellas.
• 0:41
  Speaker 1: This ain't my first time at the rodeos.
• 1:15
  Speaker 4: Howady, folks, your host double jback here coming at you
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  Speaker 4: live slash live from my studio slash RV dining room
• 1:25
  Speaker 4: located directly inside America. Welcome back, folks of the airwebs
• 1:31
  Speaker 4: once again, JJ Vance here host of Operation GCD, but
• 1:35
  Speaker 4: perhaps more notably not the Vice President. I will be
• 1:40
  Speaker 4: your pilot navigator here tonight, folks, for this shenani and
• 1:43
  Speaker 4: infused journey into the mind of this particular garbage can. Dude,
• 1:49
  Speaker 4: got a real barn burger on deck for your for
• 1:51
  Speaker 4: you folks of the innerwebs here tonight. So appreciate you, folks. Uh,
• 1:57
  Speaker 4: you know, thanks for joining us here again to get
• 1:59
  Speaker 4: a little GC because we got a cult. An s
• 2:02
  Speaker 4: O Terror review of the nineteen eighty five cinematic masterpiece
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  Speaker 4: Back to the Future with an entire Occult Rejects lineup,
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  Speaker 4: including Nick Host of The Occult Rejects.
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  Speaker 6: Welcome, Nick, thank you, Welcome sir. You know I would
• 2:19
  Speaker 6: have been really upset if you didn't consider this one
• 2:20
  Speaker 6: a barn burner. I swear to god, I even had
• 2:22
  Speaker 6: that in my head. If he does not use barm
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  Speaker 6: burner for this, I'm gonna say something.
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  Speaker 4: No, this is definitely this is definitely a barn burger.
• 2:28
  Speaker 4: This is definitely a barn Burger.
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  Speaker 7: Yeah.
• 2:30
  Speaker 4: And we got a whole, like I said, a whole
• 2:31
  Speaker 4: Occult Rejects line up. So to GCD, we got Jen
• 2:36
  Speaker 4: Ope that's not Jen the Ninja wrong one and Jen
• 2:38
  Speaker 4: the Ninja Welcome, Welcome Jen.
• 2:41
  Speaker 2: Thank you so muchj and Nick for having me on.
• 2:43
  Speaker 2: And I absolutely love doing these episodes. I know people
• 2:46
  Speaker 2: on Twitter are always so excited when it's like a
• 2:50
  Speaker 2: group of us. I think it's like the five for me.
• 2:53
  Speaker 2: I know I won't give your secret away, Nick, but
• 2:55
  Speaker 2: I know on the Carl what episode we use a
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  Speaker 2: different hormatic number. I should say we but someone, but
• 3:01
  Speaker 2: five for me is a perfect traumatic number. So I
• 3:04
  Speaker 2: appreciate that we can do these kind of roundtable aesotopic
• 3:08
  Speaker 2: reviews and I think they're really hot and people love them.
• 3:11
  Speaker 2: So thank you so much for guys for having me on.
• 3:13
  Speaker 4: Oh for sure, host of the Threshold Saints and the
• 3:16
  Speaker 4: fellow occult reject there, and I definitely appreciate your all
• 3:19
  Speaker 4: insight in the last one. We did well, We've done
• 3:20
  Speaker 4: a couple of good ones recently, right, we did a
• 3:23
  Speaker 4: little uh, Big Trouble, Little China, and we also did
• 3:26
  Speaker 4: a little Golden Child, So those are great ones. I
• 3:28
  Speaker 4: certainly enjoyed those myself. Next time we got I do
• 3:33
  Speaker 4: you Love, host of the Unfiltered Rise podcast and fellow
• 3:35
  Speaker 4: a cult reject. How you doing, Heidi, welcome. I'm happy
• 3:38
  Speaker 4: for joining Mellow GCD here your first appearance, by the way.
• 3:42
  Speaker 8: Yeah, I'm excited to be here and on operation at GCD.
• 3:45
  Speaker 3: That is right, right, because we've done Fridays, this is
• 3:48
  Speaker 3: a different one and we're just always together.
• 3:51
  Speaker 4: It's so fun countless other cult reject shows, right, So
• 3:55
  Speaker 4: if you can introduce the Unfiltered Rise podcast to the
• 3:58
  Speaker 4: Operation GCD that perhaps is not familiar.
• 4:02
  Speaker 3: Absolutely so, I'm Heidi Love of the Unfiltered Rise. I'm
• 4:06
  Speaker 3: also an ex Mormon just like JJ and I talk
• 4:09
  Speaker 3: a lot about that on my show, but I also
• 4:11
  Speaker 3: do kind of a whole multitude of different things, anything
• 4:15
  Speaker 3: that strikes my fancy, especially like Mormon Mafia, weird stuff
• 4:19
  Speaker 3: like that, you know, it's a garbage can.
• 4:21
  Speaker 4: Too, and some great parapolitics stuff, especially relative to the
• 4:26
  Speaker 4: from JFK to Whitewater, et cetera. And I think, you know,
• 4:30
  Speaker 4: I have a general annoised theory that everything kind of
• 4:31
  Speaker 4: goes back through that Whitewater threading to JFK. So what
• 4:35
  Speaker 4: we're dealing with today that.
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  Speaker 3: Is absolutely absolutely Well, thank you guys for being here.
• 4:41
  Speaker 3: I love everyone here, all the rejects and boss, thank you.
• 4:45
  Speaker 4: Well, there you go, thank you, last but not least,
• 4:47
  Speaker 4: and then particular order at cos me Pete. Julia, welcome
• 4:50
  Speaker 4: to Operation GCD. Your first appearance as well. Much like Heidi,
• 4:54
  Speaker 4: we've done some Fridays and plenty of O cult reject shows,
• 4:56
  Speaker 4: but thanks for joining me yet PCD. There Julia, looking
• 4:59
  Speaker 4: forward to We did.
• 5:01
  Speaker 1: The Golden Child together, right.
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  Speaker 4: Holy smokes, you were on the gold See now here
• 5:05
  Speaker 4: we go. I was just telling Hidi yesterday about that
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  Speaker 4: Ed Cassis show we were doing ocult rejects. I thought
• 5:10
  Speaker 4: she was there, So I keep I keep replacing who
• 5:13
  Speaker 4: was in these shows, so I do apology.
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  Speaker 6: Everybody here could probably in a test. How many times
• 5:16
  Speaker 6: I'll text him be like, did I ask you for
• 5:18
  Speaker 6: this show? I can't even remember. You're gonna have write
• 5:21
  Speaker 6: it down.
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  Speaker 1: I forget there.
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  Speaker 4: I mean, not just one second there, Julia. Yesterday I
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  Speaker 4: was in a podcast with doing some Mormon parapolitics and
• 5:29
  Speaker 4: society Cincinnati conversations on the sixth Censury podcast with Heidi.
• 5:33
  Speaker 4: There was a fellow guest and I kept referencing in
• 5:36
  Speaker 4: the show that that show we did with Ed Cassis,
• 5:38
  Speaker 4: and she kept and she finally says, I wasn't there.
• 5:40
  Speaker 4: I was like, oh, shoot, you weren't there, Like, how
• 5:43
  Speaker 4: long do I play along with this?
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  Speaker 8: This is my favorite thing? He said in my brain,
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  Speaker 8: you were there, you should have been there, And I'm like,
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  Speaker 8: I was off of work.
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  Speaker 4: I just didn't know. Oh yeah, shoot I was. I apologize, Julia.
• 5:57
  Speaker 1: No, It's it's all good in the hood. I'm just
• 6:00
  Speaker 1: happy to be here. I'm excited for this movie. I
• 6:03
  Speaker 1: got a lot of cool notes, and what the fuck's up, everybody,
• 6:08
  Speaker 1: I'm excited, what's the.
• 6:11
  Speaker 4: What's what's going on? The Cosmic Peach podcast as of late,
• 6:14
  Speaker 4: what's the focus. I'm actually the subjects you've been interested
• 6:19
  Speaker 4: as a late.
• 6:21
  Speaker 1: I'm working on a I don't know if I'm gonna
• 6:24
  Speaker 1: do three or four parts, because I always try to
• 6:26
  Speaker 1: do four parts, but this one might be three parts.
• 6:28
  Speaker 1: But I'm working on a new series about sleep paralysis
• 6:31
  Speaker 1: and uh, demonic and paranormal experiences. So that's a new
• 6:39
  Speaker 1: focus right now, and that that series should be dropping
• 6:42
  Speaker 1: next month. So I'm actually really excited about that.
• 6:46
  Speaker 4: That's so exciting for you. Again, I appreciate y'all joining me.
• 6:51
  Speaker 4: I got to one plug real quick, real fast before
• 6:54
  Speaker 4: we get started, and that's my upcoming Sunday show eight
• 6:58
  Speaker 4: pm on Sundays, Operation GCD Live Sundays. In the first
• 7:02
  Speaker 4: first episode this Sunday, the Curse of Robert the Doll.
• 7:07
  Speaker 4: So this is my uh Patreon my new Patreon series
• 7:11
  Speaker 4: here on Sunday. So that'll be in the show notes
• 7:14
  Speaker 4: along with all your l's links as well.
• 7:15
  Speaker 6: You know, what the hell is he?
• 7:16
  Speaker 8: Where you scared?
• 7:17
  Speaker 1: Though?
• 7:17
  Speaker 8: Are you scared to start that crap up over there?
• 7:20
  Speaker 4: I don't. I don't like looking at a photo of Robert.
• 7:23
  Speaker 4: That's why I muppetize him in the first place, even
• 7:25
  Speaker 4: though I've been on a real muppet trend as of late.
• 7:27
  Speaker 4: But yeah, I don't.
• 7:28
  Speaker 1: Uh.
• 7:30
  Speaker 4: I sleep well at night, but thinking about this damn
• 7:32
  Speaker 4: thing and the curse, I don't know if I sleep
• 7:33
  Speaker 4: that great the last couple of nights. But maybe I'm
• 7:36
  Speaker 4: looking at this. I was about to say, speaking of
• 7:40
  Speaker 4: sleep for Alicis, Robert might be haunting me in that too. No,
• 7:42
  Speaker 4: I'm trying to approach this more of a cathartic experience.
• 7:46
  Speaker 3: I know.
• 7:46
  Speaker 4: Uh, Julia had it invited me onto her show to
• 7:49
  Speaker 4: discuss the matter. I'm like, all right, well, let me
• 7:51
  Speaker 4: get all my thoughts on it firstly, put it down
• 7:53
  Speaker 4: in order, and then I'll be happy. I'll be happy
• 7:54
  Speaker 4: to join you there, Julie. After the Sunday's The Curse
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  Speaker 4: of the Robert Doll operations sounds.
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  Speaker 3: So.
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  Speaker 4: But tonight we're talking about the nineteen eighty five cinematic masterpiece,
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  Speaker 4: Back to the Future, And I believe this really started,
• 8:11
  Speaker 4: uh to a conversation. I mean, we've been doing these
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  Speaker 4: occult esoterical views here. I'm a big fan of film
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  Speaker 4: and just telling stories and the way stories are told
• 8:20
  Speaker 4: in the first place, and you know, and kind of uh,
• 8:23
  Speaker 4: you know these I love the ideas of time. So
• 8:25
  Speaker 4: this this, you know, this movie has always been a big,
• 8:27
  Speaker 4: big interest of mine. But this really started off with
• 8:31
  Speaker 4: a conversation Nick and I had, I think we were
• 8:33
  Speaker 4: doing some disc golfing, and he was making a reference
• 8:36
  Speaker 4: to how how often or the the use of the
• 8:40
  Speaker 4: term spooky that I that I was, I often call
• 8:44
  Speaker 4: the la you know, the intelligent sagancies or lack of
• 8:47
  Speaker 4: intelligence agencies, the I call them, you know, spooky, you know,
• 8:51
  Speaker 4: spooky operations, et cetera. And uh, Nick, you know, Nick
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  Speaker 4: thought I was you know, at first, when we heard
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  Speaker 4: me saying that, he was telling me that he thought
• 8:59
  Speaker 4: I was making some sort of auditory and racial reference
• 9:01
  Speaker 4: of summer.
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  Speaker 6: Right, was like when I was a kid and I
• 9:03
  Speaker 6: heard my whatever grown ups say that it was that was.
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  Speaker 4: A common note nomenclature there a few decades ago for
• 9:11
  Speaker 4: you know, for some you know, but I guess I
• 9:13
  Speaker 4: suppose about the same as the N word, right.
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  Speaker 3: Yeah.
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  Speaker 4: So as soon as he said that to me, I
• 9:18
  Speaker 4: thought of the film Back to the Future. So I
• 9:20
  Speaker 4: was like, oh, well, yea, just like Back to the Future, right,
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  Speaker 4: So that's kind of that's kind of what where he
• 9:25
  Speaker 4: and I first started talking about the Uh, there's a cult,
• 9:28
  Speaker 4: n esoteric review of the film, But I'd like to
• 9:31
  Speaker 4: hear where we're y'all were first interested in in this,
• 9:35
  Speaker 4: you know, starting off Nick, where where did uh you know,
• 9:38
  Speaker 4: was this a film you were always a big fan
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  Speaker 4: of since you were a child, or did you see
• 9:41
  Speaker 4: this in the theaters?
• 9:42
  Speaker 6: I don't think I saw it in the theaters, but no,
• 9:44
  Speaker 6: I mean it was definitely a movie that I had,
• 9:46
  Speaker 6: like on a VHS tape that I watched multiple times.
• 9:48
  Speaker 6: You know, Yeah, it was a classic for me. Yeah, yeah,
• 9:52
  Speaker 6: that that in the second one I did. I did
• 9:55
  Speaker 6: enjoy it. Everyone was a little because of the train,
• 9:57
  Speaker 6: but I did. Uh yeah, it was. It was huge.
• 10:00
  Speaker 6: I mean I feel like maybe what was that eighty five,
• 10:03
  Speaker 6: so I was seven. I mean around that time. I
• 10:06
  Speaker 6: think it's kind of silly how I felt like at
• 10:09
  Speaker 6: that time you were kind of seeing the world spring
• 10:13
  Speaker 6: I think forward in a sense too, Like it's hard
• 10:16
  Speaker 6: to explain, but around that time, I even feel like
• 10:17
  Speaker 6: with music and just what was going on in the world,
• 10:19
  Speaker 6: it was changing as well. So I guess like that
• 10:22
  Speaker 6: was like oh this is what's the come in the future.
• 10:24
  Speaker 6: I don't know, it just seemed very nostalgic, you know,
• 10:28
  Speaker 6: at the time, even watching it then. But yeah, that's
• 10:35
  Speaker 6: all I got.
• 10:37
  Speaker 4: I think JJ frows I cut out. Yeah, yeah, No.
• 10:41
  Speaker 4: There was a very sci fi futuristic aspect to this.
• 10:44
  Speaker 4: I remember as a child thinking, like, especially with the
• 10:46
  Speaker 4: second one, I'm gonna I'm gonna need be one of
• 10:48
  Speaker 4: those hover boards, you know what I mean, Like, you
• 10:50
  Speaker 4: know those things will be around in the future, right,
• 10:52
  Speaker 4: you know what I mean. It's kind of funny because
• 10:54
  Speaker 4: twenty fifteen is much like the I don't think we've
• 10:56
  Speaker 4: really gotten that more technologically advanced outside of some cell
• 10:59
  Speaker 4: phone right technologies, right, some little stuff.
• 11:04
  Speaker 8: Exactly. Yeah, it's not like we thought.
• 11:06
  Speaker 4: Yeah no, I said, I think this was the first
• 11:09
  Speaker 4: film that I ever saw at the theater. I know,
• 11:11
  Speaker 4: I know, I saw the second one in the theater,
• 11:13
  Speaker 4: and like you were saying, I wore the VHS out
• 11:15
  Speaker 4: on this one for sure. I'm pretty sure this was
• 11:17
  Speaker 4: the first film I saw at the theater, but I
• 11:21
  Speaker 4: would have been I would have been almost six. So Jen, Jen,
• 11:26
  Speaker 4: when did when did you first find out you're a big,
• 11:30
  Speaker 4: big fan of Back to the Future. Is this something
• 11:32
  Speaker 4: you've been a big fan of, is you know your
• 11:34
  Speaker 4: whole life as a child or what are you talking
• 11:36
  Speaker 4: about here?
• 11:37
  Speaker 2: So I'm a nineties kid obviously, and I sure watched
• 11:40
  Speaker 2: it in the nineties, and I think I liked it,
• 11:44
  Speaker 2: Like it's to me. I wasn't sure like when you
• 11:47
  Speaker 2: were like, do you want to do this? Of course
• 11:49
  Speaker 2: I want to do our movie reviews. It's like the
• 11:51
  Speaker 2: most fun thing we do pretty much everybody, right, So
• 11:57
  Speaker 2: you know, of course I want to do it. But
• 11:58
  Speaker 2: I didn't know how much I could add to it
• 12:00
  Speaker 2: for through this film, simply because of my unfamiliarity with it.
• 12:04
  Speaker 2: But then Nick, being the great boss that he is,
• 12:06
  Speaker 2: sent me his great notes and I was like, oh, okay,
• 12:10
  Speaker 2: You're like yeah, okay, And then I was like, yeah,
• 12:13
  Speaker 2: this actually totally makes sense. This is like I can
• 12:15
  Speaker 2: follow his holistic logic from like beginning to end. And
• 12:19
  Speaker 2: I was like, yeah, these are the same things that
• 12:21
  Speaker 2: I thought were really interesting. So I mean, I feel
• 12:25
  Speaker 2: like I'll just be more riffing tonight and like let
• 12:28
  Speaker 2: everybody else who is really into the film that go,
• 12:32
  Speaker 2: But I definitely will like how I'll add where I
• 12:35
  Speaker 2: have to add, and so for me back to the
• 12:37
  Speaker 2: future is we'll call it true Chino because I know
• 12:40
  Speaker 2: you love that JJ for this you know esoteric or
• 12:44
  Speaker 2: cult review. But I'm not sure if it's a true
• 12:48
  Speaker 2: Chino for me. But I really liked it, I have
• 12:51
  Speaker 2: to say in rewatch, which is just yesterday, So I
• 12:55
  Speaker 2: enjoyed it. I thought it was weird and as eighties
• 12:59
  Speaker 2: as I remember, right, and maybe sorry.
• 13:06
  Speaker 4: JJ, no, I'll say, so when did you persue? So
• 13:09
  Speaker 4: you saw kind of the whole trilogy? Then maybe you
• 13:11
  Speaker 4: know all at once then, right, you didn't have to
• 13:13
  Speaker 4: wait between the trilogies.
• 13:14
  Speaker 2: Then it's interesting because I even watched the trilogy in
• 13:18
  Speaker 2: anticipation for this episode because I was like I needed
• 13:20
  Speaker 2: to kind of know, like I have to know the cannon,
• 13:23
  Speaker 2: like have a familiarity with like the text. Right, So
• 13:27
  Speaker 2: I guess I must have watched them on VHS or DVD,
• 13:33
  Speaker 2: because like I'm more DVD E era. But yeah, we definitely,
• 13:37
  Speaker 2: I definitely had VHS. I'm kidding, so, but I must
• 13:41
  Speaker 2: have watched.
• 13:41
  Speaker 4: But there was no antist You didn't have to wait
• 13:43
  Speaker 4: like anticipating the next one coming out there, right, because
• 13:45
  Speaker 4: there was always the to be continued with a like
• 13:48
  Speaker 4: a cliffhanger scene.
• 13:49
  Speaker 2: Right, No, so I'm I'm not. I'm not old enough
• 13:51
  Speaker 2: to yet be like affected by the cliffhanger.
• 13:55
  Speaker 3: Right.
• 13:55
  Speaker 4: That was very pactful on my childhood, and I'm not
• 13:58
  Speaker 4: that was very hyped, very hyped. So I appreciate that.
• 14:02
  Speaker 1: Jen.
• 14:02
  Speaker 4: So, Julia, when did you first discover the Back to
• 14:05
  Speaker 4: the Future and were you in a similar situation as
• 14:07
  Speaker 4: Jen where you weren't left with a bunch of cliffhangers?
• 14:09
  Speaker 4: Because I'd ask the same to hide a yeah, I
• 14:12
  Speaker 4: think I know the answer.
• 14:14
  Speaker 1: Well, shit, I just turned thirty, but I still identify
• 14:20
  Speaker 1: as twenty nine.
• 14:21
  Speaker 9: My pronouns are forever and young.
• 14:24
  Speaker 3: And so.
• 14:26
  Speaker 1: My brother and sister grew up in the eighties, and
• 14:30
  Speaker 1: so when I was really little, they would play like
• 14:32
  Speaker 1: all the great eighties movies For me. I didn't have
• 14:35
  Speaker 1: to wait. I just watched them all, back to back
• 14:38
  Speaker 1: to back, Back to the Future, Back to the Future two,
• 14:40
  Speaker 1: Back to the Future three. My favorite is actually probably no,
• 14:46
  Speaker 1: it's the first one. In the third one, actually, did
• 14:49
  Speaker 1: you see what.
• 14:49
  Speaker 4: Did you grow up with that? There was?
• 14:50
  Speaker 3: That?
• 14:51
  Speaker 4: Was that a cartoon in your childhood?
• 14:52
  Speaker 3: Too?
• 14:53
  Speaker 4: What the cartoon version of Back to the Future.
• 14:56
  Speaker 1: I never fucked with it, but I will say I
• 14:59
  Speaker 1: was soon obsessed with the movies. And actually I kind
• 15:03
  Speaker 1: of had like a little bit of a crush on
• 15:05
  Speaker 1: Michael J. Fox there for a minute because it was
• 15:08
  Speaker 1: like teen Wolf and like some of those other like
• 15:11
  Speaker 1: really cool eighties movies that he was doing. And so yeah,
• 15:17
  Speaker 1: Gane for sure, And I actually have a little bit
• 15:20
  Speaker 1: of a story about that when we get into like
• 15:22
  Speaker 1: stuff about the movie with Michael J.
• 15:24
  Speaker 8: Fox.
• 15:25
  Speaker 1: But yeah, no, dude, I loved Back to the Future,
• 15:29
  Speaker 1: the first one, in the third one, like I said,
• 15:31
  Speaker 1: my fave. I didn't grow up in the eighties, but
• 15:34
  Speaker 1: I definitely fuck with it heavy. I love all the
• 15:38
  Speaker 1: eighties stuff.
• 15:40
  Speaker 4: Nice, nice, well, last but not least hide He went,
• 15:44
  Speaker 4: when did you discover the Back to the futures? And
• 15:47
  Speaker 4: were you as affected by these cliffhangers as I was?
• 15:50
  Speaker 8: Oh, definitely. I think I'm the oldest one on the panel.
• 15:53
  Speaker 8: So I was like this is crazy cool.
• 15:58
  Speaker 3: And like, oh, I hope we have flying cars and
• 16:01
  Speaker 3: all this from the second one, like it was just yeah,
• 16:04
  Speaker 3: the third one, you're right, it's just not it doesn't
• 16:07
  Speaker 3: have the third one love me anyway.
• 16:10
  Speaker 4: Yeah so, but it was so I appreciate it more
• 16:13
  Speaker 4: than I like other sequels. But I agree with you.
• 16:15
  Speaker 4: I think the first two or they were more of
• 16:17
  Speaker 4: a home run. I think, yeah, so good.
• 16:19
  Speaker 9: How can you not like the third one?
• 16:21
  Speaker 1: It's like the perfect.
• 16:23
  Speaker 8: Ending, the good one?
• 16:24
  Speaker 6: About that?
• 16:25
  Speaker 3: Do they?
• 16:28
  Speaker 1: I mean they ended it enough for me to be
• 16:30
  Speaker 1: satisfied with their not being a fourth one.
• 16:34
  Speaker 6: They're making a remake, supposedly.
• 16:37
  Speaker 1: I'm not interested in a remake. They ruin everything and
• 16:39
  Speaker 1: they put their woke bullshit in it. When they make remakes,
• 16:43
  Speaker 1: they're going to cast a black guy to play Marty
• 16:46
  Speaker 1: McFly and they're gonna have some tranny playing.
• 16:50
  Speaker 8: Doc and I don't want it.
• 16:51
  Speaker 1: I just don't want it.
• 16:53
  Speaker 4: Leave it alone. It's funny you mentioned that. It's funny
• 16:56
  Speaker 4: you mentioned that, Julie. Have you you all familiar with
• 16:58
  Speaker 4: the Back to the Future musical. That's that has been
• 17:01
  Speaker 4: a big thing, is.
• 17:02
  Speaker 9: Harry Tranny playing Doc Brown because they don't want.
• 17:05
  Speaker 4: To know now. But much like in this film we've
• 17:08
  Speaker 4: discussed in the Back to the Future film, you know,
• 17:10
  Speaker 4: it's weird that Marty McFly goes back in time and
• 17:12
  Speaker 4: he's kind of like got a thing with his mother's
• 17:15
  Speaker 4: got falls in love with him, and so there's this
• 17:16
  Speaker 4: kind of incestual thing. Well in the Broadway musical version
• 17:20
  Speaker 4: and the Broadway Musical version, I think he went back
• 17:22
  Speaker 4: in time and his dad had a thing for him again.
• 17:24
  Speaker 1: Oh no, said that.
• 17:27
  Speaker 4: It's not overtly that way, but like I mean, I'll
• 17:29
  Speaker 4: show you a clip here just you know, stand By
• 17:31
  Speaker 4: Police one second, I got, I got a clip of
• 17:36
  Speaker 4: exactly Fly is not gay. Well, well, the Broadway version
• 17:41
  Speaker 4: probably is, but I hear what you're saying, so, isn't
• 17:44
  Speaker 4: it it is? It is kind of fascinating how much
• 17:46
  Speaker 4: this is spawn a cultural phenomenon there, right, like this
• 17:48
  Speaker 4: this film you know here it is you know, forty
• 17:51
  Speaker 4: years you know later, right almost right, I think was
• 17:54
  Speaker 4: July third of nineteen eighty five, right that they released
• 17:57
  Speaker 4: this film. So you know, it's crazy still, right, and
• 18:03
  Speaker 4: it's still it's still very impactful because, like I said,
• 18:06
  Speaker 4: they're doing Broadway musicals. You know, if you all recall
• 18:10
  Speaker 4: in the film, you know, in the in the sequels,
• 18:13
  Speaker 4: they go to October fifteenth, twenty fifteen, right.
• 18:16
  Speaker 1: Which everybody freaked out on that dread out life on Instagram.
• 18:21
  Speaker 4: Oh it's October fifteen, two thousand fifty. Well, they even
• 18:25
  Speaker 4: did things like I Got a clipper. They even did
• 18:26
  Speaker 4: things like this on the Jimmy Kimmel Show on that date.
• 18:35
  Speaker 7: WHOA.
• 18:36
  Speaker 6: Of course, of my calculations, this is the year two
• 18:40
  Speaker 6: thousan fifteen May the Future.
• 18:46
  Speaker 4: That's so, I mean, you know this was you know,
• 18:49
  Speaker 4: it's right, wrong or different whenever you think of Jimmy Kimmel.
• 18:52
  Speaker 4: That's a big audience. They are doing this on, you know,
• 18:54
  Speaker 4: as a you know, tribute to this culture that was
• 18:57
  Speaker 4: created I think, and it is the sci fi culture general,
• 19:00
  Speaker 4: but I mean it is specifically this film. I think.
• 19:02
  Speaker 4: I think the esoteric elements that we're going to be
• 19:05
  Speaker 4: discussing here this evening, some of these occult and or
• 19:07
  Speaker 4: esoteric elements is these these things that are embedded in
• 19:11
  Speaker 4: the storyline of the film is what makes it so
• 19:13
  Speaker 4: time you know time, you know, standing through time, as
• 19:15
  Speaker 4: far as being a good story, great you know, told
• 19:18
  Speaker 4: in a great film. Right, And yeah, I mean, I
• 19:23
  Speaker 4: don't know what, uh, I don't know. I've ever met
• 19:25
  Speaker 4: someone who's like, oh, yeah, back to the I've seen
• 19:27
  Speaker 4: Back to Future and it's super dumb, you know what
• 19:28
  Speaker 4: I mean, like, because I think you see that with
• 19:30
  Speaker 4: some of the air sci fi stuff. But I mean
• 19:31
  Speaker 4: it is a very wide What I'm saying is has
• 19:33
  Speaker 4: a wide ranging audience for sci fi folks, right, Like
• 19:37
  Speaker 4: you don't have to be a Star Wars person or
• 19:38
  Speaker 4: a Star Trek person to be kind of, you know,
• 19:41
  Speaker 4: into this I think, into this idea of back to
• 19:44
  Speaker 4: the future and time travel.
• 19:45
  Speaker 9: And it's so embedded in pop culture. Oh sorry, no,
• 19:50
  Speaker 9: that's okay, please.
• 19:52
  Speaker 1: Oh I was just gonna say it's so embedded in
• 19:54
  Speaker 1: pop culture, you know, like a lot of movies still
• 19:57
  Speaker 1: reference things from Back to the Future. So yeah, it's
• 20:02
  Speaker 1: it's definitely timeless for sure.
• 20:07
  Speaker 2: Jim, what we what we're gonna say there basically just
• 20:10
  Speaker 2: echoing both you and Julia's thing that it was. It's
• 20:12
  Speaker 2: it's a cultural phenomenon. Like, and I agree with you,
• 20:15
  Speaker 2: this film has such wide ranging appeal. But I didn't
• 20:18
  Speaker 2: actually think of it as a sci fi film really
• 20:20
  Speaker 2: what I was thinking of, and but it is. But
• 20:23
  Speaker 2: it really is a science speculative fiction film. Maybe not
• 20:26
  Speaker 2: a science fiction film as we would like normally think
• 20:30
  Speaker 2: of it, maybe not like total recall science fiction but
• 20:32
  Speaker 2: it is a speculative fiction so from that angle, actually,
• 20:35
  Speaker 2: now I'm like very like, oh, okay, can like that.
• 20:41
  Speaker 4: I'm back, Yeah, you're back.
• 20:44
  Speaker 1: Did you hear what Jin said?
• 20:46
  Speaker 4: Yeah? No, it just started storming here, real, real bad.
• 20:49
  Speaker 4: What were you saying, Jim? Can you can you repeat
• 20:50
  Speaker 4: that for me?
• 20:51
  Speaker 6: Oh?
• 20:51
  Speaker 2: Yeah, no problem, JJ. I just was saying, it is
• 20:53
  Speaker 2: a sci fi film, but it's more of a speculative
• 20:56
  Speaker 2: fiction film. Then it's like a total re call, which
• 21:00
  Speaker 2: would be like a high science fiction because of sudden
• 21:03
  Speaker 2: space Okay, Dick travel, right, So this is really a
• 21:07
  Speaker 2: speculative fiction film, so people don't You're totally right. And
• 21:10
  Speaker 2: when you said that, people don't have to enjoy science
• 21:12
  Speaker 2: fiction to go watch this film. But the film really
• 21:15
  Speaker 2: is oxial, like science fiction is oxial to the whole film.
• 21:20
  Speaker 4: Absolutely. I'm glad to pointed that out, because because we're
• 21:23
  Speaker 4: not before before we get into the actual you know,
• 21:25
  Speaker 4: characters and plotline of the film, I'm gonna I would
• 21:28
  Speaker 4: like to take on our own little trip back to
• 21:30
  Speaker 4: the future and go over how this sci fi stuff
• 21:33
  Speaker 4: began and how this stuff was impacted in which to
• 21:35
  Speaker 4: the culture which to even create this film, right, what
• 21:37
  Speaker 4: what's the backstory on that?
• 21:39
  Speaker 5: Right?
• 21:39
  Speaker 3: How?
• 21:40
  Speaker 4: How did the how did the nature of these tales
• 21:43
  Speaker 4: even come about? Where? Where's the root of science fiction?
• 21:46
  Speaker 4: Where's the root of these ideas of time travel? And
• 21:48
  Speaker 4: strangely enough, it largely revolves around a fellow that I
• 21:53
  Speaker 4: described last week in Operation GCD Live in My In
• 21:56
  Speaker 4: My Tales of Cocaine, Bob Evans meets Marvel Comics is
• 22:00
  Speaker 4: DC and Marvel Comics to leave the fan fiction that
• 22:03
  Speaker 4: was all focused around a fellow by the name of
• 22:05
  Speaker 4: Forrest j Ackerman. He's actually known as mister science Fiction,
• 22:09
  Speaker 4: and he's the guy who coined the term science fiction.
• 22:12
  Speaker 4: So I'm glad you pointed that out, because we're gonna
• 22:14
  Speaker 4: be getting into little bit of that. Did anyone else
• 22:18
  Speaker 4: have any more any more opening comments or statements here?
• 22:20
  Speaker 4: Before we do a quick quick clip of the trailer
• 22:25
  Speaker 4: to the film, you know, just to get folks that
• 22:27
  Speaker 4: are refreshed on the I mean, who doesn't know back
• 22:30
  Speaker 4: to the future, But if folks have the interwebs are
• 22:32
  Speaker 4: out there, who don't I have a brief clip in
• 22:35
  Speaker 4: which to refresh folks memories. But if anyone else has
• 22:39
  Speaker 4: any other comments before we do that please feel free.
• 22:45
  Speaker 4: We're good all right. Actually, you know what, I'm glad
• 22:49
  Speaker 4: I stopped myself there for a second, because once again,
• 22:52
  Speaker 4: this is how this whole conversation began. I have a
• 22:54
  Speaker 4: clip of that first.
• 22:58
  Speaker 7: Messing up my hood?
• 23:00
  Speaker 4: The hell are you doing in my car? Hey? Be
• 23:03
  Speaker 4: it spoof? This don't concern you who you call it spook?
• 23:09
  Speaker 4: Take a wood?
• 23:11
  Speaker 6: Hey?
• 23:12
  Speaker 1: Hey, listen, guys, look, I don't want to mess with
• 23:14
  Speaker 1: no reforatis.
• 23:15
  Speaker 4: Okay, you'll.
• 23:20
  Speaker 2: I met.
• 23:22
  Speaker 6: Do you ever hear that? Do you ever hear the
• 23:23
  Speaker 6: Peckerwoods before?
• 23:25
  Speaker 7: No?
• 23:25
  Speaker 4: I'm not now.
• 23:27
  Speaker 6: Yeah. Yeah, they're a group I met in prison as well.
• 23:29
  Speaker 6: They hung out with the Odinis.
• 23:30
  Speaker 1: They all have like themselves.
• 23:33
  Speaker 6: Yeah they have like what wood? Yeah, they have like
• 23:35
  Speaker 6: white pecker whatdy woodpecker tattoos and ship.
• 23:40
  Speaker 4: Out of here. Oh my god, I'd never heard of that.
• 23:45
  Speaker 4: I just got cracked up because you know, that is uh,
• 23:48
  Speaker 4: you know, the term spoo because obviously you don't know
• 23:50
  Speaker 4: how long it goes back to with intelligence operations. I
• 23:52
  Speaker 4: presume that back that far. But it's that's the term
• 23:55
  Speaker 4: I know for intelligence operations, not the you know, the
• 23:58
  Speaker 4: reference from Back to the Future. But it cracks me
• 23:59
  Speaker 4: up up and that seems very kind of important and
• 24:02
  Speaker 4: the whole narrative because you know, Michael J. Fox's character
• 24:05
  Speaker 4: Marty McFly gets locked in that trunk, and it is
• 24:08
  Speaker 4: that trunk that's an epicoite. That being locked in that
• 24:10
  Speaker 4: trunk's an epicenter of activity that you know, I don't
• 24:13
  Speaker 4: want to I don't want to confuse mess folks. Brain
• 24:15
  Speaker 4: holds up at the moment trying to, you know, explain
• 24:17
  Speaker 4: time and how this you know, that seems imperative to
• 24:20
  Speaker 4: this whole circular nature of time in this film, because
• 24:23
  Speaker 4: I'm sure we'll get into that at some point. But I,
• 24:25
  Speaker 4: you know, I think that is a very important scene.
• 24:27
  Speaker 4: It's not just comical to me in that regard. I
• 24:29
  Speaker 4: think it's an important scene in the whole the whole business.
• 24:31
  Speaker 4: But I got a quick clip here for the uh,
• 24:35
  Speaker 4: you know, just to describe the storyline from the original
• 24:37
  Speaker 4: the original trailer, steven s field Berg.
• 24:41
  Speaker 7: Perssts back to the future Roberts the Mecher's film, Marty
• 24:45
  Speaker 7: leads an ordinary life.
• 24:46
  Speaker 4: He will must lie ever.
• 24:47
  Speaker 7: Amount of to anything in the history of Ill Valley,
• 24:50
  Speaker 7: you know, change and nineteen eighty five is not He
• 24:55
  Speaker 7: is a year, but Doctor Brown is about to change
• 24:59
  Speaker 7: all that.
• 25:00
  Speaker 1: Can you tell me you got the time machine at.
• 25:02
  Speaker 2: Warriant, He's sending Mary thirty years back in time.
• 25:11
  Speaker 4: So I figured that was a good encapsulation of what
• 25:13
  Speaker 4: at least the baseline of the film is. The folks
• 25:16
  Speaker 4: that they are not familiar with it, but it is
• 25:19
  Speaker 4: still us still one of my favorite films. I'm not Claudia.
• 25:22
  Speaker 4: I get excited the Triller me too.
• 25:26
  Speaker 1: And I've watched it twice within the last twenty four
• 25:28
  Speaker 1: hours preparing for this and love every moment of it.
• 25:32
  Speaker 1: But I don't know what it means by Steven Spielberg
• 25:35
  Speaker 1: presents a robbery mechas film, but that means he was
• 25:40
  Speaker 1: in some way.
• 25:43
  Speaker 9: Tied into what the production of it, or was.
• 25:48
  Speaker 4: Produced by Amble and Entertainment, which was owned by Spielberg
• 25:51
  Speaker 4: with a minority as the Mechas.
• 25:54
  Speaker 3: Okay, okay, Meccas hides in every film he's in period exactly.
• 26:00
  Speaker 4: Is the Meccas. Yeah, he was. He was Spielberg's protege
• 26:02
  Speaker 4: and Bob Gail was best friends. Was a mecchas because
• 26:05
  Speaker 4: Bob Gail, much like some of the actors in this film,
• 26:07
  Speaker 4: Bob Gaile seems to have distance himself from Hollywood, away
• 26:10
  Speaker 4: from zam Mecchas and Spielberg, just like Crispin Glover, the
• 26:13
  Speaker 4: actor who played George McFly and the female actress that
• 26:17
  Speaker 4: played Martin McFly's love interest to Jennifer who whose name
• 26:22
  Speaker 4: I can't think of at the moment. They both left
• 26:24
  Speaker 4: after the first one, and years later we'll get into
• 26:27
  Speaker 4: some of this in a little bit here. Years later,
• 26:29
  Speaker 4: it would be alleged by the Crazy Days and Nights
• 26:33
  Speaker 4: Entertainment lawyer Fellow that it was all revolving around kids
• 26:38
  Speaker 4: stuff and we're ambling entertainment and Spielberg were having a
• 26:42
  Speaker 4: bunch of children audition for the film when there wasn't
• 26:44
  Speaker 4: any children parts. So and Chrispin Glover made a bit
• 26:48
  Speaker 4: of it, an issue of it on set, and et cetera,
• 26:51
  Speaker 4: et cetera. But there's that's a whole that's a whole,
• 26:53
  Speaker 4: big narrative there. But yeah, that's actually.
• 26:57
  Speaker 1: That was my first note that I have is that
• 27:00
  Speaker 1: spin Glover actually wrote a letter that you can go
• 27:03
  Speaker 1: and read. Anybody can go and read it. He wrote
• 27:06
  Speaker 1: a letter to Steven Spielberg, and I'm assuming it was
• 27:10
  Speaker 1: after back to the future about the kids stuff and
• 27:14
  Speaker 1: the weirdness.
• 27:16
  Speaker 4: Well, yeah, you you got to look long and hard
• 27:18
  Speaker 4: for that letter because I thought you could read it.
• 27:19
  Speaker 4: Took me a meant to find out how to go
• 27:21
  Speaker 4: to the web archive. Yeah, I mean it's nice website
• 27:25
  Speaker 4: back in two thousand and five.
• 27:26
  Speaker 1: It's not easily accessible, but it is out there, and
• 27:30
  Speaker 1: he did notes. You have it in the show notes
• 27:35
  Speaker 1: I will.
• 27:36
  Speaker 4: I haven't put it there yet. I've been really lazy
• 27:37
  Speaker 4: about that today, but I haven't. I haven't available. I'm
• 27:39
  Speaker 4: gonna put it in after the show. Oh, I haven't available.
• 27:44
  Speaker 1: I've talked about that before, and so is Sean McCann
• 27:47
  Speaker 1: about how Crispin Glover wrote this letter to to Steven
• 27:52
  Speaker 1: Spielberg about this kind of stuff. And I really like
• 27:55
  Speaker 1: Crispin Glover. I think he's hilarious for sure.
• 27:58
  Speaker 4: I just watched it all, didn't that very I'll go ahead.
• 28:02
  Speaker 1: Oh, I was just gonna say I watched another movie
• 28:04
  Speaker 1: recently with him in it, and it just made me
• 28:06
  Speaker 1: love him even more. Like I feel like he's a
• 28:08
  Speaker 1: no nonsense kind of guy.
• 28:11
  Speaker 4: He seems that way, right. He seems that way because
• 28:13
  Speaker 4: he really diships himself from Hollywood in the whole Spielberg franchise.
• 28:16
  Speaker 4: So to that note again, and we'll go into some
• 28:20
  Speaker 4: more that here in a minute. But the you know,
• 28:22
  Speaker 4: Crispin Glover really ute. He was responsible for a landmark
• 28:25
  Speaker 4: lawsuit for actors' rights there in Hollywood as far as
• 28:29
  Speaker 4: the Back of the Future too went because he used
• 28:31
  Speaker 4: his likeness against against without any permission. So this that's
• 28:34
  Speaker 4: a whole nother matter as well, but again involves these producers, right,
• 28:38
  Speaker 4: involves this trio of folks, Bob Gail, you know, Roberts, Mechas,
• 28:42
  Speaker 4: Steven Spielberg, and really you can toss George Lucas into that,
• 28:44
  Speaker 4: even though he's not involved in this film, he is
• 28:46
  Speaker 4: kind of the third wheel there with some Mechas and Spielberg.
• 28:50
  Speaker 4: They're all kind of a trio. So interesting stuff because
• 28:53
  Speaker 4: then you're dealing with Star Wars, right with with the Spielberg,
• 28:56
  Speaker 4: Lucas and stuff, right, and then you know that's, uh,
• 29:00
  Speaker 4: that's kind of all interesting to me in the sci
• 29:01
  Speaker 4: fi in these sci fi respects. So the I guess
• 29:07
  Speaker 4: we could start off there, right some of that sci
• 29:09
  Speaker 4: fi stuff.
• 29:10
  Speaker 2: Well, let me just when you were saying that sci
• 29:15
  Speaker 2: fi stuff because that's obviously very interesting to me from
• 29:18
  Speaker 2: a metafiction perspective, is that I never really thought of
• 29:22
  Speaker 2: it before, and I don't know why. I guess I'm
• 29:24
  Speaker 2: not a true Star Wars enjoyer, which is fully true.
• 29:26
  Speaker 2: I actually don't really like Star Wars. But you can
• 29:30
  Speaker 2: actually look at Star Wars in a really interesting cabalistic
• 29:33
  Speaker 2: way and the like dualities like that, how dualistic.
• 29:36
  Speaker 3: It is, and how.
• 29:40
  Speaker 2: Like it's very it's very like copathic and like Tree
• 29:43
  Speaker 2: of Life at the same time. It's like showing you both,
• 29:46
  Speaker 2: but it's showing you kind of like the retard version.
• 29:49
  Speaker 4: Okay, can you explain it? Not really, I guess.
• 29:56
  Speaker 2: It's like it's like very fastile it's like, oh you
• 30:00
  Speaker 2: you get there through this, Like it's kind of syncretic, right,
• 30:03
  Speaker 2: Like he the joke is that he was reading the
• 30:05
  Speaker 2: Ea Chang as he wrote that film, right, but they
• 30:09
  Speaker 2: were obviously they were obviously reading other things. And give
• 30:13
  Speaker 2: me a break, it's not just the eaching, but you know,
• 30:15
  Speaker 2: so the reality is it has these metaghysical themes like
• 30:18
  Speaker 2: absolutely people will fight me about it, but it really does.
• 30:22
  Speaker 2: But it's not very deep. It's not like truly deep
• 30:26
  Speaker 2: it's not like actually studying like I think you can.
• 30:30
  Speaker 4: Are you talking the journey that Marty McFly goes on.
• 30:33
  Speaker 2: No, I'm sorry, I'm talking about Star Wars and just
• 30:35
  Speaker 2: how that is interesting. You were making like the thing
• 30:38
  Speaker 2: where it's like a parallel.
• 30:40
  Speaker 4: What's kind of similar? Right, because there's kind of a
• 30:42
  Speaker 4: hero theory between the two characters, right, Skywalker and Marty McFly, And.
• 30:46
  Speaker 2: Marty McFly is a more interesting hero because he's a
• 30:50
  Speaker 2: little I agree with that, he's more American, right, He's
• 30:57
  Speaker 2: just something much more interesting about him, much more real.
• 31:00
  Speaker 2: There's nothing really relatable about Luke Skywalker to anyone. It's like,
• 31:04
  Speaker 2: that's what I was trying to get out. I'm sorry,
• 31:05
  Speaker 2: I went on the town now you're good.
• 31:08
  Speaker 3: It was.
• 31:08
  Speaker 2: It's that the Luke Skywalker is kind of the messianic figure, right,
• 31:13
  Speaker 2: no one can ever live up to that because it's
• 31:15
  Speaker 2: too pristine from the beginning. So Marty McFly, he has
• 31:19
  Speaker 2: a girlfriend. He's probably at sadly, you know, like he's
• 31:22
  Speaker 2: lived his life, and it's like that's much more it's
• 31:27
  Speaker 2: just much more relatable, I.
• 31:28
  Speaker 8: Think, right, Right, girlfriend's not his sister, so well, that's that's.
• 31:36
  Speaker 4: A good kind of analysis and what we're getting into here,
• 31:39
  Speaker 4: Does anyone else have anything to share a kind in
• 31:40
  Speaker 4: that regard kind of just your overview of what you
• 31:43
  Speaker 4: saw in these things, just not the particular necessarily, but
• 31:45
  Speaker 4: you know, kind of a meta analysis of what you
• 31:48
  Speaker 4: looked at.
• 31:50
  Speaker 3: I definitely see a mystical journey, like a heroes journey.
• 31:54
  Speaker 3: I'm seeing, you know, with the time travel, a lot
• 31:56
  Speaker 3: of NASA like stuff. Their space stuff's gonna pop in
• 32:01
  Speaker 3: big time with the Dad and the book. I don't
• 32:04
  Speaker 3: know if you guys saw when he comes back, but
• 32:06
  Speaker 3: when he comes back and everything changes the books about
• 32:10
  Speaker 3: space and how he met his wife, it's like space
• 32:13
  Speaker 3: lovers or something. And I'm seeing like divine, a lot
• 32:17
  Speaker 3: of divine you know, intervention. So yeah, I don't want.
• 32:22
  Speaker 8: To go.
• 32:24
  Speaker 4: I got that's you're definitely reading my mind there, because
• 32:27
  Speaker 4: I got some massive stuff on deck for us here
• 32:28
  Speaker 4: on the sci fi background of this film.
• 32:31
  Speaker 1: I put down a lot of like about the predictive
• 32:34
  Speaker 1: programming type stuff that they snuck in there, yeah for sure,
• 32:41
  Speaker 1: And I have like a few notes on that, and
• 32:44
  Speaker 1: then I have a few notes of like how how
• 32:51
  Speaker 1: they chose specific times and even stuff in the background
• 32:58
  Speaker 1: to me looked a little bit on purpose, so sure,
• 33:03
  Speaker 1: But I did want to say they took a lot
• 33:06
  Speaker 1: of time to make sure that this movie was perfect,
• 33:10
  Speaker 1: and everything was very much on purpose. And something a
• 33:14
  Speaker 1: lot of people don't know is that another actor besides
• 33:19
  Speaker 1: Michael J. Fox filmed half.
• 33:21
  Speaker 9: Of this movie and.
• 33:24
  Speaker 1: Was on the way to finishing the movie before they
• 33:28
  Speaker 1: said you chuck Dicks, we hate you, fuck off and
• 33:31
  Speaker 1: they recasted him with Michael J.
• 33:33
  Speaker 6: Fox.
• 33:34
  Speaker 4: An you talking about Eric Stoltz?
• 33:36
  Speaker 1: Yeah, yeah, yeah, so I don't know, Yeah, yeah, another
• 33:45
  Speaker 1: big eighties movie, some kind of wonderful. I don't know
• 33:48
  Speaker 1: if you guys watched that, but he's he's the main
• 33:51
  Speaker 1: guy in some kind of wonderful And he was supposed
• 33:55
  Speaker 1: to be Marty McFly.
• 33:58
  Speaker 4: This one was masked, right.
• 34:00
  Speaker 8: Yes, mask line on that show. Yes, yes, Rocky mask.
• 34:05
  Speaker 1: Yeah, so he was supposed to be Marty McFly. He
• 34:09
  Speaker 1: got like halfway through making the movie before they told
• 34:11
  Speaker 1: him he sucked Dix and got rid of him and
• 34:15
  Speaker 1: recasted him with Michael J.
• 34:17
  Speaker 8: Fox.
• 34:17
  Speaker 1: But like, everything they did was very intentional, It was
• 34:20
  Speaker 1: very on purpose.
• 34:22
  Speaker 4: You sure was the suckingd deck thing. He looks a
• 34:24
  Speaker 4: little along in the face to me, maybe that's why
• 34:26
  Speaker 4: they recast him.
• 34:29
  Speaker 1: But I only say that to say every move that
• 34:32
  Speaker 1: they made was very purposeful and they had to get
• 34:35
  Speaker 1: it right, they had to make it perfect.
• 34:37
  Speaker 9: So I think that's also really interesting.
• 34:41
  Speaker 4: Well I'd like to put a pin in that note
• 34:43
  Speaker 4: that were real quick, Julia and have you what are
• 34:45
  Speaker 4: you what are your thoughts on this? You're talking about
• 34:46
  Speaker 4: predictive programming they did. Now it's technically it's number two.
• 34:50
  Speaker 4: You see this really manifested in in the film series
• 34:53
  Speaker 4: the trilogy. But Beth was written on Donald Trump future
• 34:56
  Speaker 4: Biff Oh right, yeah, yeah.
• 34:59
  Speaker 1: I mean a lot of that comes in with the
• 35:01
  Speaker 1: second movie because that going back to the past is
• 35:06
  Speaker 1: but they still ended up putting a lot of stuff
• 35:08
  Speaker 1: in the first one. But you know, there was a
• 35:11
  Speaker 1: lot in Back to the Future too that just screams
• 35:14
  Speaker 1: like oh fuck yeah and.
• 35:17
  Speaker 4: Same a number three. But that begs the question of
• 35:19
  Speaker 4: what is time? When did all these things happen? Because
• 35:21
  Speaker 4: you know the things, did these things always happen? Did
• 35:24
  Speaker 4: Marty's parents only meet because he went back in time?
• 35:27
  Speaker 4: You know what I mean? Shame or meet it?
• 35:29
  Speaker 8: In a sequel, the chicken thing.
• 35:31
  Speaker 9: It's the chicken or the thing.
• 35:34
  Speaker 4: Bill Clinton or the blue dress exactly.
• 35:35
  Speaker 6: There's actually in that movie if you pay attention to it,
• 35:38
  Speaker 6: actually he's telling you that this has already happened already
• 35:41
  Speaker 6: I have stuff in there. He's actually telling you that
• 35:44
  Speaker 6: it's already changed.
• 35:47
  Speaker 1: Like there, you know, I like where you're at, Nick On,
• 35:49
  Speaker 1: That is Marty only friends with Doc Brown because he
• 35:53
  Speaker 1: went back in the past and Doc Brown knew who
• 35:56
  Speaker 1: he was. Or how the fuck did Marty become friends
• 35:59
  Speaker 1: with the disc grace nuclear physicist while he's in high
• 36:02
  Speaker 1: school the tourist.
• 36:04
  Speaker 4: Oh, oh, I'm glad you brought that. I'm glad you
• 36:08
  Speaker 4: brought that up. Am I cutting out here? Can you
• 36:10
  Speaker 4: all hear me?
• 36:10
  Speaker 8: No, you can hear you.
• 36:11
  Speaker 1: You're good.
• 36:13
  Speaker 4: I got some bad storms that keeps cutting out. No,
• 36:15
  Speaker 4: that's a great point, Julia, because that physicist that you know,
• 36:18
  Speaker 4: renowned kind of disgraced physicists and the high school student
• 36:21
  Speaker 4: being friends. I think that's a nod to Warner von
• 36:24
  Speaker 4: Braun and Jack Parsons, who had a pen pal and
• 36:27
  Speaker 4: phone call relationship in the nineteen twenties. As Parsons was
• 36:31
  Speaker 4: a teenager.
• 36:32
  Speaker 2: So I shouldn't have said this before, but I wrote
• 36:35
  Speaker 2: down Personian as my primary talking point for the entire
• 36:39
  Speaker 2: face because exactly I didn't know that factory. So thank
• 36:45
  Speaker 2: you JJ. Obviously rely yes, sir, those but it makes
• 36:49
  Speaker 2: perfect sense, right because that's exactly what it is. And
• 36:52
  Speaker 2: you can even say in like a hero's journey, like
• 36:54
  Speaker 2: he was saying, he is like the Gondolf figure. He is,
• 36:59
  Speaker 2: you know, the through the teacher the ones take him
• 37:02
  Speaker 2: under the wing. And I also think it's really interesting
• 37:04
  Speaker 2: about the time paradox because it's something like we discussed
• 37:08
  Speaker 2: on the Carl what episodes, like what kind of universe
• 37:11
  Speaker 2: do you believe in, like if there's a closed universe
• 37:14
  Speaker 2: or a fixed universe. So I'm going off when when
• 37:18
  Speaker 2: Nick sent me in notewise, but in my this is
• 37:22
  Speaker 2: all I also agree with it is. I actually think
• 37:24
  Speaker 2: it's more of an infinity universe kind of world, where
• 37:29
  Speaker 2: like the connections are kind of infinitely possible, so it
• 37:33
  Speaker 2: doesn't really it's sort of like when we see them together,
• 37:37
  Speaker 2: it doesn't really matter. It's just like the universe's causal
• 37:40
  Speaker 2: that way, like everything that they've done up to this
• 37:44
  Speaker 2: point in time, they only exist now.
• 37:47
  Speaker 4: I totally agree with you, and I think so does
• 37:49
  Speaker 4: doctor mct brown.
• 37:51
  Speaker 3: Scott.
• 37:53
  Speaker 8: Oh, sorry, go ahead.
• 37:56
  Speaker 4: The uh so, now, I like, I like the ideas
• 37:58
  Speaker 4: that you and Nicker both point out here with these times,
• 38:00
  Speaker 4: these time these time loops, the what is time and when? When?
• 38:04
  Speaker 4: When do these things happen? And what is really cause
• 38:06
  Speaker 4: and effect there? But you know, before we get it, yeah,
• 38:11
  Speaker 4: is it real?
• 38:12
  Speaker 8: Because the dream world?
• 38:14
  Speaker 3: Okay, So when he enters in from the past and
• 38:16
  Speaker 3: he goes to town, the song that's playing is Mister Sandman,
• 38:20
  Speaker 3: and so.
• 38:21
  Speaker 4: I heard, I've heard that song, very familiar with That's
• 38:24
  Speaker 4: the first time ever heard this song was this film?
• 38:26
  Speaker 3: Right, And then the mom walks up at the same time,
• 38:29
  Speaker 3: and she's like, oh my gosh, she's such a dream.
• 38:32
  Speaker 3: And he's meanwhile saying, this is a nightmare. This is
• 38:35
  Speaker 3: a nightmare, and this is all happening at the same time.
• 38:38
  Speaker 3: So I'm like, is this even reality?
• 38:41
  Speaker 4: You're employing a kind of a like a kind of
• 38:44
  Speaker 4: a meta analysis of a Wizard of Oz effect to
• 38:46
  Speaker 4: the whole matter.
• 38:47
  Speaker 3: Very very that part, yeah, just that part right there
• 38:51
  Speaker 3: definitely makes you go, Okay, is this real?
• 38:54
  Speaker 8: Is it a dream? Did he have a dream.
• 38:56
  Speaker 4: I don't know, you know, sure, Nick, what was it?
• 39:00
  Speaker 4: What was kind of your meta analysis besides some of
• 39:02
  Speaker 4: these time things we're pointing out there? Or do you
• 39:03
  Speaker 4: have any other comments on that?
• 39:06
  Speaker 6: Well, I can tell you, like.
• 39:09
  Speaker 4: I know you have a deep analysis of these things.
• 39:11
  Speaker 4: I was to say, do you have an like when
• 39:13
  Speaker 4: you when you when you were approaching that, was there
• 39:14
  Speaker 4: something like overall besides maybe it was the Masonic stuff,
• 39:18
  Speaker 4: like maybe was the time stuff? What was what was
• 39:20
  Speaker 4: jumping out to you specifically.
• 39:21
  Speaker 6: The hero's journey? Uh, especially with like you know time
• 39:26
  Speaker 6: and the electricity, uh, you know, on the clock all
• 39:30
  Speaker 6: that stuff.
• 39:30
  Speaker 4: And uh just big into the lightning aspects. I figured
• 39:34
  Speaker 4: that was gonna hit him with you in some regard.
• 39:36
  Speaker 6: For sure, for sure. Yeah, yeah, yeah, I definitely thought
• 39:39
  Speaker 6: it was more of like possibly like you know, crossing
• 39:41
  Speaker 6: the abyss or showing the hero's journey to having that experience.
• 39:45
  Speaker 6: And I did eventually at one point started catching a
• 39:48
  Speaker 6: little tons of my opinion, tons and tons of Masonic stuff.
• 39:52
  Speaker 6: So that's kind of where I'm going there you go,
• 39:53
  Speaker 6: I'll get into my stuff. But I mean there's a
• 39:55
  Speaker 6: lot of a lot. I mean I even ran Jamatia
• 39:58
  Speaker 6: and stuff. I mean, you still have.
• 40:02
  Speaker 4: Now you took it in depth study. I'm looking forward
• 40:03
  Speaker 4: to get into some of those notes. So I appreciate
• 40:05
  Speaker 4: everyone's kind of mad at analysis there. And as I
• 40:07
  Speaker 4: was looking at it, I saw a little bit of
• 40:09
  Speaker 4: kind of everything. What y'all are saying is, you know
• 40:11
  Speaker 4: a lot of my focus. I think when I was
• 40:13
  Speaker 4: watching it again yesterday, was looking back seeing all this,
• 40:17
  Speaker 4: you know, I guess I was looking at through more
• 40:20
  Speaker 4: of a parapolitical lens. You know, I could see a
• 40:23
  Speaker 4: lot of the politics so that they were written into
• 40:25
  Speaker 4: the film, like hardcore propaganda, like against the Libyans that
• 40:29
  Speaker 4: was at a peak time when you know, the the
• 40:32
  Speaker 4: Libyan disaster in America was, you know, they were they
• 40:36
  Speaker 4: were hyping that up. And I got I got some
• 40:37
  Speaker 4: stuff on that here later for the parapolitics section of
• 40:39
  Speaker 4: our discussion this evening. But besides that, you know this
• 40:43
  Speaker 4: predictive programming aspect I suppose with and to a certain
• 40:47
  Speaker 4: degree just the nature of time, these things wrap up
• 40:49
  Speaker 4: on this one subject of this Donald Trump matter, and
• 40:52
  Speaker 4: is that being the Biff Tannic character, right, because you know,
• 40:55
  Speaker 4: it's it's not just that he's the Biff Tanning character. Right.
• 40:59
  Speaker 4: He he ends up buying the property from from John DeLorean,
• 41:04
  Speaker 4: the guy who makes the Delirium vehicle that's used in
• 41:07
  Speaker 4: the film. Trump buys that Bedminster, New Jersey property, and
• 41:11
  Speaker 4: that is where he primarily resides from the months of
• 41:14
  Speaker 4: I believe May through through August. That's his primary residence
• 41:17
  Speaker 4: there in Bedminster, New Jersey. So that's the other that.
• 41:22
  Speaker 4: Oh yeah, how weird is that?
• 41:23
  Speaker 3: Right?
• 41:24
  Speaker 6: There was actually I wish I would have saved it now,
• 41:26
  Speaker 6: but there was a lot of Trump and Elon stuff
• 41:29
  Speaker 6: popping up in Jamatria. But it's just like it wasn't
• 41:33
  Speaker 6: my opinion for what I was looking for. It wasn't
• 41:35
  Speaker 6: going along with that, because then I started one thing
• 41:37
  Speaker 6: I did together, I'm sorry, mating it in and out
• 41:39
  Speaker 6: something I found running Jamatria. Tons of Russian connections, stuff
• 41:43
  Speaker 6: with Russia, and even with the pin he's wearing on
• 41:46
  Speaker 6: his jacket goes back to a Russian thing. So I
• 41:50
  Speaker 6: might actually be on purpose.
• 41:53
  Speaker 4: I'm sure it is. I think a lot of these
• 41:55
  Speaker 4: things in this film are very well plot in and
• 41:56
  Speaker 4: to that point as well, as Julia was saying, so like,
• 41:59
  Speaker 4: that's thing I appreciate about that. I don't like a
• 42:01
  Speaker 4: lot of sci fi films. I mean, I do like
• 42:03
  Speaker 4: Star Wars, but I don't I don't do Star Trek
• 42:04
  Speaker 4: and a lot of other sci fi stuff. And it's
• 42:06
  Speaker 4: largely because of the special effects. You're into all the
• 42:09
  Speaker 4: space stuff.
• 42:11
  Speaker 9: I love it all.
• 42:12
  Speaker 8: Did you see that hat tip? Speaking of space, did
• 42:15
  Speaker 8: you see the hat tip to Kubrick?
• 42:19
  Speaker 3: No?
• 42:19
  Speaker 4: I didn't you.
• 42:21
  Speaker 8: Yeah, So there's there's a little hat tip to Cubrick
• 42:25
  Speaker 8: in there when they have the original.
• 42:30
  Speaker 3: The amplifier at the very beginning of the movie, he
• 42:32
  Speaker 3: goes to plug in and there's a little tiny tag
• 42:35
  Speaker 3: on it and it says c RM one fourteen on
• 42:39
  Speaker 3: the amplifier, which is a total nod from one of
• 42:43
  Speaker 3: his destroyed messages decoded in the nineteen sixty four Doctor
• 42:47
  Speaker 3: Strand Love and Jupiter Explorer and Space Odyssey.
• 42:51
  Speaker 4: So I found that on my own.
• 42:54
  Speaker 8: I didn't. Yeah, I just looked that up.
• 43:00
  Speaker 4: To that, to that note of all the science fiction
• 43:02
  Speaker 4: of this film, and like that that. I think everything
• 43:05
  Speaker 4: is well plotted out in this film, like that is
• 43:07
  Speaker 4: you know that? To that note, they really focus on
• 43:10
  Speaker 4: those things. There's not a lot of special effects scenes,
• 43:12
  Speaker 4: most of the special effects scenes you've seen in this film,
• 43:14
  Speaker 4: or the lightning scenes, they really dedicated a lot of
• 43:17
  Speaker 4: times that lightning very pop out. They want to make
• 43:20
  Speaker 4: a pop for you.
• 43:21
  Speaker 1: Right, more like when when the DeLorean takes off and
• 43:24
  Speaker 1: there's the two little streaks of fire and stuff like that.
• 43:28
  Speaker 9: That's about it.
• 43:30
  Speaker 1: But I was gonna say, everything.
• 43:31
  Speaker 4: Else is very well plotted out, and I think there's
• 43:33
  Speaker 4: really they really only shot like about three or four
• 43:36
  Speaker 4: like less than four dozen. I think it was about
• 43:38
  Speaker 4: thirty five different scenes. This film is very you know,
• 43:41
  Speaker 4: very it's not a very complex shot film, but it's
• 43:43
  Speaker 4: a great storyline. It's very It really grasps your attention
• 43:46
  Speaker 4: throughout the whole film. Even when I watched it yesterday,
• 43:48
  Speaker 4: I was still very much involved in watching the film
• 43:51
  Speaker 4: and not like you know, doing other things while you
• 43:54
  Speaker 4: know what I mean, And I don't know. I think
• 43:56
  Speaker 4: that speaks again to this the esoteric secrets they're embedded
• 43:59
  Speaker 4: in the film as it really grabs your subconscious but
• 44:03
  Speaker 4: and and on that nature of subconscious and time, like
• 44:06
  Speaker 4: when when I when when there's a really surface way
• 44:09
  Speaker 4: to look at the Donald Trump situation, But again I
• 44:11
  Speaker 4: look at it through like what is time? And like
• 44:12
  Speaker 4: did the writers of this film did they did?
• 44:15
  Speaker 3: You know?
• 44:15
  Speaker 4: There's a concept of that I like to consider of
• 44:18
  Speaker 4: a guy by the name J. W. Dunn about the
• 44:21
  Speaker 4: dream state. As you know, we're talking about the dream
• 44:23
  Speaker 4: states being better in this film in the Nature of Time,
• 44:26
  Speaker 4: and the dream state is your subconscious can kind of
• 44:29
  Speaker 4: remember the future in a sense whereas it doesn't operate
• 44:32
  Speaker 4: in a linear timeline like we do in in uh
• 44:34
  Speaker 4: in our in our waken state, and you know, then
• 44:37
  Speaker 4: that way you can almost remember the future. This would
• 44:40
  Speaker 4: explain some deje vou elements, but also would explain incidents
• 44:45
  Speaker 4: of recognition. And JW. Dunn wrote a pamphlet on this
• 44:48
  Speaker 4: back in the nineteen twenties called an Experiment in Time,
• 44:51
  Speaker 4: and it was one of the most fascinating things I've
• 44:53
  Speaker 4: ever read. So really really big question. Are they just
• 44:58
  Speaker 4: coming up with this idea from something that they possibly
• 45:01
  Speaker 4: got into a dream state, you know, that's where the
• 45:03
  Speaker 4: idea came from. And it's really they're just seeing something
• 45:05
  Speaker 4: in the future in their dream state, and they're just
• 45:08
  Speaker 4: in their current time. They're just you know, transcribing a
• 45:10
  Speaker 4: matter where it looks very similar rights you know, they
• 45:13
  Speaker 4: do predict a lot of things relative to Donald Trump.
• 45:15
  Speaker 2: Right, go ahead, jen No, I just wanted to say
• 45:20
  Speaker 2: that I totally agree with that writer that you're citing, JJ,
• 45:23
  Speaker 2: because it's very interesting because it actually correlates really well
• 45:27
  Speaker 2: the Buddhism. Time is of the mind. Time is of
• 45:29
  Speaker 2: the nine expressed in nine. So exactly what you're saying,
• 45:34
  Speaker 2: it's like the the you are the chronopoetic master, you
• 45:40
  Speaker 2: are the time king of your own timeline kind of thing.
• 45:43
  Speaker 2: So there's something really interesting about that. And then also
• 45:46
  Speaker 2: you were saying, like the dreaming state, Well what if
• 45:49
  Speaker 2: I told you, like the the dreaming mind is the
• 45:52
  Speaker 2: color of turquoise, but the waking mind is the color
• 45:55
  Speaker 2: of lapis. So when you were saying, like what is
• 45:58
  Speaker 2: the color of light, lightning is actually considered to be
• 46:02
  Speaker 2: both of those things, because it's also clear, very.
• 46:06
  Speaker 3: Scientific, I know. And to your point, his address when
• 46:10
  Speaker 3: he makes it back home to Hill Valley, which is
• 46:13
  Speaker 3: an oxymoron by them, you can't hill Valley, okay, whatever,
• 46:17
  Speaker 3: but his address is nine three zero three, and so
• 46:22
  Speaker 3: three times three is nine or we have thirty three
• 46:26
  Speaker 3: right there too.
• 46:27
  Speaker 8: So I found that really interesting. That was on the house.
• 46:30
  Speaker 3: So nine three zero three, And that's exactly what you're saying. Jin,
• 46:34
  Speaker 3: It's it's all nine.
• 46:35
  Speaker 8: It's the nine and then three zero three three times
• 46:38
  Speaker 8: three is nine or thirty three?
• 46:40
  Speaker 6: Would you say the nine zero three?
• 46:42
  Speaker 8: Well, would you say that was on his house? That's
• 46:45
  Speaker 8: his address when he's coming up?
• 46:47
  Speaker 6: M hm.
• 46:48
  Speaker 8: And so that was really interesting.
• 46:50
  Speaker 3: And if we move past him coming home to his house,
• 46:53
  Speaker 3: I have something to say about that, but I don't
• 46:55
  Speaker 3: know if we're there yet.
• 46:56
  Speaker 4: So yeah, we can jump into that here shortly when
• 46:58
  Speaker 4: we go through the film and the characters in a minute.
• 47:00
  Speaker 4: But no, I well, I got I just got lost
• 47:04
  Speaker 4: in like three different things at the same time. Again,
• 47:08
  Speaker 4: the uh, the uh? Where was I? I forget where
• 47:11
  Speaker 4: I was at? Now I apologize there, what's let's uh,
• 47:16
  Speaker 4: I guess let's jump Have any any other comments on
• 47:18
  Speaker 4: time or some of these other concepts before we jump
• 47:20
  Speaker 4: into the back.
• 47:21
  Speaker 1: I had one thing that I noticed to do with
• 47:28
  Speaker 1: the time thing that I wanted to say, or.
• 47:30
  Speaker 4: Dream stuff, because I think that's very interesting too that
• 47:32
  Speaker 4: Hotty brought up.
• 47:33
  Speaker 1: I didn't I didn't get I didn't put anything down
• 47:36
  Speaker 1: about the dream stuff because I was so fixated on
• 47:38
  Speaker 1: this other aspect. But at the very beginning of the movie,
• 47:42
  Speaker 1: when it's showing all the clocks and there's like a
• 47:45
  Speaker 1: million clocks in Doc Brown's house, even down to like
• 47:49
  Speaker 1: one of the clocks is like a guy hanging off
• 47:51
  Speaker 1: of a clock tower, like everything in every little scene,
• 47:56
  Speaker 1: every you know, it's it's like it's so on purpose
• 48:01
  Speaker 1: to predict what's gonna come later in the film, but
• 48:05
  Speaker 1: also what's to come later in like reality too.
• 48:09
  Speaker 9: And I'm I'm sure you know where I'm going with.
• 48:11
  Speaker 4: That, but is there any difference? And then I did
• 48:17
  Speaker 4: do the.
• 48:18
  Speaker 1: Name Marty and I did the name Emmitt to see
• 48:21
  Speaker 1: what they mean. And so Marty means warlike or of Mars,
• 48:30
  Speaker 1: and it refers to the Roman god of war, Mars.
• 48:34
  Speaker 1: And then Emmitt, doctor Emmett Brown, his name means universal
• 48:41
  Speaker 1: or truth. So both I think both of those names
• 48:45
  Speaker 1: are very interesting for the two main characters there.
• 48:48
  Speaker 3: Oh yeah, well, and Jennifer means so if we're gonna
• 48:51
  Speaker 3: do characters, I do have something a couple of things,
• 48:53
  Speaker 3: but I can bring it back in later.
• 48:54
  Speaker 4: For the time you mentioned Hill Valley is an oxymoron.
• 48:58
  Speaker 4: That's where I got stuck there a moment ago. That
• 49:00
  Speaker 4: is a good point, Like there's got to be some
• 49:02
  Speaker 4: meaning to that. Why are they using such an obscure name? Then, right, so.
• 49:07
  Speaker 8: I'll go back I'll go backward, Sergeant.
• 49:09
  Speaker 3: I'll just say really quickly that I think that when
• 49:12
  Speaker 3: they're talking about this time part, when they're not in reality,
• 49:18
  Speaker 3: the time is running on the clock, but when they're
• 49:21
  Speaker 3: in reality, the time is fixed because the clock is broken.
• 49:24
  Speaker 3: So we have to look at this like Doc Brown
• 49:28
  Speaker 3: is almost like Zeus, you know, and they've got you know,
• 49:33
  Speaker 3: Poseidon there and all that. But I'll do that when
• 49:36
  Speaker 3: we get into characters. But what I'm saying is is
• 49:39
  Speaker 3: also you've got like the flux capacitor, which is chaos, right,
• 49:44
  Speaker 3: it's the why.
• 49:45
  Speaker 8: Yes, And so when they're using it and they're in wherever.
• 49:51
  Speaker 3: They've traveled to, like whether it's past their future, whatever it's,
• 49:55
  Speaker 3: it's again chaotic because it's not in sync with reality.
• 49:59
  Speaker 8: That's all I was going to say say on the
• 50:00
  Speaker 8: timing part. But but I'm weird.
• 50:04
  Speaker 2: No, that was great. That was really great, legit.
• 50:08
  Speaker 8: I'm sorry, Jenny.
• 50:10
  Speaker 2: No, the Marty. The Marty thing was really interesting because
• 50:13
  Speaker 2: then you'd have to say he's a governratic hero, right,
• 50:16
  Speaker 2: Like he's coming from Mars, he's coming from Govera. But
• 50:19
  Speaker 2: he has to travel on the lightning path. So that's
• 50:22
  Speaker 2: something that Lighty said that was really interesting about Hill Valley.
• 50:26
  Speaker 2: And I think I know why you got suck on
• 50:27
  Speaker 2: it because it is a paradox.
• 50:29
  Speaker 3: JJ.
• 50:29
  Speaker 4: It doesn't make I never really considered it, but it
• 50:32
  Speaker 4: makes no sense until you just said. I was to
• 50:33
  Speaker 4: wait a second.
• 50:34
  Speaker 2: But it's a cabalistic paradox that's resolved in the center
• 50:37
  Speaker 2: the hidden pillar.
• 50:41
  Speaker 4: It's all about a time paradox, right, They're all they're saying, Oh,
• 50:44
  Speaker 4: that's a paradox, and this is a paradox, and yeah.
• 50:47
  Speaker 3: Well he and he lives in Lions Estate and you
• 50:50
  Speaker 3: see this Lion's estate with the two pillars, but you
• 50:53
  Speaker 3: go in between the lions Gate and then what does
• 50:58
  Speaker 3: that do?
• 50:59
  Speaker 8: You know what we know about Lions Gate?
• 51:02
  Speaker 6: Right?
• 51:03
  Speaker 3: And with eighty eight did that eighty eight miles per
• 51:05
  Speaker 3: hour charge the lions Gate? And with double infinity where
• 51:09
  Speaker 3: it's not even real.
• 51:11
  Speaker 1: You know what I'm saying, I have something on the
• 51:13
  Speaker 1: Lions if I if we're getting into that, I have
• 51:16
  Speaker 1: something about the Lions. Can I should I save it?
• 51:20
  Speaker 4: Can we table that for a moment we started getting
• 51:22
  Speaker 4: into the film, will discuss the settings a little bit
• 51:24
  Speaker 4: like that, because I want to do a quick background
• 51:27
  Speaker 4: signed to these names. Y'all were just saying, do a
• 51:29
  Speaker 4: quick background the sci fi and the predictive programming aspect
• 51:33
  Speaker 4: of that, real quick with Donald Trump, that is, and
• 51:37
  Speaker 4: then we'll get into the entire film here after that.
• 51:40
  Speaker 4: If youn't be all, don't mind bearing with me here
• 51:41
  Speaker 4: for a moment, because we already brought some of these names.
• 51:44
  Speaker 4: Someone to kind of jump into this point real quick,
• 51:46
  Speaker 4: and it goes right to the sci fi stuff. So
• 51:48
  Speaker 4: we were talking about how the meaning of these names
• 51:50
  Speaker 4: and some of the background there well, jumping ahead to
• 51:53
  Speaker 4: back to the future. Three we learned we learned this
• 51:55
  Speaker 4: about Doc Brown.
• 51:58
  Speaker 1: Maybe it was maybe they wasn't yours.
• 52:00
  Speaker 10: That could have been another A Brown Back.
• 52:02
  Speaker 1: In eighteen eighty five relatives here back then. The brothers
• 52:05
  Speaker 1: didn't come to the Hill Valleand until nineteen o eight,
• 52:07
  Speaker 1: and then they were the von Brons.
• 52:09
  Speaker 2: I want to change our name.
• 52:10
  Speaker 4: During the First World War, von Braun, like Werner, how
• 52:20
  Speaker 4: can you say?
• 52:21
  Speaker 1: How can you say?
• 52:22
  Speaker 9: The first and the third one aren't the best when
• 52:24
  Speaker 9: they put ship like that in the third one.
• 52:27
  Speaker 4: Oh, I mean it's good, won't get me wrong. I
• 52:31
  Speaker 4: enjoy these things. There's there's nuggets of information all around
• 52:34
  Speaker 4: there and they even have some Meelamites in the third one.
• 52:36
  Speaker 4: Right with Flea, he's a member of the Red How
• 52:38
  Speaker 4: do you look?
• 52:39
  Speaker 3: Right?
• 52:40
  Speaker 2: I wouldn't totally make sense because like you can consider,
• 52:43
  Speaker 2: like now, I call it nasau space. Kabala is how
• 52:46
  Speaker 2: they referred to it before, but it's the way they
• 52:49
  Speaker 2: put it because for the way they teach the planets
• 52:52
  Speaker 2: is actually Cabala. You could understand it like that, so
• 52:55
  Speaker 2: the first introduction to what people think of, but it's
• 53:00
  Speaker 2: actually the inverse because it's the physical densities, so it's
• 53:04
  Speaker 2: actually not Cabala. But you could say that it's the
• 53:06
  Speaker 2: first way, the first layer that people understand. So it
• 53:10
  Speaker 2: would make sense if they're doing all these von Braun references,
• 53:13
  Speaker 2: because obviously that's what he was also talking about by.
• 53:17
  Speaker 4: The way he ties in, right, it just ties into
• 53:20
  Speaker 4: the whole sci fi background, and these rockets and nasts
• 53:22
  Speaker 4: are right with with a reference like that, right.
• 53:26
  Speaker 8: Absolutely, Oh, I said, Von Broun just was definitely in
• 53:31
  Speaker 8: the good with the Marmons.
• 53:32
  Speaker 3: He made a theological film with them that nobody else
• 53:36
  Speaker 3: was allowed in, only Von Braun. Yeah, so it was weird.
• 53:41
  Speaker 3: I think that's very interesting, you know. And what we
• 53:45
  Speaker 3: know about Parsons and his mother, well we'll save that
• 53:48
  Speaker 3: for later, but.
• 53:50
  Speaker 4: Yeah, Parsons and about his Parsons, right, because he's just
• 53:53
  Speaker 4: such an interesting character with his whole background, right.
• 53:57
  Speaker 8: Absolutely, So that guy there for re.
• 54:01
  Speaker 4: Ackerman meet for he he's the fellow that I used
• 54:04
  Speaker 4: as a center point in this narrative of Cocaine Bob
• 54:07
  Speaker 4: meets Marvel Comics my operation GCD Live last week. Fory
• 54:11
  Speaker 4: Ackerman is the guy mister science fiction. He's the guy
• 54:14
  Speaker 4: who coins the term sci fi. Right, He's a literary
• 54:18
  Speaker 4: agent for all these folks. He knew Parsons, he knew Hubbard,
• 54:21
  Speaker 4: he was an oto guy at Parsons Lodge. Apparently, he
• 54:24
  Speaker 4: was an early scientologist. He knew all the Marvel stuff.
• 54:27
  Speaker 4: He knew Cocaine Bob of course, well with all these characters,
• 54:31
  Speaker 4: and that's Sane Lee of Marvel Comics, who was a
• 54:33
  Speaker 4: good friend of fory Ackerman as well. So fory Ackerman,
• 54:37
  Speaker 4: for a quick rehash on that he's a legendary figure
• 54:40
  Speaker 4: in Hollywood. I decided to muppetize him like like anyone
• 54:43
  Speaker 4: else these days, because he actually is a muppet two
• 54:45
  Speaker 4: just this guy in general, he's he's a legendary dude.
• 54:48
  Speaker 4: Like I said, sci fi stuff, literary agent for every
• 54:51
  Speaker 4: sci fi writer you can think of, Isaac Asimov, Bradbury, Hubbard,
• 54:55
  Speaker 4: you know all these guys. Arthur C. Clark, he ran
• 54:58
  Speaker 4: their little sci fi club and lost Angelus. He was
• 55:00
  Speaker 4: there the head of that again, big time of cultists,
• 55:04
  Speaker 4: ran the thing called monsters and magazines a monstras a
• 55:08
  Speaker 4: famous monsters magazine. And the actual picture of him is
• 55:13
  Speaker 4: not nearly as funny as that. But if you look
• 55:15
  Speaker 4: at kind of the onset of these stories of where
• 55:18
  Speaker 4: these film like Back to the Future comes from, it
• 55:21
  Speaker 4: goes back to FORI, so the idea, this is Wikipedia,
• 55:25
  Speaker 4: the source of all information on the interwebs. It's a
• 55:28
  Speaker 4: good jumping off point. Times. I do like to see
• 55:30
  Speaker 4: what the normative view on subjects are too. But here's
• 55:33
  Speaker 4: a good quote here regarding time travel and fiction article here,
• 55:38
  Speaker 4: and like I said, it goes to fory Ackerman. So
• 55:42
  Speaker 4: fory Ackerman noted in his nineteen seventy three anthology of
• 55:46
  Speaker 4: the Best Fiction of the Year that the theme of
• 55:48
  Speaker 4: getting hold of Tomorrow's newspaper is a recurrent one, you know,
• 55:51
  Speaker 4: in regards to science fiction and these matters of time travel. Right,
• 55:56
  Speaker 4: So this is the first, to my understanding, this is
• 56:00
  Speaker 4: the first time travel story in fiction. HG. Will's Time
• 56:03
  Speaker 4: Machine not really the same thing we're talking about here,
• 56:05
  Speaker 4: but this is the early onset of kind of the subject, right,
• 56:08
  Speaker 4: Is that you all agree on that? Is there an
• 56:10
  Speaker 4: earlier piece that I'll remember, Not that I can think of, Yeah,
• 56:17
  Speaker 4: because that's eighteen ninety five, and shortly thereafter we see
• 56:20
  Speaker 4: things it's not really time travel, but we see this
• 56:23
  Speaker 4: story by Mark Twain at Connecticut Yankee in King Arthur's Court,
• 56:27
  Speaker 4: And I saw a comment earlier on in the chat
• 56:29
  Speaker 4: before I lost all side of what was going on
• 56:31
  Speaker 4: there regarding time slips. This is a time slip, right.
• 56:33
  Speaker 4: We kind of talked about time slips recently on the
• 56:36
  Speaker 4: Cult Rejects as well.
• 56:37
  Speaker 6: Right, Nick, Yes, sir, Yeah, that was with Ride right, Yeah,
• 56:43
  Speaker 6: that was It's.
• 56:43
  Speaker 4: Kind of like it's time travel and you don't have
• 56:46
  Speaker 4: a DeLorean, right, But I mean it's it's the same
• 56:49
  Speaker 4: concept though, right.
• 56:49
  Speaker 6: Yeah, pretty much.
• 56:53
  Speaker 8: Well, y'all familiar with the story, I'm not.
• 56:57
  Speaker 2: I'm not man i am, but but I think there
• 57:01
  Speaker 2: is something interesting that you're picking up on JJ is
• 57:04
  Speaker 2: that there is a difference in a way. But the
• 57:07
  Speaker 2: because the DeLorean is the heck a lot, So it's
• 57:09
  Speaker 2: like the vehicle. Like I talked a lot about this
• 57:12
  Speaker 2: on our episode. It's like the you know, the Mormons
• 57:14
  Speaker 2: have this idea. They're more into the palace architecture, the
• 57:17
  Speaker 2: temple architecture. They're into bringing things back down into the
• 57:21
  Speaker 2: diamonds and nets. That's what they're all about, right, Like
• 57:23
  Speaker 2: Mormon money magic. Well that's Mormon money magic, yes, sir.
• 57:27
  Speaker 2: But the this actually, and I even texted Nick this
• 57:32
  Speaker 2: as I said, yeah, absolutely, I agree with you. This
• 57:34
  Speaker 2: is like a hode maxing like double dragon because the Chinese, interestingly,
• 57:39
  Speaker 2: eight is a dragon number, so it's like eighty eight
• 57:42
  Speaker 2: double dragons.
• 57:43
  Speaker 4: Let's fucking go like.
• 57:46
  Speaker 6: That's like the yep, maybe, yep, I think that has
• 57:49
  Speaker 6: a do it even parts of your brain too, I'm
• 57:52
  Speaker 6: not gonna take it that far.
• 57:55
  Speaker 3: Well, and did you think it was weird at the
• 57:57
  Speaker 3: at the mall parking lot before they're taking off that
• 58:00
  Speaker 3: that you see the visual of JC so like Jesus
• 58:03
  Speaker 3: Christ and then Penny like Copper.
• 58:06
  Speaker 8: And that was that stood out to me so much,
• 58:08
  Speaker 8: and I mean I was like, is this charging?
• 58:11
  Speaker 6: Yeah?
• 58:12
  Speaker 8: Is this like charging? This situation? And then the guns
• 58:15
  Speaker 8: come with iron their shoes.
• 58:17
  Speaker 4: Oh, I'm glad you said that. I got that clip
• 58:19
  Speaker 4: on deck here. Yeah, yeah, director predictive programming because that
• 58:22
  Speaker 4: was the Libyans, right, that was the Libyans assaulting them
• 58:25
  Speaker 4: in the parking lot. And that was a great time
• 58:27
  Speaker 4: where will Mark Adolphie was was the bin Laden of
• 58:30
  Speaker 4: that era, right, that was the time.
• 58:34
  Speaker 3: Doc is wearing the biohazard sign behind on his jumper.
• 58:39
  Speaker 3: And that can also be the school on Crossbones.
• 58:42
  Speaker 4: So is he Oh that's you know, I mean, do
• 58:46
  Speaker 4: they want to scare everybody about the Libyans and nuclear
• 58:48
  Speaker 4: war at the time? Right, this was the era of
• 58:50
  Speaker 4: the mid eighties, right, it was a nuclear scare terrorism
• 58:53
  Speaker 4: of the Olypyans. And while we're on that note, I
• 58:55
  Speaker 4: got a clip here force.
• 59:02
  Speaker 11: Oh my god, they found me.
• 59:04
  Speaker 10: I don't know how they found me, look hard on it.
• 59:08
  Speaker 5: Whoo whoo.
• 59:09
  Speaker 3: What do you think?
• 59:16
  Speaker 4: It was a Livian's they did it. And now I
• 59:19
  Speaker 4: know I wasn't really old enough to really understand what's
• 59:22
  Speaker 4: going on. I do remember kind of the whole Avian
• 59:24
  Speaker 4: scare there around that time, right in the media on
• 59:28
  Speaker 4: it again. It was a very bit load uh situation,
• 59:31
  Speaker 4: but I don't want to I got a different clip
• 59:33
  Speaker 4: to kind of explain that to folks real quick, to
• 59:35
  Speaker 4: emphasize that point from comedian Jim Brewer.
• 59:40
  Speaker 12: All Right, and I took his I took his newspaper.
• 59:43
  Speaker 12: It was a newspaper on his little desk. I'm like, yeah, right,
• 59:45
  Speaker 12: he took his newspaper and show him. Now a little
• 59:49
  Speaker 12: part of history.
• 59:51
  Speaker 5: At that time, America was in a serious situation with Libya.
• 59:58
  Speaker 10: Huge before been Aladdin.
• 1:00:01
  Speaker 5: There is Muma Koduffy and he was huge in news
• 1:00:08
  Speaker 5: because he shot six missiles at a US plane he missed,
• 1:00:20
  Speaker 5: and then the next.
• 1:00:21
  Speaker 10: Day we bombed his tent. That's what happened, and it
• 1:00:25
  Speaker 10: was huge news. It was right on. If you when
• 1:00:28
  Speaker 10: you went home, you only had four channels watching TV.
• 1:00:31
  Speaker 4: It was before it was even remote.
• 1:00:32
  Speaker 10: It's just your father, go hey Derney and channel four.
• 1:00:36
  Speaker 2: And you have to get up.
• 1:00:42
  Speaker 10: And so everything was next on the news. Mumah Kadaffi's America,
• 1:00:46
  Speaker 10: Muma Kadaffi.
• 1:00:48
  Speaker 5: Mumah Kadaffi shoes six missiles, Muma Kodofi.
• 1:00:52
  Speaker 4: I think we get the point there.
• 1:00:55
  Speaker 1: So that's what the whole Libya thing was about.
• 1:00:58
  Speaker 4: Yeah, so that was the height of that actual anyone
• 1:01:00
  Speaker 4: he's talking about. So Jim Burger is telling a story
• 1:01:02
  Speaker 4: there on one of those Comedy Central. This is not happening,
• 1:01:04
  Speaker 4: I think. And he actually is talking about working at
• 1:01:07
  Speaker 4: that Valley Spree mall Nicknasse I'm talking about and out
• 1:01:10
  Speaker 4: Long Island and he was working at the Seers. He
• 1:01:11
  Speaker 4: was playing a prank on a fellow coworker of this
• 1:01:13
  Speaker 4: old dude who was giving him shit as a teenager,
• 1:01:16
  Speaker 4: and he called a dude, you know, across to a
• 1:01:18
  Speaker 4: different department, was just telling him that was he was
• 1:01:20
  Speaker 4: claiming to be Mo Mar Godolphie on the phone and
• 1:01:22
  Speaker 4: he's going to bomb the mall there or drop six
• 1:01:24
  Speaker 4: missiles on the mall, because that's what all the media
• 1:01:26
  Speaker 4: kept saying, six missiles, six missiles. So they they ended
• 1:01:30
  Speaker 4: up evacuating the whole mall and called the FBI. And
• 1:01:33
  Speaker 4: it's a funny story, but yeah, it's that was Goodelphia
• 1:01:36
  Speaker 4: era of the eighties. I never knew that it's some yeah,
• 1:01:44
  Speaker 4: some wild stuff, right that that story cracks me up there.
• 1:01:46
  Speaker 4: That's unfortunately circumstances finding in playing a prank and suddenly
• 1:01:50
  Speaker 4: the FBI gets called, you know, because some idiot can't
• 1:01:52
  Speaker 4: realize that it was a prank. He actually thinks, momar
• 1:01:56
  Speaker 4: cud Off, he's calling the paint department at Sears and
• 1:01:59
  Speaker 4: telling him he's it's ridiculous. So, yeah, back to this,
• 1:02:07
  Speaker 4: these matters of the backstory of kind of how how
• 1:02:10
  Speaker 4: Back to the Future came to be through these matters
• 1:02:12
  Speaker 4: of science fiction and whatnot. So you see the reference
• 1:02:15
  Speaker 4: Jules Verne a lot in the film, and in fact,
• 1:02:17
  Speaker 4: I believe he later names his kids Jewels and vern
• 1:02:20
  Speaker 4: right and number three Doc Brown.
• 1:02:21
  Speaker 13: That is, yes, I know he named this dog Einstein,
• 1:02:29
  Speaker 13: and you want to talk about Mason's.
• 1:02:33
  Speaker 4: And the other one was Copernicus, right, the other dog
• 1:02:35
  Speaker 4: was Copernicus, right, yes, yes, So it's a lot of
• 1:02:39
  Speaker 4: space stuff, science stuff, and then Jules and vern is
• 1:02:43
  Speaker 4: reference to Jules Verna. Obviously he didn't do any time
• 1:02:45
  Speaker 4: travel stuff, you know, around the world. Eighty days twenty
• 1:02:48
  Speaker 4: thousand leagues under the sea.
• 1:02:50
  Speaker 1: He did Journey to the Center of the Earth, which
• 1:02:53
  Speaker 1: I think is like a real fucking thing.
• 1:02:56
  Speaker 4: That's the that's the one, that's the big one. I
• 1:02:57
  Speaker 4: was missing this one. He's not as known for, but
• 1:03:00
  Speaker 4: thank you Julia for that when I was stuck there
• 1:03:02
  Speaker 4: on the other title, from the Earth to the Moon.
• 1:03:05
  Speaker 4: So this is a this is an idea of this
• 1:03:06
  Speaker 4: is one of the early I think this is the
• 1:03:07
  Speaker 4: earliest idea of rockets, right, and even talking about a
• 1:03:10
  Speaker 4: moon landing and a projectile that looks a lot like
• 1:03:13
  Speaker 4: what Warner von Braun would develop as a rocket, this
• 1:03:16
  Speaker 4: obelisk looking object, right, see what I'm saying here on
• 1:03:20
  Speaker 4: the cover, right, and it is read in eighteen sixty five,
• 1:03:24
  Speaker 4: and it's talking about he wrote a sequel to it
• 1:03:27
  Speaker 4: around the Moon, but it's talking about landing with a
• 1:03:29
  Speaker 4: projectile with a goal of landing on the Moon. So
• 1:03:32
  Speaker 4: you know, I think that's interesting because again we go
• 1:03:35
  Speaker 4: back to that von Braun reference. Right now, we got
• 1:03:38
  Speaker 4: the earliest version. So everything I covered that in the
• 1:03:41
  Speaker 4: last show I did last week on this Telemite science
• 1:03:44
  Speaker 4: or fan fiction ideas of Marvel and DC Comics, because
• 1:03:48
  Speaker 4: all of these ideas of science and space that we
• 1:03:50
  Speaker 4: know from revolving around rocketry and space travel, revolves around
• 1:03:54
  Speaker 4: that they're written in fiction first by writers who was
• 1:03:59
  Speaker 4: literary agent was for Reakermen and who for Reackerman was
• 1:04:03
  Speaker 4: the head of that sci fi writers club in which
• 1:04:05
  Speaker 4: all of these writers were also a part of. So
• 1:04:07
  Speaker 4: and they also were all apparently involved, by forty Ackerman's
• 1:04:11
  Speaker 4: own admission, they were all involved in first the OTO
• 1:04:14
  Speaker 4: and then later scientology. And four he stuck around in
• 1:04:17
  Speaker 4: scientology for a while. He didn't leave until the late
• 1:04:19
  Speaker 4: early fifties, so he was seemed pretty dedicated in these matters.
• 1:04:24
  Speaker 4: But you know, we learn about these ideas of space
• 1:04:26
  Speaker 4: first through these through these matters of science fiction, and
• 1:04:29
  Speaker 4: then later supposedly you know, supposedly science right, and then
• 1:04:35
  Speaker 4: it really impacts a lot of stuff. I don't want
• 1:04:36
  Speaker 4: to go too far here, but it really impacts a
• 1:04:38
  Speaker 4: lot of stuff just outside of what we're thinking of
• 1:04:41
  Speaker 4: regarding occultism or modern day with these science fiction notions.
• 1:04:44
  Speaker 4: So I learned this from this book Operation Mind Control
• 1:04:48
  Speaker 4: from Walter bow Art. Great book. Highly recommend if anyone
• 1:04:52
  Speaker 4: folks in the interwebs want anything to do with matters
• 1:04:55
  Speaker 4: of mind control operations, not just the mk ulture style experimentals.
• 1:05:00
  Speaker 4: Boart writes a whole book in nineteen seventy circus seventy
• 1:05:03
  Speaker 4: eight describing how it's operational. So but he puts here
• 1:05:07
  Speaker 4: in this book how Michael Akino Old Temple sat. Michael
• 1:05:11
  Speaker 4: Akino wrote three different Star Wars fan fiction and used
• 1:05:16
  Speaker 4: to He was reported as having been identified standing outside
• 1:05:20
  Speaker 4: the gate at Skywalker Ranch forcing copies of these manuscripts
• 1:05:24
  Speaker 4: upon people who employed by George Lucas, friends with Zemachus
• 1:05:27
  Speaker 4: and and Spielberg. Since Lucas does not received on solicited manuscripts,
• 1:05:33
  Speaker 4: the manuscripts were returned unopened upon several occasions. One was
• 1:05:37
  Speaker 4: sub subsequently published in a monster magazine. I'll uh let
• 1:05:43
  Speaker 4: you know which Monster magazine that was. That was the
• 1:05:45
  Speaker 4: one of achron Razy. Yeah, but you know back around,
• 1:05:54
  Speaker 4: are you.
• 1:05:54
  Speaker 1: Familiar with Fritz Springmeier at all? He wrote a lot
• 1:05:58
  Speaker 1: of stuff about you know, underground programs and stuff like that.
• 1:06:03
  Speaker 3: Yeah.
• 1:06:04
  Speaker 1: He talks about how they use star Trek in a
• 1:06:07
  Speaker 1: lot of the programs, and there's a lot of weird
• 1:06:10
  Speaker 1: stuff with Star Trek in general. I love Star Trek,
• 1:06:14
  Speaker 1: but that's beside the point. And there was an actress
• 1:06:19
  Speaker 1: in Star Trek, the first one, the original one. Her
• 1:06:22
  Speaker 1: brother was a member of the Heaven's Gate Cult.
• 1:06:25
  Speaker 9: Come on, so I'm telling you this is all fuck.
• 1:06:30
  Speaker 4: Come on, I did not know that. I love.
• 1:06:36
  Speaker 3: You know.
• 1:06:38
  Speaker 1: Yeah, he killed himself in the Heaven's Gate Cult.
• 1:06:41
  Speaker 4: We got it. I just put a pan in my
• 1:06:43
  Speaker 4: brain on that one. We're definitely gonna be talking about
• 1:06:45
  Speaker 4: that in the future here, Julie, because that's uh.
• 1:06:47
  Speaker 1: You know, man, I love subjects like this, because I
• 1:06:49
  Speaker 1: love science fiction stuff. I think Jules Verne actually inspired
• 1:06:53
  Speaker 1: all of the Inner Earth talk and like the new
• 1:06:56
  Speaker 1: Godzilla calling movies with like the interview, that all comes
• 1:07:00
  Speaker 1: from Jules Verne.
• 1:07:01
  Speaker 4: Dude, I'm glad you said that. So just like that
• 1:07:04
  Speaker 4: all comes from Jules Verne. And then we get these
• 1:07:06
  Speaker 4: ideas of what we're supposed to accept space as from
• 1:07:08
  Speaker 4: folks like Arthur C. Clark and Isaac asim Off for
• 1:07:11
  Speaker 4: Reacherman's buddies, and you know, he's a literary agent. The
• 1:07:14
  Speaker 4: idea that dinosaurs may still run the Earth comes from
• 1:07:17
  Speaker 4: this guy, Willie Lay. He's a German fellow scientists fell
• 1:07:21
  Speaker 4: and sci fi writer who was also part of that
• 1:07:24
  Speaker 4: same sci fi club in Los Angeles, whose literary agent
• 1:07:26
  Speaker 4: was also for reachermen. So that you know, these ideas
• 1:07:30
  Speaker 4: that we that are getting created through cryptozoology and whatnot.
• 1:07:33
  Speaker 4: This dude is the one who literally started the idea
• 1:07:36
  Speaker 4: that disor still exists on the planet in nineteen forty nine.
• 1:07:40
  Speaker 9: And then what did he help?
• 1:07:41
  Speaker 4: This dude also wrote a book in nineteen what's that
• 1:07:45
  Speaker 4: did he.
• 1:07:45
  Speaker 1: Help with Spielsberg on fucking Jurassic Park?
• 1:07:48
  Speaker 4: Well, look, I mean we're not that far off from
• 1:07:50
  Speaker 4: this whole crew, right, So like it's Spielberg kind of
• 1:07:52
  Speaker 4: the next generation of the same kind of club, Right,
• 1:07:54
  Speaker 4: That's kind of how I'm almost looking at it, right. Sure,
• 1:07:58
  Speaker 4: So Willy lay right a book in nineteen twelve called
• 1:08:01
  Speaker 4: Conquest on the Moon with other than Werner von Braun
• 1:08:06
  Speaker 4: again Warner von Braun by this Shortly thereafter starts a
• 1:08:09
  Speaker 4: pen pal and telephone call relationship with Jack Parsons old
• 1:08:12
  Speaker 4: Marvel Jack Parsons, right, von Braun's in Germany, Parsons is
• 1:08:17
  Speaker 4: in Pasadena. You know, what are these two? How do
• 1:08:20
  Speaker 4: these two link up? Right? And why are they talking
• 1:08:23
  Speaker 4: on the phone? Their international calls are not that you
• 1:08:25
  Speaker 4: know common back then, right. How weird is that?
• 1:08:31
  Speaker 1: I wonder if I wonder if this guy was friends
• 1:08:35
  Speaker 1: with Cubrick at all, because Kubrick and von Baron were friends,
• 1:08:41
  Speaker 1: and he did.
• 1:08:45
  Speaker 4: Now he just hit me with a different one, because
• 1:08:47
  Speaker 4: I don't know who the intersection of Akerman and Kubrick is,
• 1:08:50
  Speaker 4: because definitely Isaac Asimov and Clark were because they were
• 1:08:55
  Speaker 4: on not only on the set, they are also involved
• 1:08:57
  Speaker 4: with the Pall eleven missions the time as far as
• 1:09:00
  Speaker 4: tech they were quote unquote technical advisors.
• 1:09:03
  Speaker 1: Well, then Kubrick's got to be in there.
• 1:09:06
  Speaker 4: Yeah, they got to be in there. Something old Jack
• 1:09:07
  Speaker 4: Kirby too, Right, So two thousand and one of Space Odyssey,
• 1:09:10
  Speaker 4: they had a comic book from Marvel Comics that was
• 1:09:12
  Speaker 4: supposed to come out simultaneously. That was from Jack Kirby. Again,
• 1:09:16
  Speaker 4: Cocaine Bob meets Marvel Comics. Right, we're talking about the
• 1:09:18
  Speaker 4: same club of folks, right, Jack Kirby's want of stan
• 1:09:20
  Speaker 4: Lee's associates.
• 1:09:21
  Speaker 9: Obviously they're all in there.
• 1:09:24
  Speaker 4: They have to be.
• 1:09:25
  Speaker 1: They absolutely have to be.
• 1:09:29
  Speaker 4: So I appreciate y'all joined me here on that quick
• 1:09:31
  Speaker 4: journey and how we got to the story of Back
• 1:09:33
  Speaker 4: to the Future, and again how it revolves around I
• 1:09:36
  Speaker 4: took you all on a back to the future yourself
• 1:09:37
  Speaker 4: talking about how I was just discussing these things last
• 1:09:40
  Speaker 4: week inadvertently did not even consider at the time how
• 1:09:44
  Speaker 4: much this tied into this future one we already had
• 1:09:46
  Speaker 4: planned because I didn't really consider how much of the
• 1:09:48
  Speaker 4: sci fi connections I really were. But it's obviously pretty deep.
• 1:09:53
  Speaker 4: So onto the film.
• 1:09:55
  Speaker 2: Onto the film, JJ, I'm just going to jump in
• 1:09:57
  Speaker 2: really quick, which promise shoot yet. Well, okay, So the
• 1:10:01
  Speaker 2: Michael Aquino thing, since I've read a lot of his writings,
• 1:10:04
  Speaker 2: it totally makes sense to me he did identify as
• 1:10:06
  Speaker 2: as Seth. I think he even has a fucking story.
• 1:10:09
  Speaker 4: Yeah's you're telling me it's a ZIZI is a zip lord.
• 1:10:13
  Speaker 2: I mean he look at the colors, It's like it's
• 1:10:16
  Speaker 2: his banah thing. It's like very like, you know, sapphire tablet,
• 1:10:20
  Speaker 2: like flashing red. It's like just like he was just
• 1:10:24
  Speaker 2: obsessed with like Cabala and obsessed with the sufferer and
• 1:10:27
  Speaker 2: obsessed with like trying to deify them and make them
• 1:10:30
  Speaker 2: into like real things. And that goes to your point
• 1:10:33
  Speaker 2: about Warner Ron braun making like the dick shaped rocket.
• 1:10:37
  Speaker 2: It's like that is like very right. If you're like Marty,
• 1:10:41
  Speaker 2: he's the Marsian Marshall Martian maybe, but he's like a
• 1:10:45
  Speaker 2: martial figure, so he's like erect. He's itth o fail
• 1:10:48
  Speaker 2: like we would call it in our history. So he's
• 1:10:51
  Speaker 2: it's like the projections, like the projecting off the earth
• 1:10:55
  Speaker 2: with fire. Just like Julia said, the car has fire
• 1:10:58
  Speaker 2: behind it. It needs fire for like Heidi and I
• 1:11:00
  Speaker 2: were talking about the chat, it needs fire for transmutation.
• 1:11:04
  Speaker 2: But it's not the only thing that happens. Like we said,
• 1:11:06
  Speaker 2: there's a lot of mercurial elements in it. And Heidi
• 1:11:09
  Speaker 2: caught that amazing point about Jacy Penny, because you need
• 1:11:13
  Speaker 2: copper to transmute gold. So one thing I was interested in,
• 1:11:17
  Speaker 2: independent of Nick's amazing notepack, was what is the composition
• 1:11:21
  Speaker 2: of a Dolorean and like, how could you sort of
• 1:11:25
  Speaker 2: cabalistically mapped steel and specifically the steel that was used
• 1:11:30
  Speaker 2: to make Deloreans. So it is actually an interesting kind
• 1:11:34
  Speaker 2: of question if you're looking at it from like an
• 1:11:36
  Speaker 2: outchemic color cobalistic loans, So you would have to consider
• 1:11:40
  Speaker 2: it to be to Ferradic that lions Gate sort of
• 1:11:44
  Speaker 2: element but becoming from Mars because the content is largely Iron,
• 1:11:51
  Speaker 2: so it's a majority. So that's really interesting, I think
• 1:11:55
  Speaker 2: to think about, like there's a lot of Marshall stuff.
• 1:11:57
  Speaker 2: Elon like to bring up something Nick said, Yeah, there
• 1:12:00
  Speaker 2: is kind of an Elon thing because he's obsessed with Mars.
• 1:12:04
  Speaker 2: And obviously Werner Vroon Brown is obsessed with Mars because
• 1:12:08
  Speaker 2: there's that. It's that question in modern occult to some
• 1:12:10
  Speaker 2: do men come from Mars or do they come from Mercury?
• 1:12:14
  Speaker 2: But I think that Euro's journey makes room four. They
• 1:12:17
  Speaker 2: can come from both, or they can maybe grow through
• 1:12:20
  Speaker 2: the paths and come out you know, through the fire
• 1:12:24
  Speaker 2: if you want to call that, and you know, enter
• 1:12:27
  Speaker 2: the pathiosis whatever.
• 1:12:30
  Speaker 4: Fair enough, But that is that is the story I like,
• 1:12:32
  Speaker 4: I like your heads, and that is the story where
• 1:12:34
  Speaker 4: we we are at the moment right with the storyline
• 1:12:38
  Speaker 4: here back to the Future revolves around this, the transport
• 1:12:40
  Speaker 4: of Marty McFly Michael J. Fox's character through this here
• 1:12:44
  Speaker 4: fancy car that I well, we can get into more
• 1:12:47
  Speaker 4: of this discussion on the car here because you know,
• 1:12:49
  Speaker 4: after we you know, develop more of this tale here.
• 1:12:51
  Speaker 4: But see, I find it very unique that for many
• 1:12:54
  Speaker 4: reasons they chose this car. But so he meets Doc Brown,
• 1:12:56
  Speaker 4: and you know, they get they start doing this seemingly
• 1:13:00
  Speaker 4: our interrupting time right and disrupting reality. But really I
• 1:13:02
  Speaker 4: would argue, that's just the nature of reality was always
• 1:13:05
  Speaker 4: gonna happen that way. But what are your all thoughts
• 1:13:08
  Speaker 4: here on the characters that we we lay out the
• 1:13:10
  Speaker 4: story here back to the future, right, we got a
• 1:13:12
  Speaker 4: teenager meeting the old scientists right again, I would argue
• 1:13:16
  Speaker 4: that's a Marvel Jack Parsons Warner von Braun, right doctor
• 1:13:20
  Speaker 4: von Braun relationship.
• 1:13:24
  Speaker 3: I I definitely saw this in a different weird I
• 1:13:27
  Speaker 3: was telling Jin in the chat just that I saw
• 1:13:30
  Speaker 3: it as he was like a Zeus type character because he's,
• 1:13:34
  Speaker 3: you know, gonna be messing with the lightning later.
• 1:13:38
  Speaker 8: There's more. I don't want to give it all right now, but.
• 1:13:41
  Speaker 4: Like, oh, go ahead, please please describe the character that's
• 1:13:44
  Speaker 4: that sounds I like words.
• 1:13:46
  Speaker 3: Sure, so he's gonna you know, overthrow Cronus, but but
• 1:13:49
  Speaker 3: we also have Pluto, we have plutonium.
• 1:13:53
  Speaker 4: So he's gonna throw Cronus by defeating time or by
• 1:13:55
  Speaker 4: traveling through time. That's like a defeat of Chronos.
• 1:13:57
  Speaker 8: Is ever saying, well, he's gonna he's gonna get.
• 1:14:00
  Speaker 3: Him out of the unreality to send Marty back through
• 1:14:04
  Speaker 3: to reality by harnessing with his rod that's wrapped like
• 1:14:10
  Speaker 3: a kundalini and he's gonna harness the energy to hook
• 1:14:15
  Speaker 3: it onto the car.
• 1:14:16
  Speaker 8: That's what I see.
• 1:14:17
  Speaker 3: And then Neptune post Sidon's there at the Under the
• 1:14:21
  Speaker 3: Seed Dance. There's a statue of him. If you catch that,
• 1:14:24
  Speaker 3: he's there, Pluto's there, Plutonium. It's the tale of you know,
• 1:14:29
  Speaker 3: them defeating Chronos.
• 1:14:32
  Speaker 4: Eh, Yeah, the Under the Seed Dance. It certainly seems
• 1:14:36
  Speaker 4: very chilling because it was a very that was one
• 1:14:37
  Speaker 4: of the scenes. Like I said, there's not a lot
• 1:14:39
  Speaker 4: of scenes filmed here, and they put a lot of
• 1:14:41
  Speaker 4: effort into really decorating that.
• 1:14:43
  Speaker 1: I feel like, yeah, they really put Yeah I put
• 1:14:48
  Speaker 1: that in my notes too, that they spent a lot
• 1:14:50
  Speaker 1: of time decorating that.
• 1:14:52
  Speaker 3: And really it's and all that like on and on
• 1:14:55
  Speaker 3: about this Under the Seed Dance. It was like over
• 1:14:58
  Speaker 3: and over and you know, it was lot.
• 1:15:00
  Speaker 4: Well to that same nature. Is that, like, why do
• 1:15:03
  Speaker 4: you think Marty McFly is always wearing uh this life
• 1:15:07
  Speaker 4: preserver preserver there right, So yeah, they joke on him, right,
• 1:15:14
  Speaker 4: he gets flound on about it.
• 1:15:16
  Speaker 6: Yeah, when he walks into the until they get the
• 1:15:19
  Speaker 6: place to get wherever at the.
• 1:15:21
  Speaker 4: Diner, what you would you fall overboard?
• 1:15:23
  Speaker 6: Is that what he said?
• 1:15:24
  Speaker 9: And then when he gets hit by the car and
• 1:15:28
  Speaker 9: and Lorraine's parents.
• 1:15:29
  Speaker 1: Take him in and she's like, I figured you're a
• 1:15:32
  Speaker 1: sailor because you have the life preserver on.
• 1:15:38
  Speaker 4: What's the use of Calvin Klein in that? In that
• 1:15:40
  Speaker 4: aspect too, right? Because they he's wearing Calvin Kline underwear.
• 1:15:43
  Speaker 4: So he starts going by the name.
• 1:15:46
  Speaker 3: That's Mormons, because he got his new name, and he
• 1:15:49
  Speaker 3: got his underwear and got his underwear, he got his
• 1:15:52
  Speaker 3: new name.
• 1:15:54
  Speaker 8: Consider he went through the veil and he has his
• 1:15:58
  Speaker 8: he's a new specific. Yeah, but I mean like in general,
• 1:16:03
  Speaker 8: well in general.
• 1:16:04
  Speaker 6: Any magician would taken him name. I mean, it's not
• 1:16:09
  Speaker 6: just a Morman thing.
• 1:16:11
  Speaker 4: So you're saying, that's an oto aspect to.
• 1:16:13
  Speaker 3: That's any magician, Masons and Masons ceremony magician.
• 1:16:19
  Speaker 1: Yes, yes, is this terrificant that they're purple and that
• 1:16:23
  Speaker 1: they bring that up. I've never seen purple.
• 1:16:26
  Speaker 6: Be royalty, there would be probably more of like making
• 1:16:28
  Speaker 6: a claim that you've actually seen both sides.
• 1:16:32
  Speaker 8: Yeah, red is both life and death.
• 1:16:34
  Speaker 2: Yeah, the red resolution of paradox, bringing the blue and
• 1:16:39
  Speaker 2: the red together, the material spiritual And.
• 1:16:42
  Speaker 3: Even when he goes to the dance, Yeah, he's in
• 1:16:45
  Speaker 3: a reddish jacket again, even at the.
• 1:16:48
  Speaker 2: Dance, So they keep I thought that was an amazing point.
• 1:16:52
  Speaker 8: Sorry, no, no, I was just saying they keep him
• 1:16:55
  Speaker 8: in red.
• 1:16:57
  Speaker 2: See, this is really interesting. But I want to say
• 1:16:59
  Speaker 2: that thing really quick about what Heidi was saying, just
• 1:17:02
  Speaker 2: to build off that was joked in Vida astrology, Jupiter
• 1:17:06
  Speaker 2: is the planet of the teacher, so it's but it's
• 1:17:09
  Speaker 2: the spiritual teacher, not the not necessarily the material teacher,
• 1:17:14
  Speaker 2: which is actually more gevrotic in Hebrew. Balls. That's actually
• 1:17:17
  Speaker 2: really interesting as well. And but I agree with what
• 1:17:21
  Speaker 2: Heidi's saying in like, I don't use obviously the Greek cosmology,
• 1:17:25
  Speaker 2: but I understand what she's saying, and it makes a
• 1:17:28
  Speaker 2: lot of sense because there's this third idea of So
• 1:17:32
  Speaker 2: we spoke a little bit yesterday about the hyper Uranian
• 1:17:36
  Speaker 2: the trans Plutonian obviously that's though both of those ideas
• 1:17:39
  Speaker 2: are in this film. But then there's like the third idea,
• 1:17:42
  Speaker 2: which is the trans Neptunian. So it goes exactly with
• 1:17:47
  Speaker 2: this under the sea, the dreaming God. That's even one
• 1:17:51
  Speaker 2: of the names for a Vishnu. And if you map
• 1:17:53
  Speaker 2: him to the tree, he'd be like that choked ma,
• 1:17:55
  Speaker 2: so a very Neptunian figure. He's dreaming under the superno ocean,
• 1:18:00
  Speaker 2: sleeping on his back and his serpent like a deis
• 1:18:03
  Speaker 2: I guess you could say. So, yeah, it's like this
• 1:18:06
  Speaker 2: the dreaming God. He's sleeping reality into existence. And then
• 1:18:10
  Speaker 2: there's this last idea and that but the idea of
• 1:18:14
  Speaker 2: space versus time, and this goes perfectly along with that
• 1:18:17
  Speaker 2: because Vishnu is assigned space whereas like as Heidi said,
• 1:18:22
  Speaker 2: she called him Kronos, I'm gonna call him Shiva, but
• 1:18:25
  Speaker 2: he is time at least in one version.
• 1:18:29
  Speaker 3: So too.
• 1:18:30
  Speaker 8: Yeah, the women, we can't forget the women too.
• 1:18:34
  Speaker 2: So it's always this battle. It's always this battle in
• 1:18:37
  Speaker 2: like sort of occult thinking like do you master space,
• 1:18:41
  Speaker 2: do you master time? Like which one is it? Which
• 1:18:44
  Speaker 2: one is superior? And it's because it's both poles, right,
• 1:18:48
  Speaker 2: It's really it's it's a Hopemah and bin Off. So
• 1:18:51
  Speaker 2: it's both of those things and they're like it's like electric,
• 1:18:55
  Speaker 2: like very lightning. So but that's how they kind of
• 1:18:58
  Speaker 2: spark off each other.
• 1:19:01
  Speaker 4: Interesting. We have any more thoughts here on on the
• 1:19:05
  Speaker 4: uh Marty flies a character?
• 1:19:07
  Speaker 8: Oh not Marty, No, sorry, his girlfriend.
• 1:19:10
  Speaker 4: You want to get to his girlfriend next?
• 1:19:12
  Speaker 3: Yeah? Yeah, I just think at the very beginning when
• 1:19:15
  Speaker 3: she's coming out of the school, Well, first of all,
• 1:19:17
  Speaker 3: Jennifer is white wave and so she that's represented with
• 1:19:20
  Speaker 3: Venus absolutely, and she's at the top of the stairs
• 1:19:24
  Speaker 3: and he never ascends up, but she starts coming down
• 1:19:27
  Speaker 3: and she meets him, but he doesn't go up, which
• 1:19:30
  Speaker 3: makes total sense.
• 1:19:31
  Speaker 8: And then we've got the mom too.
• 1:19:33
  Speaker 3: But you know, her name is Lorraine, which doesn't translate
• 1:19:37
  Speaker 3: into much but La rain like queen and isis and
• 1:19:42
  Speaker 3: then we get into you know, I'm gonna marry my
• 1:19:44
  Speaker 3: son things, so.
• 1:19:46
  Speaker 4: That you were you were saying it doesn't relate to much,
• 1:19:48
  Speaker 4: but I think Nick was talking about it released to Kronos, right,
• 1:19:51
  Speaker 4: the Rain.
• 1:19:53
  Speaker 6: Oh yeah, yeah, it's some of the uh the jamati
• 1:19:56
  Speaker 6: when I get to it, yeah.
• 1:20:00
  Speaker 4: Right, oh yeah, and that's that's what ott he was
• 1:20:03
  Speaker 4: just saying, too. Right, So you came up with some
• 1:20:04
  Speaker 4: Jamatria conclusions concluding what Hatty was just saying without you know,
• 1:20:08
  Speaker 4: from two separate angles. It sounds like, yeah, yeah, I
• 1:20:11
  Speaker 4: have to.
• 1:20:12
  Speaker 6: Look for that specific.
• 1:20:14
  Speaker 4: That's pretty interesting. I know what you were saying that, Heidi.
• 1:20:16
  Speaker 4: I was just and I was like, wait a second,
• 1:20:17
  Speaker 4: I've heard these I've heard some similar things before, and
• 1:20:20
  Speaker 4: I was looking back at Next Night some yep, ye Nick,
• 1:20:23
  Speaker 4: Nick already reaches inclusion.
• 1:20:24
  Speaker 6: There's no, no, no, no, no, totally think I think
• 1:20:27
  Speaker 6: it's interesting because I think it's great.
• 1:20:29
  Speaker 4: You're saying it from one perspective he's doing jamatry and
• 1:20:31
  Speaker 4: come up with that same conclusion. It's reaching these things.
• 1:20:34
  Speaker 4: That's that's interesting.
• 1:20:35
  Speaker 2: Because there's a there's a there's a deeper launch.
• 1:20:38
  Speaker 6: Even with too Yeah, yeah, okay, I like this.
• 1:20:43
  Speaker 4: That's interesting.
• 1:20:45
  Speaker 2: When the prince is at Mercury, like Marty's at Mercury
• 1:20:49
  Speaker 2: before he leaves on his magic journey. Okay, the mother
• 1:20:54
  Speaker 2: the Venus sprangmp what Heidi said. So we're kind of
• 1:20:57
  Speaker 2: synthesizing Nick and Heidi his ideas. She's attracted to him.
• 1:21:02
  Speaker 2: That's kind of the idea. But it's really it's like electromagnetic,
• 1:21:06
  Speaker 2: that's really what it is. But it gets a confusing feeling, right,
• 1:21:11
  Speaker 2: it's it's easily confused. That's very hermetic, that's very mercurial.
• 1:21:15
  Speaker 2: It's like kind of entwined.
• 1:21:18
  Speaker 3: So because father and he took his father's place when
• 1:21:23
  Speaker 3: he got hit by the car, so he becomes the
• 1:21:25
  Speaker 3: father's journey, and it's it's linear than and like just
• 1:21:30
  Speaker 3: like when I say isis and stuff like I'm talking
• 1:21:32
  Speaker 3: about like with the isis horse, what does she do?
• 1:21:35
  Speaker 3: She says he's the reincarnation of her husband, So that
• 1:21:39
  Speaker 3: combination makes total sense.
• 1:21:41
  Speaker 6: You know, yes, oh real quick, uh JJ, if you
• 1:21:47
  Speaker 6: don't mind, Yeah, I was, I did. I wasn't speaking
• 1:21:51
  Speaker 6: up fast enough before we left off a Martin McFly.
• 1:21:53
  Speaker 6: I did actually have some things just real quick. I
• 1:21:55
  Speaker 6: didn want to try with him because I did have
• 1:21:57
  Speaker 6: a section.
• 1:21:57
  Speaker 4: Just at least do going on with his character, right, yes,
• 1:22:01
  Speaker 4: kind of the he's kind of that that not only
• 1:22:04
  Speaker 4: the hero's journey, but he's kind of that Masonic kind
• 1:22:07
  Speaker 4: of uh what do they call it? Like sun god
• 1:22:10
  Speaker 4: kind of thing.
• 1:22:10
  Speaker 6: Right, Well, see this is this is something that I've
• 1:22:15
  Speaker 6: said before, and Horace would fit in there, just with
• 1:22:18
  Speaker 6: total us.
• 1:22:19
  Speaker 4: That's what I was thinking, kind of a horror situation.
• 1:22:21
  Speaker 6: Well, the thing is my opinion, the hero's journey. I mean,
• 1:22:24
  Speaker 6: you're gonna have different characters for the same exact person
• 1:22:28
  Speaker 6: or energy. It's just gonna have a different name. Like
• 1:22:30
  Speaker 6: I've said before, I think like to and Horace and Raw.
• 1:22:33
  Speaker 6: It is all the same technically, I guess energy or thing.
• 1:22:37
  Speaker 6: It's just during a different time in space. It's something else.
• 1:22:40
  Speaker 4: But uh, right, that's well, that's what that's the term
• 1:22:43
  Speaker 4: of hermetic, right, that's thought and and another character, right.
• 1:22:47
  Speaker 6: Very chemical. Yeah, you from going from one character to
• 1:22:50
  Speaker 6: the next.
• 1:22:51
  Speaker 4: And they matched me together and then the maybe become
• 1:22:53
  Speaker 4: Hermi's trist magistus. Right, yeah, but with Marty McFly as,
• 1:22:58
  Speaker 4: uh that is the nature of as it seems.
• 1:23:00
  Speaker 6: Yes, Mary McFly as Mercury and Hermes kind of like
• 1:23:06
  Speaker 6: an archetype. But I did I did have in there too,
• 1:23:09
  Speaker 6: But Kuser Beach mentioned his name is Mars though too. Yeah,
• 1:23:15
  Speaker 6: Martian right, yeah, Mars, Yeah, like war forced.
• 1:23:19
  Speaker 4: He's kind of this this chaos effect, right is that
• 1:23:21
  Speaker 4: what that means is like a chaos effort.
• 1:23:23
  Speaker 6: Or chaos any chaos to create change regardless, right, someone's messenger.
• 1:23:31
  Speaker 6: I looked at him as a messenger between both worlds.
• 1:23:34
  Speaker 6: I even looked at it like in the beginning when
• 1:23:36
  Speaker 6: he plays the guitar, kind of like the like the
• 1:23:39
  Speaker 6: logos of Thunder, Hermes invents the lyre. So I mean
• 1:23:43
  Speaker 6: I did wonder if there was like somewhere a connection
• 1:23:45
  Speaker 6: with that. He's kind of a trickster again, even playing
• 1:23:49
  Speaker 6: the guitar. That's vibration and sound, you know, to right to.
• 1:23:54
  Speaker 4: The loudest degree, right, So that's a very trickster element
• 1:23:57
  Speaker 4: to that. Right.
• 1:23:58
  Speaker 6: Technically, he does go to the future and brings back knowledge.
• 1:24:01
  Speaker 6: I mean he knows of what's his face's death, So
• 1:24:03
  Speaker 6: I mean he is somewhere who was going back and
• 1:24:05
  Speaker 6: forth with bringing knowledge Hermes or I could be wrong
• 1:24:10
  Speaker 6: about the exact person. He had. What wings on his shoes?
• 1:24:15
  Speaker 4: This guy's got to right, he's got a skateboard with wings, right, He's.
• 1:24:19
  Speaker 6: Got a skateboard and a hovering skateboard. So I mean
• 1:24:21
  Speaker 6: he does kind of got like traveling feet in the sense.
• 1:24:25
  Speaker 4: Yeah, I was I was going to ask you about
• 1:24:26
  Speaker 4: that because that is the hermit real quick with the wings, right.
• 1:24:31
  Speaker 1: Do you know how much? Go ahead, I was just
• 1:24:35
  Speaker 1: gonna say, because I love sneakers and I have a
• 1:24:39
  Speaker 1: lot of Nikes.
• 1:24:40
  Speaker 9: Do you know how much that Marty mcflies are. Dude,
• 1:24:44
  Speaker 9: don't even fucking try to.
• 1:24:48
  Speaker 4: But is it isn't Nike. It's a good point because
• 1:24:50
  Speaker 4: isn't Nike an ancient Greek god as well?
• 1:24:52
  Speaker 1: Yeah, that's why I bring it up because I also
• 1:24:55
  Speaker 1: own the Forest Gump running shoes. How much the other
• 1:25:00
  Speaker 1: film for us gun right, I won't tell you how
• 1:25:04
  Speaker 1: much I paid for him. But anyways, Nike is very
• 1:25:06
  Speaker 1: important because we got like this whole Poseidon Mars Chronos
• 1:25:12
  Speaker 1: and he wears those Nikes throughout almost the entire movie
• 1:25:16
  Speaker 1: except for when he changes over to the black converse.
• 1:25:19
  Speaker 1: But anyways, the Marty McFly nikes are like a couple
• 1:25:23
  Speaker 1: grand They don't even make that style anymore.
• 1:25:27
  Speaker 9: But anyways, go ahead.
• 1:25:31
  Speaker 6: Uh one other thing that I had to I mean,
• 1:25:34
  Speaker 6: Marty McFly, you get the m m you know that's
• 1:25:36
  Speaker 6: very Masonic. You have McFly, you already have like the
• 1:25:40
  Speaker 6: fly in there. And this one could be a stretch,
• 1:25:43
  Speaker 6: but he did find it interesting that in the movie
• 1:25:46
  Speaker 6: he does get I think aggravated it maybe more than
• 1:25:48
  Speaker 6: once being called a chicken. Nobody calls me a chicken.
• 1:25:53
  Speaker 4: Call him red too later, right, So that's another kind
• 1:25:55
  Speaker 4: of Mars reference.
• 1:25:56
  Speaker 6: Right, And Mercury's animal was a rooster, So maybe that's
• 1:26:00
  Speaker 6: why they want to be the chicken, because no, I'm
• 1:26:02
  Speaker 6: a rooster.
• 1:26:03
  Speaker 2: I don't know.
• 1:26:04
  Speaker 4: So it sounds like they're covering the whole basis of
• 1:26:07
  Speaker 4: the planetary system here with one character.
• 1:26:13
  Speaker 6: Yeah, exactly, he's gonna he's gonna any any male energy
• 1:26:16
  Speaker 6: in that cabalistic tree is going to be all him
• 1:26:18
  Speaker 6: and every female energy and that cabalistic tree. That's probably
• 1:26:22
  Speaker 6: why you have the girlfriend in the beginning. In order
• 1:26:25
  Speaker 6: for him, to my opinion, in order for you to
• 1:26:27
  Speaker 6: cross the abyss, you have to kind of untangle the
• 1:26:29
  Speaker 6: feminine energy. That's why he doesn't bang his girlfriend. Now
• 1:26:32
  Speaker 6: on the other side, if he would have banged his
• 1:26:35
  Speaker 6: mom things, you know what I'm just saying, like, now
• 1:26:37
  Speaker 6: you have the total opposite. Like it's just.
• 1:26:43
  Speaker 4: So the hero's journey, this travel through the cabalistic tree,
• 1:26:48
  Speaker 4: this is all this is all represented by traveling, by
• 1:26:52
  Speaker 4: traveling through these different planets of his character. Right, he's
• 1:26:54
  Speaker 4: representing Mercury went one time he's representing you know what
• 1:26:59
  Speaker 4: was the purple want to was?
• 1:27:00
  Speaker 10: That?
• 1:27:00
  Speaker 4: Was that Pluto.
• 1:27:04
  Speaker 6: Saturday?
• 1:27:05
  Speaker 3: But the next point braxis too. I was thinking of
• 1:27:09
  Speaker 3: Braxis with the chicken things.
• 1:27:11
  Speaker 4: Are these Are these all the same things though?
• 1:27:13
  Speaker 2: Like the heroes the Gate?
• 1:27:15
  Speaker 4: Yeah, so the chicken representing all thetary travels.
• 1:27:19
  Speaker 2: Yeah, he's starting from position A you could say, jumps
• 1:27:23
  Speaker 2: in the Dolorean, then ends up he travels through time.
• 1:27:27
  Speaker 2: But the Wikipedia was very specific to say not through space.
• 1:27:31
  Speaker 2: There you go, space is there? There's spot right now?
• 1:27:35
  Speaker 2: Space caball all right?
• 1:27:36
  Speaker 3: There? Well one point one point one gigawatts to charge
• 1:27:41
  Speaker 3: it is for? So think about I don't know if
• 1:27:45
  Speaker 3: you know I have that.
• 1:27:48
  Speaker 4: Did you say one point? Did you say one point
• 1:27:50
  Speaker 4: twats one point.
• 1:27:51
  Speaker 8: Twenty one chigawatts?
• 1:27:54
  Speaker 6: But I need a nuclear reaction to generate.
• 1:27:56
  Speaker 4: The one point.
• 1:28:09
  Speaker 9: I definitely have something on that.
• 1:28:13
  Speaker 4: So before we get to the one point twenty one,
• 1:28:15
  Speaker 4: Jacob watch what was this a Praxis and chicken business?
• 1:28:18
  Speaker 4: I don't know.
• 1:28:19
  Speaker 8: Just when Nick says that's what first came to my
• 1:28:23
  Speaker 8: mind was a braxtic.
• 1:28:24
  Speaker 4: What's the connection there?
• 1:28:25
  Speaker 3: What?
• 1:28:25
  Speaker 4: I'm not familiar with them with a Braxism.
• 1:28:27
  Speaker 9: Because he doesn't want to be called chicken.
• 1:28:29
  Speaker 8: No, no, what is a Braxis though, Jim, you want
• 1:28:32
  Speaker 8: to go on a Braxis?
• 1:28:34
  Speaker 2: So, Braxis is a goetic spirit who's often associated with
• 1:28:37
  Speaker 2: Saint Peter. If you're looking at it through more like
• 1:28:39
  Speaker 2: left hand paths, falsest and lens like how I used
• 1:28:42
  Speaker 2: to and so it was, he's like a guardian of gates,
• 1:28:46
  Speaker 2: you could say, if he serves the same function in
• 1:28:48
  Speaker 2: the goa as Sam Peter does in like the normative,
• 1:28:51
  Speaker 2: because they're all all.
• 1:28:53
  Speaker 8: Colonel chicken Colonel he has, he's the chicken headed.
• 1:28:58
  Speaker 2: Right here, and then his feet are snakes. There we
• 1:29:03
  Speaker 2: go and he holds in his sigil is like a
• 1:29:06
  Speaker 2: key and like an a and some other things.
• 1:29:09
  Speaker 8: But yeah, like remember that left hand path business.
• 1:29:12
  Speaker 3: Remember what he just said about that because later later
• 1:29:15
  Speaker 3: that's going to be something I'm going to talk about later.
• 1:29:17
  Speaker 4: So it's the chicken headed snake got eating itself there, right,
• 1:29:20
  Speaker 4: That's what we're talking about with the Braxis. Well, not
• 1:29:23
  Speaker 4: the it's not the That's what I was getting confused with.
• 1:29:26
  Speaker 4: I couldn't think of the names I was getting them.
• 1:29:29
  Speaker 2: Think just think of him in the positive polarity. So
• 1:29:32
  Speaker 2: he's like the guardian of the gate. He's standing at Mercury.
• 1:29:35
  Speaker 2: He the guy has to Marty has to go through.
• 1:29:39
  Speaker 2: Where does he go through? He has to go through
• 1:29:40
  Speaker 2: a eyisode, so he has to pass through the Truth
• 1:29:43
  Speaker 2: or the world. Someone said like the Doctor Brown was
• 1:29:47
  Speaker 2: the sort of like the working next set it. I
• 1:29:49
  Speaker 2: was like, there's a tre mantrial link to like the world.
• 1:29:52
  Speaker 8: Or the truth with the His name is is everything.
• 1:29:56
  Speaker 8: Emma means everything.
• 1:29:58
  Speaker 2: Everything, so it's everything that we see. So it's that
• 1:30:02
  Speaker 2: path between like he has to go from householder to
• 1:30:06
  Speaker 2: like magician. So he's a chicken because he's a householder,
• 1:30:10
  Speaker 2: meaning that he doesn't know what the outside world is like.
• 1:30:13
  Speaker 2: But once he's a rooster, the broxis he has to
• 1:30:16
  Speaker 2: pass through that gate. It's like passing through the gate
• 1:30:18
  Speaker 2: to adulthood. So he passed exactly looks like a rooster. Yeah, yeah,
• 1:30:24
  Speaker 2: you're too right. It's like a hard rocket passing through
• 1:30:29
  Speaker 2: negative space.
• 1:30:31
  Speaker 4: It kind of seems like people are calling him chicken
• 1:30:34
  Speaker 4: or people are calling him red. It seems like he's
• 1:30:36
  Speaker 4: popping off like he's a cock. Right, kind of kacky
• 1:30:38
  Speaker 4: about it.
• 1:30:41
  Speaker 8: Nick's already laugh and not set up, yes to all
• 1:30:45
  Speaker 8: of that.
• 1:30:48
  Speaker 4: So do we have any Nick does anything else on
• 1:30:50
  Speaker 4: Martin McFly before we cruise over to Doctor Everything, Von Brown?
• 1:30:54
  Speaker 6: Yeah, sure, yeah, I'm good. Yes.
• 1:30:57
  Speaker 8: So Julie something about one point twenty one gigawatts.
• 1:31:04
  Speaker 4: Yeah, well I was want to say, I figure we
• 1:31:06
  Speaker 4: get into that since he's the one point twenty one
• 1:31:07
  Speaker 4: jigawat guy.
• 1:31:08
  Speaker 8: Right, Okay, so that's that.
• 1:31:10
  Speaker 4: That is how he feels this time machine is through
• 1:31:12
  Speaker 4: this immense amount of power, and and it's uh, he
• 1:31:16
  Speaker 4: needs this exit. I think they you know, obviously created
• 1:31:19
  Speaker 4: through this you know, nuclear reaction with plutonium. But these
• 1:31:23
  Speaker 4: are all elements of you know, real science, kind of
• 1:31:26
  Speaker 4: rooted in some science fiction aspects to it, right, and
• 1:31:28
  Speaker 4: this one point twenty one jigawats is probably rooted in
• 1:31:31
  Speaker 4: some occultism, right, Is that? Is that what I'm here?
• 1:31:34
  Speaker 1: Well, I don't know what anybody else got out of it,
• 1:31:37
  Speaker 1: but I'll just give you kind of my very limited
• 1:31:41
  Speaker 1: knowledge and what it means to me. Because before before
• 1:31:48
  Speaker 1: he says the thing about the jigawats, he sends Einstein
• 1:31:53
  Speaker 1: into the future, right, and when he gets back, it's
• 1:31:57
  Speaker 1: one twenty one a m yo. And then he says
• 1:32:02
  Speaker 1: one point twenty one, jigawats And this to me stood
• 1:32:08
  Speaker 1: out because it's like, why did they one two one
• 1:32:11
  Speaker 1: one two one? Why they keep using this one to one?
• 1:32:14
  Speaker 1: And I mean, I just I don't remember was JJ
• 1:32:18
  Speaker 1: on the Gamatria episode or not.
• 1:32:22
  Speaker 4: I'm glad I'm not the only one, Joe.
• 1:32:23
  Speaker 8: No, Okay.
• 1:32:24
  Speaker 1: So me and Nick were talking about on the Gamatria
• 1:32:28
  Speaker 1: episode the significance of four and the significance of eight,
• 1:32:35
  Speaker 1: and there are plenty of eighth in here, but the
• 1:32:37
  Speaker 1: one point one, right, the one point twenty one is
• 1:32:42
  Speaker 1: also the four. So I feel like, you know, and
• 1:32:45
  Speaker 1: they're they're using that over and over again. One point
• 1:32:47
  Speaker 1: twenty one jigawats? What one twenty one a m? And
• 1:32:51
  Speaker 1: it's very specific at like to me that that would
• 1:32:56
  Speaker 1: be something they want to catch her as. So I
• 1:33:01
  Speaker 1: don't what did you guys get out of that?
• 1:33:04
  Speaker 3: Before I say, I'm gonna have Nick go because he's
• 1:33:06
  Speaker 3: got the Jamatria I think he might have.
• 1:33:08
  Speaker 6: Yeah, you know what the thing is is it pops
• 1:33:11
  Speaker 6: up as if I was to go through my notes, Yeah, uh,
• 1:33:17
  Speaker 6: there was a lot of eights that is for sure.
• 1:33:19
  Speaker 6: There was even there was even a picture that I
• 1:33:21
  Speaker 6: had that even shows an eight like one of the
• 1:33:24
  Speaker 6: roads is like a route or something. It shows out
• 1:33:27
  Speaker 6: with Martin with the frame.
• 1:33:29
  Speaker 4: Which when he got there, Bud, we got Hills, Free
• 1:33:31
  Speaker 4: Hill and Maine. Do you have control of this because
• 1:33:35
  Speaker 4: or do I? You got it nice.
• 1:33:44
  Speaker 6: Right there?
• 1:33:48
  Speaker 8: Mm hmmm.
• 1:33:49
  Speaker 4: And this was obviously very intentional because this is a set.
• 1:33:52
  Speaker 4: They all did this on right, So this is.
• 1:33:53
  Speaker 3: Not like.
• 1:33:56
  Speaker 8: Add the numbers three, nine to five to like it's
• 1:34:03
  Speaker 8: eight eight eight.
• 1:34:06
  Speaker 1: Well, so also also just really quick, the clock tower
• 1:34:10
  Speaker 1: has a lion on either side or a lion s yeah,
• 1:34:15
  Speaker 1: and then he lives in lion estate, which is two lions,
• 1:34:20
  Speaker 1: and the lion is Leo, which is the eighth month
• 1:34:24
  Speaker 1: of the year. So you're getting double eights on the
• 1:34:26
  Speaker 1: clock tower and double eight's on the estate that he
• 1:34:30
  Speaker 1: lives in.
• 1:34:31
  Speaker 4: Soa is that what you're saying?
• 1:34:36
  Speaker 1: Because the lion is is Leo the eighth month. So
• 1:34:41
  Speaker 1: if you look at it, it's eighty eight on the
• 1:34:43
  Speaker 1: clock tower and eighty eight on lion estates and then
• 1:34:46
  Speaker 1: one point twenty one jigawatts and one twenty one a
• 1:34:50
  Speaker 1: m is four and so if you added that that's
• 1:34:54
  Speaker 1: eight again. But anyways, a lot of eights, a lot
• 1:34:58
  Speaker 1: of fours, a lot of a lot of significance on
• 1:35:02
  Speaker 1: time and numbers.
• 1:35:03
  Speaker 3: For sure, the four for sure, because it's all of
• 1:35:06
  Speaker 3: the elements together and so you're right, yeah, charging it
• 1:35:11
  Speaker 3: with everything.
• 1:35:12
  Speaker 8: And think of Emmett.
• 1:35:13
  Speaker 3: What is he He's everything, He's the universe and he's
• 1:35:16
  Speaker 3: the one that's always talking about this for because it
• 1:35:19
  Speaker 3: makes sense because he's everything.
• 1:35:22
  Speaker 4: So goodness, these.
• 1:35:24
  Speaker 6: Lines, yeah, yeah, pretty much.
• 1:35:27
  Speaker 4: Yeah, look, these are some pretty interesting little uh I
• 1:35:32
  Speaker 4: mean again, taking into.
• 1:35:33
  Speaker 6: Note that this is all that's a Russian pin.
• 1:35:38
  Speaker 4: This, you know, this is all very well designed, you know,
• 1:35:40
  Speaker 4: for purpose here this is the strange enough. This is
• 1:35:42
  Speaker 4: I believe this is the same set they use for
• 1:35:44
  Speaker 4: Gremlins the year prior to years prior maybe.
• 1:35:47
  Speaker 9: As far as the Badass I Loves.
• 1:35:52
  Speaker 4: Have you watched Gremlins and you watched you know, back
• 1:35:54
  Speaker 4: to future, You'll be like, wait a second, I've seen
• 1:35:56
  Speaker 4: this town square before the But these lines are very
• 1:36:01
  Speaker 4: interesting because you obviously you see them like very prominently
• 1:36:03
  Speaker 4: between you know, him and Brown in the middle of
• 1:36:06
  Speaker 4: the clock, and it's very it's a very scene that
• 1:36:09
  Speaker 4: you recalled. It gets, you know, very long lasting a
• 1:36:12
  Speaker 4: scene in your memory.
• 1:36:13
  Speaker 1: I feel like there is a clock at the beginning
• 1:36:15
  Speaker 1: the very opening scene though, JJ of that, a guy
• 1:36:20
  Speaker 1: hanging off of the clock tower, just like that.
• 1:36:23
  Speaker 9: It's it's so sting.
• 1:36:24
  Speaker 4: You got to find an image of that. I'm gonna
• 1:36:25
  Speaker 4: have to go back and watch it though and find that.
• 1:36:27
  Speaker 3: Do it.
• 1:36:28
  Speaker 1: It's in there.
• 1:36:28
  Speaker 9: It's an opening scene, opening scene.
• 1:36:32
  Speaker 2: It's interesting that errows like it's almost pointing onto like
• 1:36:35
  Speaker 2: the paths that the magicians should take, like which way
• 1:36:41
  Speaker 2: he should go?
• 1:36:41
  Speaker 3: Like I know that I have some things that I
• 1:36:44
  Speaker 3: want to say, but I don't want to say it
• 1:36:45
  Speaker 3: yet because it'll wreck stuff because we're not there yet.
• 1:36:48
  Speaker 8: But yes, absolutely, or should I wreck it?
• 1:36:57
  Speaker 3: What? Nick?
• 1:36:57
  Speaker 4: Did you have anything else on that pen talking about?
• 1:37:01
  Speaker 6: Excuse me?
• 1:37:01
  Speaker 4: On the what that you were talking about? A pin
• 1:37:04
  Speaker 4: on your slides?
• 1:37:05
  Speaker 3: Here?
• 1:37:07
  Speaker 4: Pin somebody who's somebody?
• 1:37:09
  Speaker 6: Oh yeah, yeah, wow, my bad, my bad? Yeah yeah,
• 1:37:12
  Speaker 6: that was the pin that I mentioned before. You can't
• 1:37:13
  Speaker 6: really see it too well, but it is a it's
• 1:37:15
  Speaker 6: a pin that goes back to uh some Russian stuff. Again.
• 1:37:19
  Speaker 6: It's just when when I get into it, it's just
• 1:37:21
  Speaker 6: a lot of stuff rocket stuff Jamatria. Uh yeah, let
• 1:37:25
  Speaker 6: me pull up my notes.
• 1:37:27
  Speaker 4: Wouldn't that be ware of its Russian rocket stuff? It connects.
• 1:37:29
  Speaker 6: Besides, it was something with like art art gallery okay, yeah,
• 1:37:34
  Speaker 6: place of Uh Marty wears a souvenir. It's a souvenir
• 1:37:37
  Speaker 6: button from the Art and Revolution Soviet art and designed
• 1:37:40
  Speaker 6: from nineteen seventeen to nineteen thirty five, exhibition that toured
• 1:37:45
  Speaker 6: the UK in the late nineteen seventies early eighties, mostly
• 1:37:49
  Speaker 6: known at Liverpool's Walker Art Gallery.
• 1:37:52
  Speaker 4: Well, that's a weird thing to incorporate in this film,
• 1:37:55
  Speaker 4: notes think.
• 1:37:55
  Speaker 6: Well, there's tons of like weird Russian shit kster eggs.
• 1:38:00
  Speaker 9: That was very red dawn of them.
• 1:38:03
  Speaker 4: Okay, there you get more more embedding in the communism,
• 1:38:07
  Speaker 4: the era of the of the times, right, Nansi communism.
• 1:38:10
  Speaker 6: Mara's one thing I can bring up I have in
• 1:38:15
  Speaker 6: front of me, now, sure if you don't. It goes
• 1:38:18
  Speaker 6: with the seventeen in the eight It's kind of like.
• 1:38:21
  Speaker 4: What I say, I'm around a roll with these numbers,
• 1:38:23
  Speaker 4: please yeah, please keep going?
• 1:38:26
  Speaker 6: All right? All right? Yeah, when Marty leaves the house,
• 1:38:30
  Speaker 6: he is the address. It's sixteen forty six at equal seventeen,
• 1:38:34
  Speaker 6: and then you can turn that into eight again. Then
• 1:38:39
  Speaker 6: you also get I don't know what made me think
• 1:38:41
  Speaker 6: about it, that is a date, and I looked that
• 1:38:45
  Speaker 6: up for like anything to go with me sonic stuff,
• 1:38:50
  Speaker 6: and back in October twenties, well, October sixteenth, sixteen forty six,
• 1:38:59
  Speaker 6: going by the old calendar, which would be October twenty sixth,
• 1:39:03
  Speaker 6: sixteen forty six. Elias Ashmole, who's a a Brosa Crucian too.
• 1:39:08
  Speaker 6: We've covered him on the Occult Rejects with Absidia Mott,
• 1:39:13
  Speaker 6: and he got initiated into freemasonry. And that is the
• 1:39:22
  Speaker 6: very moment Doc and Marty fire up at the Loren.
• 1:39:26
  Speaker 6: It is October twenty six, nineteen eighty five.
• 1:39:30
  Speaker 4: Interesting, it looks like Marty's address is sixteen forty six.
• 1:39:34
  Speaker 6: Yes, that's why. Yeah, the first.
• 1:39:35
  Speaker 4: Yet, these things are a lot of these things are
• 1:39:39
  Speaker 4: deeply better than what you're telling me. H.
• 1:39:41
  Speaker 6: In sixteen forty six, the Saint John that there was
• 1:39:46
  Speaker 6: a Masonic Wait, hold on one second, there was one
• 1:39:48
  Speaker 6: thing that I wanted to just mention. Anything is interesting.
• 1:39:50
  Speaker 6: Thomas Brown's he has a book that comes out that
• 1:39:54
  Speaker 6: coins in sixteen forty six as well coins the word electricity,
• 1:39:59
  Speaker 6: so the where electricity even comes out in sixteen forty
• 1:40:02
  Speaker 6: six and somebody else that I have mentioned multiple times,
• 1:40:05
  Speaker 6: and I've said about like being able to move you know,
• 1:40:10
  Speaker 6: spirits of demons through light and crystals. Anthony SIUs Kircher
• 1:40:14
  Speaker 6: in sixteen forty six put out a book saying that
• 1:40:17
  Speaker 6: he thinks that you can project moving images with light.
• 1:40:22
  Speaker 4: That's very interesting thing, because that's really what we're talking
• 1:40:24
  Speaker 4: about here, is the magic through the moving images of light.
• 1:40:27
  Speaker 3: Who Yeah, and I should have clarified on my address,
• 1:40:31
  Speaker 3: it's the real address of the real house. So nine
• 1:40:34
  Speaker 3: three zero threw that might be happen because I think
• 1:40:37
  Speaker 3: it does change. I think that's just the actual reel
• 1:40:41
  Speaker 3: at like where they film Oka and I.
• 1:40:44
  Speaker 4: Was just looking at that too hot, do you right?
• 1:40:45
  Speaker 4: There is the idea of they made a fictional address
• 1:40:47
  Speaker 4: for these buildings versus the real locations even the numbers.
• 1:40:51
  Speaker 4: Once again, this because.
• 1:40:52
  Speaker 8: You would purpose right, no reality, Yeah, well there you go,
• 1:40:59
  Speaker 8: there you go.
• 1:40:59
  Speaker 4: That's a good look at it too. Go ahead and.
• 1:41:02
  Speaker 2: Bringing the polls together, you're layering it, you're using you're
• 1:41:06
  Speaker 2: choosing a house that has a magic number to begin with.
• 1:41:09
  Speaker 2: There's lots of houses that do. Then you're going to
• 1:41:12
  Speaker 2: add in your fi metafictional. Very all magicians do this.
• 1:41:16
  Speaker 2: They kind of create like a fake narrative. We could say,
• 1:41:19
  Speaker 2: it's not that it's a lie, it's just that it's
• 1:41:21
  Speaker 2: it's like a movie. It's like kind of fictional, so
• 1:41:24
  Speaker 2: but it's kind of real at the same time, because
• 1:41:26
  Speaker 2: there's like real it's a real underlying truth. Like I'm
• 1:41:29
  Speaker 2: really impressed by everybody. Let me just say, like how
• 1:41:32
  Speaker 2: good like Nick is, Heidi is, Julia is, you are
• 1:41:35
  Speaker 2: JJ Like I didn't know any of this coming into this,
• 1:41:38
  Speaker 2: Like I didn't really have that deep of a thought,
• 1:41:41
  Speaker 2: but I I and I have to say that the
• 1:41:43
  Speaker 2: thing about Jupiter, that height he keeps saying is really
• 1:41:47
  Speaker 2: important because there's the saying call that the spark, the
• 1:41:51
  Speaker 2: mercurial element, that the starting point of the prince is
• 1:41:56
  Speaker 2: the heart of that Jupiter character or the Zeus character.
• 1:42:00
  Speaker 2: It's the heart of hes said. So it has to
• 1:42:03
  Speaker 2: go through his journey in order to be expansive, like lightning,
• 1:42:07
  Speaker 2: to travel through space. That's the whole thing, is to
• 1:42:11
  Speaker 2: become lightning. Then he reflects off the water like a
• 1:42:14
  Speaker 2: mirror and the lightning goes everywhere else and then can
• 1:42:17
  Speaker 2: energize like everything else.
• 1:42:20
  Speaker 4: There's just so much lightning stuff here, right, Oh.
• 1:42:24
  Speaker 3: There's some exactly what he said, and then I'm going
• 1:42:27
  Speaker 3: to say something at that towards the end, and it's
• 1:42:29
  Speaker 3: gonna all come together exactly what he said. Like that's
• 1:42:32
  Speaker 3: how I interpreted it anyway. But I like everybody's stuff
• 1:42:37
  Speaker 3: because it's all different, you know. But it's a duality movie.
• 1:42:41
  Speaker 3: Oh yeah, for sure.
• 1:42:43
  Speaker 4: I think a duality to all of it.
• 1:42:45
  Speaker 6: Right, it's right, dar in Hill Valley, you're getting a
• 1:42:47
  Speaker 6: duality exactly. That's even another thing you Yeah, November fifth
• 1:42:53
  Speaker 6: is one of the dates.
• 1:42:54
  Speaker 4: In the movie, right, November fifth, nineteen fifty five was
• 1:42:58
  Speaker 4: the actual day. I think that's when we developed a
• 1:42:59
  Speaker 4: flux cap.
• 1:43:00
  Speaker 6: That's guy folks, they too, right, Oh yeah, yeah, Hill
• 1:43:04
  Speaker 6: Valley matches Guy Fokes.
• 1:43:07
  Speaker 4: New ship.
• 1:43:08
  Speaker 6: Yes.
• 1:43:10
  Speaker 3: Well, And you mentioned Germany before and Einstein's Freemasons stuff.
• 1:43:15
  Speaker 3: The Freemason lodge that he was reportedly associated with is
• 1:43:20
  Speaker 3: the Theodore ding new Hoff number one.
• 1:43:23
  Speaker 8: One one in Berlin, Germany. I thought that was weird.
• 1:43:28
  Speaker 6: Nice, No, Hill Valley just even throw in the two
• 1:43:34
  Speaker 6: which I thought was weird because as I go along,
• 1:43:37
  Speaker 6: like when we talk about things all at the Jamacia,
• 1:43:39
  Speaker 6: as I follow it in my notes, you get a
• 1:43:41
  Speaker 6: lot of twins stuff coming up, and you even have
• 1:43:44
  Speaker 6: twin pines. You don't know a lot of stuff. It
• 1:43:46
  Speaker 6: does match the twins in twin peaks and two keys.
• 1:43:51
  Speaker 6: I thought that was maybe interesting because I think I
• 1:43:54
  Speaker 6: started getting uh, all right, just real quick. It is
• 1:43:57
  Speaker 6: the next thing I have anyway at mayor Goldie Wilson.
• 1:44:00
  Speaker 6: I looked up, you know, Goldie Wilson. His his name
• 1:44:03
  Speaker 6: matches twin dragons, the Secret Key, and Wilson equals the
• 1:44:07
  Speaker 6: Joker and the Dragon, and Valley equals like Martister USSR
• 1:44:12
  Speaker 6: and Caduces.
• 1:44:14
  Speaker 4: How do you like?
• 1:44:16
  Speaker 8: And man the Caducers too.
• 1:44:19
  Speaker 6: You will get an excluppius later on, which is, you know,
• 1:44:22
  Speaker 6: the same thing, just man minus one of the one
• 1:44:25
  Speaker 6: of the snakes. Right.
• 1:44:27
  Speaker 1: Also, if you add eleven plus five plus fifty five
• 1:44:32
  Speaker 1: is seventy one some plus one, you get.
• 1:44:36
  Speaker 6: Another eight holy smokes eleven times eleven one twenty one.
• 1:44:41
  Speaker 4: The eights are really everywhere in this film. I mean
• 1:44:43
  Speaker 4: they went really hard tocore on that. Huh Yeah, old Maxing. Yeah,
• 1:44:46
  Speaker 4: for sure, shooting Max and I like that. I like
• 1:44:49
  Speaker 4: the Maxing terminology of the I'm trying to the zoo
• 1:44:52
  Speaker 4: the Zoomers. That's more of a Zoomer term.
• 1:44:54
  Speaker 2: I feel like, Yeah, but if you're very online, like
• 1:44:57
  Speaker 2: if you're.
• 1:44:58
  Speaker 4: Now, is that a keynote term where we that's from the.
• 1:45:02
  Speaker 2: Zoomers, but it's it's kidding by Millennial Saturday.
• 1:45:05
  Speaker 3: It's cool.
• 1:45:06
  Speaker 6: Yo. I had that stuff on Jennifer.
• 1:45:08
  Speaker 4: It kind of cracks me up, right, like the whole
• 1:45:10
  Speaker 4: idea of MAXI right this, you go ahead, nic what
• 1:45:13
  Speaker 4: we're saying.
• 1:45:14
  Speaker 6: Yes, I didn't throw up.
• 1:45:14
  Speaker 4: I had that.
• 1:45:15
  Speaker 6: I finally looked at that stuff with the Jennifer the
• 1:45:17
  Speaker 6: jamacho U asked me to talk about Yeah, that equals
• 1:45:21
  Speaker 6: in simple Venus Horus Mason's square tower the fool. Her
• 1:45:28
  Speaker 6: phone number is five five five four eight two seven. Now,
• 1:45:33
  Speaker 6: I mean I just kind of took out the five
• 1:45:34
  Speaker 6: to five. No, I'm sorry, four eight two three. I
• 1:45:36
  Speaker 6: took out the five five five because that's like on everything,
• 1:45:39
  Speaker 6: and the last four would equal seventeen. You can add
• 1:45:42
  Speaker 6: to eight again, damn. And he lives in Lion in
• 1:45:47
  Speaker 6: the States. And then simple that equals twin and lion
• 1:45:50
  Speaker 6: and Hebrew equals Russian.
• 1:45:54
  Speaker 8: Well there the twin pillars, don't you think?
• 1:45:56
  Speaker 4: Yeah? And they were back to the duality here too, right,
• 1:45:59
  Speaker 4: we got the the different versions of the mall during
• 1:46:02
  Speaker 4: different times. Right with this, like you're saying, Julia with
• 1:46:06
  Speaker 4: the with the nine to eleven predicted programming aspects to you,
• 1:46:09
  Speaker 4: you also have the single tower now too. Right.
• 1:46:12
  Speaker 1: Well, I was going to say, I think this would
• 1:46:14
  Speaker 1: be a good time if if you could jj to
• 1:46:17
  Speaker 1: play my clip. If not, I can he text it
• 1:46:21
  Speaker 1: to Nick and see if he can get it pulled
• 1:46:24
  Speaker 1: up on his But I did email it to you.
• 1:46:27
  Speaker 4: Well, well, let's uh, you know, I I'll work on
• 1:46:30
  Speaker 4: that here. Let's let's start talking about some of your
• 1:46:33
  Speaker 4: thoughts here on the mall. Well, I get that clip
• 1:46:35
  Speaker 4: up here for us please.
• 1:46:36
  Speaker 3: I mean the twin twin turns to the loan because
• 1:46:40
  Speaker 3: he's finished the journey.
• 1:46:41
  Speaker 8: He's not he's coming out, he's not going in. So
• 1:46:45
  Speaker 8: it's completion type.
• 1:46:47
  Speaker 3: Is it? One?
• 1:46:48
  Speaker 9: Thirty four am eight?
• 1:46:50
  Speaker 1: As well?
• 1:46:50
  Speaker 8: It's all eight mm hmm.
• 1:46:53
  Speaker 2: There, but never reduced. You should really never reduce a
• 1:46:56
  Speaker 2: prime number. I'm not saying you're wrong it's not it's
• 1:46:59
  Speaker 2: not like that. You're right, it's eight, but it's all
• 1:47:02
  Speaker 2: it should be seventeen. But Heidi's right because it is.
• 1:47:05
  Speaker 2: It's showing a different path on the tree. So it's
• 1:47:08
  Speaker 2: the one plus the thirty four. Thirty four is the
• 1:47:10
  Speaker 2: number of apotheosis. So you've gone through the whole tree
• 1:47:14
  Speaker 2: and then you've exactly like Heidi said, you've come back
• 1:47:18
  Speaker 2: into the kingdom. But the twin pines mall you've split off.
• 1:47:23
  Speaker 2: You are the hero on the dragon, you are the
• 1:47:26
  Speaker 2: beast and the hero both, and then you've just gone
• 1:47:30
  Speaker 2: up straight to tiffer it. So you have to the son,
• 1:47:33
  Speaker 2: which is again to your point about the lions, Julia, like,
• 1:47:35
  Speaker 2: that's what the symbol is. Leo is the son, so
• 1:47:39
  Speaker 2: that's why you see that there. So it's like, that's
• 1:47:41
  Speaker 2: also the beast. That's why it's a noble animal, but
• 1:47:44
  Speaker 2: it's also a beast.
• 1:47:46
  Speaker 3: And also the son. It is the son doing the
• 1:47:49
  Speaker 3: journey for the father because he takes his place and
• 1:47:52
  Speaker 3: kicks him out of his place where he should be
• 1:47:56
  Speaker 3: because he's the one that gets hit by the car.
• 1:47:59
  Speaker 8: So therefore, once again, can.
• 1:48:01
  Speaker 1: We just say the fact that George McFly was a
• 1:48:05
  Speaker 1: peeping creep in to.
• 1:48:09
  Speaker 8: Weird, so weird, I'm a sexual sex magic again.
• 1:48:15
  Speaker 4: You're getting, yeah, that's all that gets super creepy, really
• 1:48:19
  Speaker 4: circunsidering all those aspects, it is dark. So you're saying
• 1:48:23
  Speaker 4: there's some sex magic aspects the numerology of that.
• 1:48:27
  Speaker 8: There's some like actual like outward ones at the end too.
• 1:48:31
  Speaker 3: And with George McFly, I I dare say, when we
• 1:48:35
  Speaker 3: get to him, it'll make a lot more sense. I'm
• 1:48:37
  Speaker 3: going to hold onto it so I don't mess you
• 1:48:38
  Speaker 3: guys up, because we're going to play the clip.
• 1:48:40
  Speaker 2: And I don't know if Nick said this, but maybe
• 1:48:42
  Speaker 2: he is the fool.
• 1:48:45
  Speaker 4: We're gonna have to take a moment on that clip
• 1:48:46
  Speaker 4: because I couldn't quiet download, but I didn't forward. He
• 1:48:49
  Speaker 4: can handle it. My connections to the moment and the
• 1:48:52
  Speaker 4: file was too big?
• 1:48:55
  Speaker 1: Can I text?
• 1:48:57
  Speaker 6: I got it right now?
• 1:48:59
  Speaker 8: Perfect?
• 1:49:00
  Speaker 1: If you can, if you're if you're able to play,
• 1:49:02
  Speaker 1: that would be super helpful. It wouldn't It wouldn't let
• 1:49:08
  Speaker 1: me share it all on my end.
• 1:49:11
  Speaker 3: I can say one thing, why we're going and talking
• 1:49:14
  Speaker 3: about this about George, If you guys want so.
• 1:49:18
  Speaker 4: I truly done with everything von Braun here is ever
• 1:49:21
  Speaker 4: telling me?
• 1:49:22
  Speaker 8: I think, well, yeah, yeah, I think okay, the.
• 1:49:26
  Speaker 2: Whole film, that's just the whole The whole film is
• 1:49:29
  Speaker 2: you can consider like a von Braun Parson.
• 1:49:33
  Speaker 4: Yeah, I think so, yeah, I think so.
• 1:49:35
  Speaker 2: Even this image that you pulled up, it's call a
• 1:49:38
  Speaker 2: sec exactly like what Nick said, most people don't pick
• 1:49:42
  Speaker 2: up the purple density I've been on. Most people don't.
• 1:49:44
  Speaker 2: They'll associate black like deep black, but there's actually a
• 1:49:48
  Speaker 2: flashing blue and a purple there.
• 1:49:50
  Speaker 6: Purple purple is basically saturn.
• 1:49:54
  Speaker 2: That's right, that's a right When Nick said, like, that's
• 1:49:57
  Speaker 2: like that's more deep knowledge, Like most people wouldn't say that,
• 1:50:00
  Speaker 2: they would say black or whatever. So that's what I mean,
• 1:50:05
  Speaker 2: like a little more you'd have to have a little
• 1:50:08
  Speaker 2: more magic knowledge maybe to like pick that specific thing
• 1:50:13
  Speaker 2: rather than just pick Like if you're picking from a book,
• 1:50:16
  Speaker 2: you're going to pick black because that's what the books
• 1:50:18
  Speaker 2: would tell you. But if you're picking from experience, you'd
• 1:50:22
  Speaker 2: pick purple with the flashing gold and the lightning in between,
• 1:50:27
  Speaker 2: because that's like the luminosity.
• 1:50:29
  Speaker 1: Do you think that it's significant The mayor's name is
• 1:50:33
  Speaker 1: Goldie whatever, whatever, Goldie Wilson. Wilson, Yeah, Goldie Wilson, Like
• 1:50:41
  Speaker 1: because you mentioned the J. C.
• 1:50:43
  Speaker 9: Penny and like the other stuff, and then like the
• 1:50:46
  Speaker 9: mayor's name is Goldie.
• 1:50:49
  Speaker 8: That's interesting.
• 1:50:50
  Speaker 1: Could be also inspired by Marty because Marty says, oh,
• 1:50:55
  Speaker 1: you should run for mayor. So it's like he impacted
• 1:50:58
  Speaker 1: that outcome as well.
• 1:51:01
  Speaker 4: His will a very gump experience, you know before Zamicas
• 1:51:05
  Speaker 4: is Forest Gump. I mean, Marty McFly did a lot
• 1:51:07
  Speaker 4: a lot of Yeah, we're saying, Jane, apologize, I stepped
• 1:51:15
  Speaker 4: on you.
• 1:51:15
  Speaker 2: Well, no, no, that's okay. I just think that that
• 1:51:17
  Speaker 2: was a really interesting point Julia made, like about the mayor,
• 1:51:21
  Speaker 2: and then Nick said, like a bunch of amazing points
• 1:51:23
  Speaker 2: about the mayor's name, like the double keys. That's very
• 1:51:27
  Speaker 2: Saint Peter, Like we're talking about a braxis part of
• 1:51:29
  Speaker 2: his sigil is a key. Saint Peter holds the double keys,
• 1:51:33
  Speaker 2: but there was actually more than two keys to get
• 1:51:35
  Speaker 2: into the gate of habit in a more esoteric greeting.
• 1:51:38
  Speaker 2: So that's really interesting, right, And so yeah, maybe he's
• 1:51:42
  Speaker 2: like the he's the grand master of the town. He's
• 1:51:44
  Speaker 2: like the grand master mason of their little lodge in
• 1:51:47
  Speaker 2: the middle of wherever they are. So that's what I
• 1:51:51
  Speaker 2: would see him as. He's the tifferatic in nature. He's
• 1:51:53
  Speaker 2: a thirty three even has like his one of his
• 1:51:56
  Speaker 2: billboards had magic numbers. I don't remember what it was.
• 1:51:59
  Speaker 2: I'm sure wrote it in his notes, but I just
• 1:52:03
  Speaker 2: I that's like immediately what I thought, like Goldie Wilson tifferatic,
• 1:52:08
  Speaker 2: like Okay, he's going to be the boss. But he
• 1:52:10
  Speaker 2: was projected outwards so that it was like a very
• 1:52:13
  Speaker 2: I consider this film like very plus ultra like it's
• 1:52:15
  Speaker 2: very like magicians wrote it. Magicians kind of inserted their
• 1:52:19
  Speaker 2: little you know, little like little tricks and interesting little
• 1:52:25
  Speaker 2: points to the East Eggs as I do you call them.
• 1:52:27
  Speaker 2: That's a perfect way to describe it. So they inserted
• 1:52:30
  Speaker 2: it in and they're like, oh, how deep? How many
• 1:52:32
  Speaker 2: layers can you go? Because interestingly, this is considered a
• 1:52:36
  Speaker 2: perfect film, like there's no technical errors. The editing is
• 1:52:41
  Speaker 2: considered like really really good, right, So it's a perfect
• 1:52:45
  Speaker 2: hermeneutic to carry the magicians East Eggs seeds forward into
• 1:52:51
  Speaker 2: the future, because what travels through space and time but
• 1:52:56
  Speaker 2: flashing light and moving images?
• 1:53:01
  Speaker 4: Ye, yeah, for sure, I got. I finally got your
• 1:53:03
  Speaker 4: video cued up here, Julia. I was able to finally
• 1:53:06
  Speaker 4: download it here. My connection got.
• 1:53:07
  Speaker 6: Better, but I just concarting it.
• 1:53:10
  Speaker 4: I couldn't get it, but no, I don't. I couldn't
• 1:53:15
  Speaker 4: get I got have to share it from a different app.
• 1:53:17
  Speaker 4: But do we have any more commentary here on some
• 1:53:20
  Speaker 4: of the this George rook Flaud before we jump into
• 1:53:23
  Speaker 4: that George.
• 1:53:25
  Speaker 8: Yeah, I have lots on George, but I can wait until.
• 1:53:27
  Speaker 3: You know it's got them up right now, Okay, I
• 1:53:32
  Speaker 3: just think that George, there's a couple of things that
• 1:53:35
  Speaker 3: were Easter eggs that I found, and that's that. He
• 1:53:39
  Speaker 3: he mentioned that he was a left handed person, but
• 1:53:43
  Speaker 3: he's writing right handed for some most of it.
• 1:53:46
  Speaker 8: And they used to push this on.
• 1:53:47
  Speaker 3: People because it was very seen as negative. And I
• 1:53:51
  Speaker 3: dare say this whole thing is about how George's life
• 1:53:55
  Speaker 3: is going to be changed if he continues on right
• 1:53:59
  Speaker 3: hand path or the left hand path right and they're
• 1:54:01
  Speaker 3: forcing him to be on the right hand path, but
• 1:54:03
  Speaker 3: we don't really.
• 1:54:04
  Speaker 8: Know if that's what he would decide. And so we
• 1:54:09
  Speaker 8: also have his name means earthworker or farmer, and or
• 1:54:14
  Speaker 8: it means works with the dirt, which we get back
• 1:54:17
  Speaker 8: to Adam. Adam means ready we get into the whole
• 1:54:20
  Speaker 8: Adam you know Mason type stuff there when we're talking
• 1:54:25
  Speaker 8: about creation.
• 1:54:26
  Speaker 3: So where George is concerned. I think it's pretty interesting
• 1:54:31
  Speaker 3: that eventually, when he's had enough of enough and he
• 1:54:34
  Speaker 3: punches the guy, he does it with his left hand,
• 1:54:41
  Speaker 3: even though he's been using his right hand the whole.
• 1:54:44
  Speaker 8: Time, and so it's kind yeah, and then what happens
• 1:54:50
  Speaker 8: is he goes home.
• 1:54:51
  Speaker 3: And also we have to remember the lightning path is
• 1:54:55
  Speaker 3: a direct ascension, and it's fast and it works, but
• 1:54:58
  Speaker 3: also it's not always the best way. It's very magical.
• 1:55:02
  Speaker 3: It's very left hand path to choose lightning, and you
• 1:55:07
  Speaker 3: go back and his life is completely not hard anymore.
• 1:55:10
  Speaker 3: He's got all the comforts which would be very Luciferian,
• 1:55:13
  Speaker 3: very left hand pathy, like, okay, you know, it's much
• 1:55:17
  Speaker 3: better now. Now he's bossing people around. Now he's the
• 1:55:20
  Speaker 3: boss of his own universe, and he's chosen. That one
• 1:55:25
  Speaker 3: thing changed everything for George, that punch.
• 1:55:28
  Speaker 4: Sure, so I can go on the left handed path, huh,
• 1:55:33
  Speaker 4: That's how I felt about it.
• 1:55:36
  Speaker 2: Interesting, that was an incredible point. I have to say, like, honestly,
• 1:55:40
  Speaker 2: I didn't touch on it all, but it's like sounds
• 1:55:43
  Speaker 2: so obvious when Heidi's singing, and I'm like, oh fuck,
• 1:55:46
  Speaker 2: why did I?
• 1:55:47
  Speaker 8: Why did I had help with the punch? But the
• 1:55:50
  Speaker 8: thoughts were mine on the rest.
• 1:55:53
  Speaker 4: I think the folks of the chat and the interwews
• 1:55:55
  Speaker 4: you're agree with you, HOWI that's an excellent point, Thank you.
• 1:55:58
  Speaker 8: Thank you. I think that that's all all you know.
• 1:56:01
  Speaker 3: And so when we think about Marty, why is he
• 1:56:04
  Speaker 3: the one going through this path right because he took
• 1:56:07
  Speaker 3: the Dad's place. We're back to isis what happens with
• 1:56:11
  Speaker 3: Horace is the son is the father, and the father
• 1:56:15
  Speaker 3: is the son. The son is the recreation of the father.
• 1:56:18
  Speaker 3: So he takes over the journey to fix it for
• 1:56:21
  Speaker 3: him because he's too much of a goofball really to
• 1:56:23
  Speaker 3: do this right, Like he's just not doing it correctly.
• 1:56:26
  Speaker 3: So the son is fixing it all the way. And
• 1:56:29
  Speaker 3: then he ultimately gets the choice with the hit and
• 1:56:32
  Speaker 3: he chooses which way he goes there, and then his
• 1:56:36
  Speaker 3: whole life is completely changed after that.
• 1:56:39
  Speaker 4: So that's fascinating when to look at.
• 1:56:41
  Speaker 2: That, and he's able to reconcile sort of the changes
• 1:56:45
  Speaker 2: in his life. So he's like the true hermetic character
• 1:56:49
  Speaker 2: of the movie.
• 1:56:51
  Speaker 3: Yes, and they're one and the same because you know,
• 1:56:54
  Speaker 3: the son is the father for a brief time until
• 1:56:56
  Speaker 3: he returns to reality, which is why it's not reality,
• 1:57:01
  Speaker 3: because it's you know, he's fixing past.
• 1:57:05
  Speaker 4: So what's the show on it? What's the show on
• 1:57:08
  Speaker 4: the background?
• 1:57:09
  Speaker 3: Here?
• 1:57:09
  Speaker 4: There's a good question from Dolan Ferguson. It's it's Ralph Cramdon,
• 1:57:12
  Speaker 4: right and the honeymooner's right? Is it?
• 1:57:15
  Speaker 8: I can't e would tell.
• 1:57:17
  Speaker 4: Doesn't Ralph always want to send his wife to the moon?
• 1:57:21
  Speaker 3: Oh?
• 1:57:21
  Speaker 11: I think so?
• 1:57:22
  Speaker 4: Yeah, yeah, he's always send his wife to the moon.
• 1:57:25
  Speaker 4: I mean it's a little domestic violence, but I mean
• 1:57:26
  Speaker 4: he's always trying to send his wife to the moon
• 1:57:28
  Speaker 4: by hitting her, right.
• 1:57:34
  Speaker 2: Heid he said a really great plaint about how like, yeah,
• 1:57:37
  Speaker 2: he's rectifying the past. She didn't use that exact phrase,
• 1:57:40
  Speaker 2: but it does exactly what she. I mean, we're all
• 1:57:42
  Speaker 2: speaking the same language, so that's what she's talking about, shering.
• 1:57:45
  Speaker 2: You bring both hands into synthesis. You're fixing the sins
• 1:57:48
  Speaker 2: of the father. Yes, it is in the dream of
• 1:57:51
  Speaker 2: the magician, dream of the you know, person traveling. We're
• 1:57:54
  Speaker 2: saying Marty. So it's like in his dream. But for
• 1:57:58
  Speaker 2: the even in that dream he is though he is
• 1:58:00
  Speaker 2: those people. That's tarycromatically correct. That sounds weird.
• 1:58:04
  Speaker 4: I'm sorry, No, that's a good Now, I'm appreciate. That's
• 1:58:07
  Speaker 4: a good point there. I just want to one cavet
• 1:58:09
  Speaker 4: on the show. So that was the show. Later when
• 1:58:11
  Speaker 4: he goes back in nineteen fifty five, the one there
• 1:58:13
  Speaker 4: with George McFly, we see in the background him watching
• 1:58:16
  Speaker 4: eight nineteen eighty five is Science Fiction Theater, which was
• 1:58:20
  Speaker 4: a show from nineteen fifty five. It was his favorite
• 1:58:22
  Speaker 4: show apparently as a child or whatever they're you know,
• 1:58:24
  Speaker 4: as a teenager. So it's a little you know, it's
• 1:58:26
  Speaker 4: a little interesting, right, a little. The show in the
• 1:58:28
  Speaker 4: background is Science Fiction Theater. And then again they're doing
• 1:58:31
  Speaker 4: some you know that more space stuff, right, more.
• 1:58:33
  Speaker 3: Space space yep, not that more many though, No Mason
• 1:58:39
  Speaker 3: Mason's and a could tea today.
• 1:58:45
  Speaker 4: So do we have anything else here on mister McFly,
• 1:58:49
  Speaker 4: and before we kind of go over some of the
• 1:58:50
  Speaker 4: esoteric aspects and the cold aspects of the journey that
• 1:58:54
  Speaker 4: they go on here, No, but I.
• 1:58:56
  Speaker 3: Have a funny little piece because you know, I love
• 1:58:59
  Speaker 3: JFK so much when he goes back to the Ronald
• 1:59:01
  Speaker 3: Reagan thing and and he blows Doc's mind and he's.
• 1:59:04
  Speaker 8: Like, well, who's the president then? And he's like Ronald
• 1:59:07
  Speaker 8: Reagan and he and he says, why you have got
• 1:59:11
  Speaker 8: an actor? Like does he need to look good on TV?
• 1:59:13
  Speaker 3: That's a hat tip to JFK because JFK once time
• 1:59:17
  Speaker 3: got on a speech.
• 1:59:18
  Speaker 8: Yeah, and he was like, I'm just gonna win because
• 1:59:21
  Speaker 8: I look good.
• 1:59:22
  Speaker 4: That's interesting because I have that clip right here. Roady, Doc,
• 1:59:25
  Speaker 4: you gotta believe me?
• 1:59:26
  Speaker 2: Then tell me, suture boy, who's president of the United
• 1:59:31
  Speaker 2: States in nineteen eighty five?
• 1:59:34
  Speaker 6: Ronald Reagan, Ronald Reagan the actor, it's dot you gotta
• 1:59:40
  Speaker 6: believe me that tell me?
• 1:59:42
  Speaker 4: I think that all. I think that also ties into
• 1:59:44
  Speaker 4: the Donald Trump aspects that we see that introduced back
• 1:59:47
  Speaker 4: to the future too and kind of that kind of
• 1:59:49
  Speaker 4: predictive nature as I was referring to, where did these
• 1:59:51
  Speaker 4: ideas come from? But that is an interesting aspect of
• 1:59:54
  Speaker 4: JFK too, perspective.
• 1:59:55
  Speaker 1: Did you notice when Marty gets to nineteen fifty five
• 2:00:00
  Speaker 1: and he's walking through town Square, the movie that's on
• 2:00:03
  Speaker 1: it the movies is a Ronald Reagan.
• 2:00:06
  Speaker 6: No shit, well I know what one it is when
• 2:00:09
  Speaker 6: they get yeah, yeah, yeah, it's up on the Yeah
• 2:00:12
  Speaker 6: the first thing, Yeah what wait what you just said?
• 2:00:13
  Speaker 9: You on the movie zooms in on it. Yeah, it
• 2:00:16
  Speaker 9: says Ronald Reagan.
• 2:00:18
  Speaker 6: And that's awesome.
• 2:00:22
  Speaker 2: It's a meta movie. Before the meta movie, I never
• 2:00:24
  Speaker 2: really thought about it like that because this never really
• 2:00:27
  Speaker 2: gets considered to be like a meta film. The first
• 2:00:30
  Speaker 2: meta film was Thesis, which is a Spanish film from
• 2:00:33
  Speaker 2: like nineteen ninety five. So we're talking about like pretty
• 2:00:36
  Speaker 2: late like past this film. But this film really actually
• 2:00:40
  Speaker 2: has it all. It's really telling you. It's like everything's
• 2:00:43
  Speaker 2: not in a wink to the outside reality, to the
• 2:00:47
  Speaker 2: outside world. So it's very interesting.
• 2:00:51
  Speaker 4: Yeah, well, I totally agree, and I think that's a
• 2:00:54
  Speaker 4: good point. It's good jumping off point for the video
• 2:00:56
  Speaker 4: that that Julian wants to share with this year, which
• 2:00:58
  Speaker 4: I've I've kind of it down here. It's the name
• 2:01:01
  Speaker 4: of the video. I apologize, Julie, but I've kind of
• 2:01:03
  Speaker 4: keyed it down to these aspects of what we're just
• 2:01:05
  Speaker 4: talking about there and the Twin Pines, mall the nine
• 2:01:07
  Speaker 4: to eleven predictive programming. I am familiar with this clip.
• 2:01:10
  Speaker 4: Is is this true? Stream media?
• 2:01:11
  Speaker 3: Is that?
• 2:01:12
  Speaker 4: Who is that? Who originated this clip?
• 2:01:14
  Speaker 1: So Colby found it and he talked about it on
• 2:01:17
  Speaker 1: his podcast, which is where this clip is from. If
• 2:01:22
  Speaker 1: we can't play the whole thing, that's fine because I
• 2:01:24
  Speaker 1: can sum it all up however much we watch. If
• 2:01:28
  Speaker 1: we don't get the rest of it, I can sum
• 2:01:30
  Speaker 1: it up. But the video that is in this clip
• 2:01:34
  Speaker 1: is no longer available. It got removed. You can't find
• 2:01:38
  Speaker 1: it on YouTube, you can't find it anywhere. So that's
• 2:01:42
  Speaker 1: why I had to get the clip from his podcast episode,
• 2:01:46
  Speaker 1: because you can't even go find the actual clip itself.
• 2:01:48
  Speaker 9: So it's one of those things.
• 2:01:54
  Speaker 4: I think I've seen a long time ago. I think
• 2:01:55
  Speaker 4: it was. I didn't realize it had been. It had
• 2:01:57
  Speaker 4: been memory hold with the way Houdini here because that, Yeah,
• 2:02:00
  Speaker 4: think it was true stream media that made that up originally.
• 2:02:02
  Speaker 9: Yeah, they've removed it from everywhere.
• 2:02:05
  Speaker 4: Interesting, Yeah, No, I think there's some great points brought
• 2:02:11
  Speaker 4: up in here with even additional layering of this whole
• 2:02:14
  Speaker 4: you know, this whole nine to eleven twenty hours business, right,
• 2:02:18
  Speaker 4: you know again, it's I don't know if I don't
• 2:02:21
  Speaker 4: know if that's the true stream media. The name, the
• 2:02:23
  Speaker 4: name of that one, well, I don't remember all these names,
• 2:02:25
  Speaker 4: too many names, but yeah, I have come across this clip.
• 2:02:28
  Speaker 4: But it's interesting they would memory hole it there, right,
• 2:02:29
  Speaker 4: because it's almost like it provides validity to the fact
• 2:02:33
  Speaker 4: that there's something way, way deeper going on here.
• 2:02:35
  Speaker 8: Huh Yeah, yeah.
• 2:02:39
  Speaker 4: Do we have anything other commentary there before we start
• 2:02:41
  Speaker 4: the clip? I think you were gonna say something.
• 2:02:45
  Speaker 6: Yeah, I think should already moved my notes. Yeah, there
• 2:02:49
  Speaker 6: was something I was gonna say about George mcfl about
• 2:02:51
  Speaker 6: the stuff that is. Yeah, sorry, George mcflight again when
• 2:02:58
  Speaker 6: you get i'd already mentioned dragging the keys. His name
• 2:03:01
  Speaker 6: equals three keys and wood dragon, and George does equal magician,
• 2:03:05
  Speaker 6: pineal Rose and Saturnalia. Yeah, and Lorraine his mother and
• 2:03:16
  Speaker 6: his Lorraine his mother's name equals Kronos.
• 2:03:19
  Speaker 4: And there's the what's you know? Is there any reference
• 2:03:21
  Speaker 4: to the Cross of the Lorraine with the name with
• 2:03:23
  Speaker 4: the use of the name Lorraine, Yeah.
• 2:03:28
  Speaker 2: Yeah, because if if to go with what Heidi had
• 2:03:31
  Speaker 2: pointed out, like it's it can be also translated as
• 2:03:34
  Speaker 2: the Queen, so Lorraine is also a region in France,
• 2:03:38
  Speaker 2: so all of like people with that name that would
• 2:03:41
  Speaker 2: have originated in that region of France. So yeah, it's
• 2:03:44
  Speaker 2: like a very templar Rosicrucian, you know, very like it's
• 2:03:48
  Speaker 2: a very magician's nod to something like waing quain like
• 2:03:52
  Speaker 2: look over here.
• 2:03:55
  Speaker 3: Well, and to your point, Nick put to the pineal
• 2:03:58
  Speaker 3: the twin pines. I mean, we've got pines, pine cones
• 2:04:02
  Speaker 3: a neil, so that's all gonna be pressing.
• 2:04:09
  Speaker 4: Yeah, with the twin pines, that's very that's very much
• 2:04:12
  Speaker 4: a nod of that high with the pine cones.
• 2:04:14
  Speaker 9: I was gonna say that.
• 2:04:18
  Speaker 1: Pine cone.
• 2:04:21
  Speaker 4: All right, Well on that day, we'll we'll uh, we'll
• 2:04:23
  Speaker 4: get started here on this journey on this video. Maybe
• 2:04:35
  Speaker 4: I gotta get some sound going for us here.
• 2:04:39
  Speaker 1: Yeah, oh, I don't think the sound is coming through?
• 2:04:51
  Speaker 4: Is the sound not coming through?
• 2:04:53
  Speaker 3: No?
• 2:04:55
  Speaker 4: Shoot, I was afraid of that.
• 2:05:00
  Speaker 8: Well, can you walk through it with your analysis? Why
• 2:05:03
  Speaker 8: we watched the visual.
• 2:05:05
  Speaker 4: Julia, do you mind telling us what's going on here?
• 2:05:11
  Speaker 8: Oh?
• 2:05:12
  Speaker 9: She muted, Sorry, I can definitely do that.
• 2:05:16
  Speaker 1: If you back it up to the beginning, we can
• 2:05:18
  Speaker 1: speak through the whole eight minute thing. In like two seconds,
• 2:05:21
  Speaker 1: because I can break it down for you myself. But yeah,
• 2:05:28
  Speaker 1: take it all the way back and I'll tell you
• 2:05:30
  Speaker 1: when to fast forward it or whatever. So this guy
• 2:05:34
  Speaker 1: is basically talking about how Back to the Future is
• 2:05:39
  Speaker 1: predicting the nine to eleven terif attacks, and he starts
• 2:05:47
  Speaker 1: with this letter because in the background here if you
• 2:05:50
  Speaker 1: can see us, he's writing this letter to Doc Brown,
• 2:05:53
  Speaker 1: there's this there's a sign in the back with the
• 2:05:54
  Speaker 1: big nine on it and it's set.
• 2:05:57
  Speaker 4: Same intersection with was that an eight? Was that at
• 2:06:00
  Speaker 4: eight and three? The same when we saw the four Bloods.
• 2:06:03
  Speaker 6: I thought I was the ship, putting the ship in
• 2:06:05
  Speaker 6: my nose.
• 2:06:07
  Speaker 1: Well, this right here he's saying like twin pines and
• 2:06:12
  Speaker 1: actually the the terrorist attack with the twin pines, And
• 2:06:17
  Speaker 1: if you flip the time upside down, it's nine to eleven.
• 2:06:23
  Speaker 1: And so we got nine eleven at Twin Pines Mall
• 2:06:29
  Speaker 1: with the terrorist attack, and then the pines are representing
• 2:06:34
  Speaker 1: the towers whatever. And then at the end of the
• 2:06:38
  Speaker 1: movie it's lone Pine representing the single.
• 2:06:44
  Speaker 9: What do they call it, the One World Tower.
• 2:06:48
  Speaker 8: Whatever it is, Yeah, Trade Center.
• 2:06:53
  Speaker 1: And then again Doc Brown on his clock, he sends
• 2:06:57
  Speaker 1: ay into the future one nineteen that's another nine to eleven.
• 2:07:03
  Speaker 1: But in the second back to the future, they got
• 2:07:05
  Speaker 1: the Twin Pines on the TV and they changed the
• 2:07:09
  Speaker 1: channel and it immediately becomes a visual of the Twin
• 2:07:15
  Speaker 1: Towers right there. Yeah, so it's like they're tin pines,
• 2:07:22
  Speaker 1: just like in the first one. Then it goes to
• 2:07:23
  Speaker 1: the Twin Towers. This is supposed to be in twenty fifteen,
• 2:07:26
  Speaker 1: right into the future, and the he's shown the nine
• 2:07:32
  Speaker 1: to eleven thing again, the terrorist attacks the Libyans.
• 2:07:37
  Speaker 9: Uh huh, and he talks about how.
• 2:07:40
  Speaker 1: This guy right here, I think it's Georg McFly, he's
• 2:07:43
  Speaker 1: hanging upside down right oh, in the Statue of Liberty Torch,
• 2:07:47
  Speaker 1: which also is like the New York reference with the
• 2:07:50
  Speaker 1: twin Towers there, But uh, is it George McFly in
• 2:07:57
  Speaker 1: the second one that's hanging upside down in this scene.
• 2:07:59
  Speaker 4: I can't remember or is it market it's George, but
• 2:08:02
  Speaker 4: it's not Crispin Glover. It is George the character Georgeman play.
• 2:08:06
  Speaker 1: Right, So if you look at it from his perspective,
• 2:08:10
  Speaker 1: basically with him hanging upside down, he'll flip it and
• 2:08:14
  Speaker 1: it'll show like this is a projection of the towers
• 2:08:18
  Speaker 1: falling in back to the future too.
• 2:08:24
  Speaker 4: But if you act Jerio Hangman, is that what you said?
• 2:08:28
  Speaker 2: It's very.
• 2:08:31
  Speaker 1: But if you speed it up just a little bit,
• 2:08:34
  Speaker 1: because we already talked about this part. It's in towers
• 2:08:38
  Speaker 1: Da Da Da nine to eleven hanging upside down.
• 2:08:41
  Speaker 6: We talked about all the Libyans where the pharaohs like military.
• 2:08:46
  Speaker 6: I did not know that, yes, yeah, yeah, And and
• 2:08:49
  Speaker 6: in this uh, this bit, I just all since you
• 2:08:51
  Speaker 6: waiting for it fast forward, they do they do, they
• 2:08:54
  Speaker 6: do specify it's in a K forty seven and they said,
• 2:08:57
  Speaker 6: damn Russian guns or some shit like that, because I
• 2:09:00
  Speaker 6: do have tons of stuff that points to Russia. So
• 2:09:02
  Speaker 6: I'm even trying to show that with this part two.
• 2:09:06
  Speaker 1: So in this part he's talking about how it says
• 2:09:10
  Speaker 1: tower strike on the newspaper, tower struck like twin towers,
• 2:09:18
  Speaker 1: tower struck, and how in this scene it cuts it off,
• 2:09:22
  Speaker 1: but it goes nine eleven with the fire nine one one.
• 2:09:27
  Speaker 1: And then in the background is they all seeing eye
• 2:09:32
  Speaker 1: that is that is looking at them, And so Robert
• 2:09:36
  Speaker 1: zemeckis this is the date when they go back into
• 2:09:39
  Speaker 1: the future, right, October twenty for twenty fifteen. So Robert
• 2:09:46
  Speaker 1: Zemeckis would later go on to direct a film called
• 2:09:50
  Speaker 1: The Wire October twenty first, twenty fifteen about a guy
• 2:09:56
  Speaker 1: stringing a wire between the Twin Tower and walking across it.
• 2:10:02
  Speaker 1: So he's literally referencing the date of the movie he's
• 2:10:07
  Speaker 1: gonna make in twenty fifteen, So from nineteen eighty five
• 2:10:10
  Speaker 1: Back to the Future twenty fifteen when he comes out
• 2:10:12
  Speaker 1: with the Wire on the day that he put in
• 2:10:15
  Speaker 1: Back to the Future, Too, is another movie about the
• 2:10:18
  Speaker 1: World Trade Center, which.
• 2:10:20
  Speaker 4: Is wild because they made a documentary when that dude
• 2:10:23
  Speaker 4: did that at the time in the late seventies, right
• 2:10:25
  Speaker 4: after they built the trade centers, he made a documentary about.
• 2:10:28
  Speaker 1: It, I believe, right, And so like in Back to
• 2:10:31
  Speaker 1: the Future, they're like, what's with the wire? What's with
• 2:10:33
  Speaker 1: the wire? Talking about the wire from the clock tower
• 2:10:37
  Speaker 1: to the DeLorean, And then roberts Mechis goes on to
• 2:10:40
  Speaker 1: make a movie called The Wire about a guy stringing
• 2:10:44
  Speaker 1: a wire between the twin towers and walking across it,
• 2:10:48
  Speaker 1: right the walk, Yeah, it's called And the craziest part
• 2:10:53
  Speaker 1: about it is actually the way that he dresses the
• 2:10:58
  Speaker 1: character in the Walk is the last outfit Marty McFly
• 2:11:04
  Speaker 1: has on right here, it'll show it. Yeah, so Marty
• 2:11:07
  Speaker 1: McFly has on the black leather jacket, the red shirt,
• 2:11:10
  Speaker 1: and I don't know, I guess like some kind of
• 2:11:13
  Speaker 1: blue jeans or something. Literally, that's the exact outfit that
• 2:11:18
  Speaker 1: he puts on the Guy in the Walk twin Time.
• 2:11:22
  Speaker 4: Gordon Levitt, ma'am, that's jg L. What are you talking
• 2:11:25
  Speaker 4: about it?
• 2:11:25
  Speaker 1: I never I never really liked him after ten Things
• 2:11:28
  Speaker 1: I Hate about you.
• 2:11:30
  Speaker 4: He's definitely anent alien cargo cult you know, Rock red Son,
• 2:11:34
  Speaker 4: he plays in the Batman films.
• 2:11:36
  Speaker 1: But yeah, so, I mean it's it's literally kind of
• 2:11:39
  Speaker 1: like this weird Twin Towers pictive programming thing between the
• 2:11:45
  Speaker 1: first two Back to the Future movies and then a
• 2:11:47
  Speaker 1: movie he literally directed exactly thirty years later, to the
• 2:11:52
  Speaker 1: Date and Back to the Future too. October twenty first,
• 2:11:55
  Speaker 1: twenty fifteen, he releases another movie about the Twin Towers. So,
• 2:12:01
  Speaker 1: I mean, it just makes you wonder how much of
• 2:12:04
  Speaker 1: this is purposeful?
• 2:12:06
  Speaker 3: You know?
• 2:12:08
  Speaker 4: And it also kind of makes me wonder, where does
• 2:12:10
  Speaker 4: where does ideas come from? And how does time work?
• 2:12:12
  Speaker 4: Because how does that get plan to do all those things, like.
• 2:12:15
  Speaker 1: How did he know in nineteen eighty five to talk
• 2:12:18
  Speaker 1: about October twenty first, twenty fifteen about a movie he
• 2:12:21
  Speaker 1: hadn't even made yet?
• 2:12:23
  Speaker 4: And how does he know that some looney tune French
• 2:12:25
  Speaker 4: fella is going to go to a trapeez act on
• 2:12:27
  Speaker 4: top of the Twin Towers back in seventy eight? You
• 2:12:28
  Speaker 4: know what I mean? You can't play these things.
• 2:12:30
  Speaker 2: I feel like, well, maybe he can. Maybe that's an interesting.
• 2:12:36
  Speaker 4: Way to I'm open to it. I'm open to it.
• 2:12:39
  Speaker 9: Maybe how that news how he's got a doc brown
• 2:12:43
  Speaker 9: of his own somewhere.
• 2:12:45
  Speaker 2: Right, Maybe that's what it is, because like one of
• 2:12:47
  Speaker 2: the masteries of time is the knowledge of your own
• 2:12:51
  Speaker 2: astrological chart, so that that's demarcations of time in space, right,
• 2:12:57
  Speaker 2: like very practical demarcations of time space. So someone But
• 2:13:02
  Speaker 2: there's also the idea of the magician who's going to
• 2:13:04
  Speaker 2: like plan in the future like every what we call
• 2:13:07
  Speaker 2: chrono poetic where we put like the seed, like he
• 2:13:13
  Speaker 2: plants the seed in the film, and then he's like,
• 2:13:16
  Speaker 2: I'm going to see this work to completion because like
• 2:13:19
  Speaker 2: I've never even heard of that movie with like Gordon
• 2:13:21
  Speaker 2: love It or whatever his name is, Like, I've never
• 2:13:24
  Speaker 2: heard of it. I've never seen it, and I like
• 2:13:26
  Speaker 2: a lot of Kenos, So I'm not saying that I
• 2:13:28
  Speaker 2: know all the films. So I'm just saying that it's
• 2:13:30
  Speaker 2: like it seems very forgettable. So I'm saying that, yeah,
• 2:13:35
  Speaker 2: maybe he manifested it, but like, what was it? It's
• 2:13:39
  Speaker 2: just like some film about the why, right, Like he can,
• 2:13:42
  Speaker 2: he can do the great work, but what is he
• 2:13:44
  Speaker 2: really like bringing forth into reality?
• 2:13:47
  Speaker 3: We're talking about von Braun in space and all that too,
• 2:13:51
  Speaker 3: and time travel.
• 2:13:52
  Speaker 8: I mean, I'm just saying, like that gets weird.
• 2:13:55
  Speaker 4: I'm glad you said. I'm glad you said manifesting also
• 2:13:57
  Speaker 4: on top of the Von Braun stuff, which I think
• 2:13:59
  Speaker 4: is just very fascinating. That is, you know that this
• 2:14:01
  Speaker 4: is all inbedded with that again, the whole Parsons relationship, right,
• 2:14:04
  Speaker 4: but with regard to the reality, and Simon went on like, well,
• 2:14:08
  Speaker 4: where are these ideas coming from? You know, is somebody
• 2:14:10
  Speaker 4: are they? Are they manifesting some of these ideas through
• 2:14:13
  Speaker 4: some sort of you know, external sources, communicating these soon
• 2:14:16
  Speaker 4: you know, a plan or even the ideas generally through
• 2:14:20
  Speaker 4: these rigs the space stick right as we call it
• 2:14:23
  Speaker 4: the space stick, right.
• 2:14:27
  Speaker 3: Right.
• 2:14:27
  Speaker 2: It's very like me and like exactly like what heid
• 2:14:30
  Speaker 2: he's been saying the whole time. It's like it's a
• 2:14:32
  Speaker 2: sleeping god and he has to be erect to travel
• 2:14:36
  Speaker 2: through space. So the rocket is like the perfect vehicle,
• 2:14:42
  Speaker 2: very heck a lot right to travel through space and
• 2:14:45
  Speaker 2: to penetrate your mother because the sepherer actually are feminine
• 2:14:49
  Speaker 2: in quality. It's kind of an interesting way to think
• 2:14:53
  Speaker 2: about it too. It's like exactly what Marty is doing
• 2:14:56
  Speaker 2: in the whole film. It's like, is he going to
• 2:14:59
  Speaker 2: because it I'm pretty close. It's like, that's very weird.
• 2:15:05
  Speaker 4: Jen, I like that one. So do we have any
• 2:15:10
  Speaker 4: any notes here on this the odometer on there? Because
• 2:15:13
  Speaker 4: it all seems to be rooted in the eights again?
• 2:15:15
  Speaker 6: Huh oh yeah yeah yeah, oh you have it up
• 2:15:19
  Speaker 6: on the screen. I'm sorry, was the notes?
• 2:15:21
  Speaker 3: Yeah?
• 2:15:22
  Speaker 6: Yeah? I thought that was interesting, like when when they're uh,
• 2:15:25
  Speaker 6: because we were talking about like the male and the Libyans,
• 2:15:29
  Speaker 6: it made me think about the odometer when he wants
• 2:15:31
  Speaker 6: to go jump and he you know, did you again
• 2:15:34
  Speaker 6: you have the eight on there? You have thirty three
• 2:15:35
  Speaker 6: oh six? I do find it interesting if you leave
• 2:15:38
  Speaker 6: it up, though, it does change as he's driving somehow
• 2:15:43
  Speaker 6: it goes backwards.
• 2:15:46
  Speaker 9: The bottom's ninth interesting.
• 2:15:49
  Speaker 4: And then what do you mean the mileage goes backwards? Huh? Yeah? Wow?
• 2:15:57
  Speaker 6: Is that even a nott the time travel? I don't know.
• 2:16:00
  Speaker 6: Thirty three and then it goes back to thirty three
• 2:16:01
  Speaker 6: oh six and you can see the two seven right
• 2:16:03
  Speaker 6: there also, and then this is zero eight. Is this
• 2:16:07
  Speaker 6: after or before before he jumps? That's before he jumps.
• 2:16:11
  Speaker 3: So he goes back okay, and then he fixes everything.
• 2:16:14
  Speaker 3: If you look backward on that, if you add the
• 2:16:18
  Speaker 3: numbers on the on the other picture with the odometer,
• 2:16:24
  Speaker 3: it goes back to a one on the bottom.
• 2:16:28
  Speaker 8: Back to what I was saying on the completion. It's
• 2:16:32
  Speaker 8: on the other a doometer on the changed one. When
• 2:16:35
  Speaker 8: they fix it.
• 2:16:39
  Speaker 6: When when he hits you know, when he crosses over
• 2:16:42
  Speaker 6: you remember how like he hits a scarecrow in that
• 2:16:43
  Speaker 6: guy's property. Hey, yeah, yeah, scarecrow equals as scluppy as
• 2:16:49
  Speaker 6: and Francis Bacon masonry and the letters nine to eleven
• 2:16:54
  Speaker 6: and April eighth and April eight is also the first
• 2:16:57
  Speaker 6: writing of the Book of the Law. The speed the
• 2:17:01
  Speaker 6: speed when hitting the scarecrow you'll see on the screen
• 2:17:04
  Speaker 6: is like, h if I let me see if I
• 2:17:06
  Speaker 6: can move over.
• 2:17:08
  Speaker 4: If you don't have that, bring it up.
• 2:17:09
  Speaker 6: But right there he hits it at seventy seven. Seventy
• 2:17:13
  Speaker 6: seven is conduces Valley Jester USSR silly.
• 2:17:20
  Speaker 1: Damn Nick, I wouldn't expecting you to hit.
• 2:17:23
  Speaker 3: Me with that one.
• 2:17:24
  Speaker 6: And then when he's leaving, you'll hear at some point
• 2:17:29
  Speaker 6: in the movie, Doc says, uh, he was at mister
• 2:17:33
  Speaker 6: Peabody's house. And Doc does say at some point he's like,
• 2:17:36
  Speaker 6: the guy was supposed to be building a pine farm.
• 2:17:37
  Speaker 6: I wonder why he never did. And as yes, and
• 2:17:41
  Speaker 6: as he's leaving Peabody's yard, you hear him yell, you
• 2:17:46
  Speaker 6: killed my pines.
• 2:17:48
  Speaker 4: Well, there you go.
• 2:17:48
  Speaker 6: That's why I never got built, because Marty ran it over.
• 2:17:52
  Speaker 1: I think that's also why it goes from twin pines
• 2:17:55
  Speaker 1: to lone Pine, because Marty runs over just the one
• 2:17:59
  Speaker 1: and and then there's only one left standing.
• 2:18:03
  Speaker 3: Well, and he also fixes his dad's life and then
• 2:18:06
  Speaker 3: completes the wholeness of the whole thing, so it changes
• 2:18:09
  Speaker 3: to one like he.
• 2:18:12
  Speaker 4: Was a loser and becomes a successful author who's kind
• 2:18:14
  Speaker 4: of a winner there when he comes back right after
• 2:18:16
  Speaker 4: all that. Yeah, yeah, I like, I like, I like
• 2:18:21
  Speaker 4: you picked up on all the rotary signs. And this
• 2:18:23
  Speaker 4: is when you go into a town. I always folks,
• 2:18:26
  Speaker 4: you know, if you go to a town, you see
• 2:18:27
  Speaker 4: all these signs. When you pull into a town, that's
• 2:18:29
  Speaker 4: who runs that town and runs Hill Valley, right, the Lions.
• 2:18:35
  Speaker 1: I'm surprised that the Masons aren't on there, because all
• 2:18:38
  Speaker 1: of the town signs in Oklahoma have the Masons on them.
• 2:18:43
  Speaker 8: Is yeah, they are the Lions Club and the Rotary Club.
• 2:18:51
  Speaker 1: Yeah, I guess I was for I was talking about
• 2:18:54
  Speaker 1: right then, the old compass one, the compass.
• 2:18:58
  Speaker 2: What if the person to draw to what Julia is saying,
• 2:19:02
  Speaker 2: what if the person making the film is a Mason.
• 2:19:05
  Speaker 4: That's what I'm That's what I'm saying. That's that's the one.
• 2:19:08
  Speaker 4: That's the will.
• 2:19:09
  Speaker 2: They don't need to put the this, they don't need
• 2:19:12
  Speaker 2: to put the sigil on the thing because they're wearing it.
• 2:19:16
  Speaker 4: They also don't want to flag their own business necessarily
• 2:19:18
  Speaker 4: too so symbolic, so overtly right, And it's kind of
• 2:19:22
  Speaker 4: a to me, it almost seems like a nod like, Hey,
• 2:19:24
  Speaker 4: the Masons aren't involved, they're trying to a trickster nod
• 2:19:26
  Speaker 4: right because they're not including the sign on on the
• 2:19:29
  Speaker 4: hill valley sign right, the symbol.
• 2:19:32
  Speaker 6: And real quick, I could actually connect all these too Freemasonry.
• 2:19:36
  Speaker 4: Well there you go.
• 2:19:37
  Speaker 6: Gustaf Laurace ate it wrong was one of the rotary
• 2:19:40
  Speaker 6: cubs for founders. He was a Mason. The National Range
• 2:19:44
  Speaker 6: founder Oliver Kelly was a Mason and used those ties
• 2:19:47
  Speaker 6: to recruit farmers after the Civil War. Daniel Carter Beard
• 2:19:51
  Speaker 6: boy Scout pioneer who helped launch Campfire Girls, was a
• 2:19:54
  Speaker 6: Mason as well. The Grange borrowed in It's an explicit
• 2:19:59
  Speaker 6: harvest ree system for Masonic virtual handbooks. Future Farmers of
• 2:20:03
  Speaker 6: America built its opening and closing ceremony on the same
• 2:20:07
  Speaker 6: Orfico pole format used in Masonic lodges. The American Legion
• 2:20:11
  Speaker 6: has a short initiatory right, and nineteen nineties Fraternal survey
• 2:20:15
  Speaker 6: noted some posts whose memberships were entirely Masonic. So like,
• 2:20:20
  Speaker 6: what that's getting at is, basically some American Legion places
• 2:20:23
  Speaker 6: were only like Masons basically that were members. Many small
• 2:20:28
  Speaker 6: Kawanas or Optimist clubs rent local Masonic holes to do things.
• 2:20:35
  Speaker 6: The civic freemasonries nineteenth century stress on philanthropy and networking
• 2:20:43
  Speaker 6: inspired the progressive era in the servicing clubs, which was
• 2:20:46
  Speaker 6: the Kawanis, the Optimist, and the Rotary. The Kawanis International
• 2:20:52
  Speaker 6: sometimes uses Masonic lodges. The Rotary International will sometimes use
• 2:20:58
  Speaker 6: Masonic lodges. And one of the found is, Gus Lore,
• 2:21:01
  Speaker 6: was a Mason in Nazi Germany. I mean the American
• 2:21:06
  Speaker 6: Legion again also has initiatorial things for that, the Grange,
• 2:21:12
  Speaker 6: the Agricultural Degree. The Optimist International will also rent out
• 2:21:16
  Speaker 6: Masonic places to do their things at. So they were
• 2:21:19
  Speaker 6: all either like somehow one of the founders was involved,
• 2:21:23
  Speaker 6: they're renting that space, or they're actually including some of
• 2:21:26
  Speaker 6: their initiatory stuff into their crap, every single one of them.
• 2:21:30
  Speaker 6: I didn't cover the j CS. I actually forgot that
• 2:21:33
  Speaker 6: that was there.
• 2:21:33
  Speaker 8: Yeah, but the j didn't cover this.
• 2:21:37
  Speaker 6: I didn't throw the j c's in there. But I mean,
• 2:21:39
  Speaker 6: that's who the fuck was in the j c's that
• 2:21:41
  Speaker 6: killed count clown.
• 2:21:42
  Speaker 9: Killer John Wayne Gacy.
• 2:21:45
  Speaker 6: Yeah, the JA Yeah, there's something weird with that.
• 2:21:48
  Speaker 4: He was National jay C of the Year, wasn't he.
• 2:21:50
  Speaker 4: That's why he got photographs with Roslynd Carter.
• 2:21:52
  Speaker 8: I believe, yes he was.
• 2:21:54
  Speaker 1: That was in Program to Kill. Actually, Dave McGowan wrote
• 2:21:59
  Speaker 1: about that. There was a comment it was McGowan. There
• 2:22:03
  Speaker 1: was a comment that popped up.
• 2:22:05
  Speaker 8: I don't remember.
• 2:22:06
  Speaker 1: I think the user name was oak Tree sixty nine.
• 2:22:11
  Speaker 4: I fine, you must see this one right here.
• 2:22:14
  Speaker 1: Yeah, okay, I don't know if they noticed this, because
• 2:22:16
  Speaker 1: they say twin Pines Loan Pine upside down, V and
• 2:22:20
  Speaker 1: W and the terrorists were in a v W bug
• 2:22:25
  Speaker 1: van or whatever they call him of old swaggen hippie van,
• 2:22:31
  Speaker 1: you know, which I thought was an interesting selection.
• 2:22:34
  Speaker 4: And you actually.
• 2:22:36
  Speaker 1: Yeah, and you actually see that same van at the
• 2:22:39
  Speaker 1: end of the movie when they're blasting off where we're
• 2:22:42
  Speaker 1: going we don't need roads. That same van is parked
• 2:22:46
  Speaker 1: on this on the street in front of the mcflyes household.
• 2:22:51
  Speaker 9: So I thought that was interesting too.
• 2:22:54
  Speaker 4: Here's a great that is very interesting. Here's a great
• 2:22:56
  Speaker 4: comment about Darth Vader making that scene in there right
• 2:22:58
  Speaker 4: when he does the the alien you know, invasion into
• 2:23:02
  Speaker 4: his father's bedroom there nineteen for nuclear Suit.
• 2:23:07
  Speaker 1: He mixes it with Star Trek too.
• 2:23:10
  Speaker 4: Yeah, but it goes back again to all these you
• 2:23:12
  Speaker 4: know rockets, the nast of the von Braun, the ancient
• 2:23:15
  Speaker 4: alien cargo cult stories you knew of the you know,
• 2:23:17
  Speaker 4: long time ago in a galaxy far far away with
• 2:23:20
  Speaker 4: Star Wars right, couldn't get any more ancient alien than that.
• 2:23:25
  Speaker 4: That's awesome stuff, though I appreciate the comments on those
• 2:23:28
  Speaker 4: things as well. Did you have any any more points
• 2:23:31
  Speaker 4: here on these slides?
• 2:23:37
  Speaker 2: Oh? No, I just want to say that Julia made
• 2:23:39
  Speaker 2: a really good comment, and I also noticed that comment
• 2:23:42
  Speaker 2: that you pulled up jj because it's very the whole
• 2:23:44
  Speaker 2: film is very plus ultray, even Hill Valley. It's like
• 2:23:47
  Speaker 2: two poles of a magnet with a bridge between. Then
• 2:23:50
  Speaker 2: you have the valley, the point of the star coming
• 2:23:53
  Speaker 2: down very eastern star righting into manifestation. That's seventeen, the
• 2:23:58
  Speaker 2: seventeenth path of Venus into your soad. It's coming into formation.
• 2:24:04
  Speaker 2: So you're drawing like the Venus down the wealth, you know,
• 2:24:08
  Speaker 2: all the magic that is that is light really and
• 2:24:12
  Speaker 2: you're drawing it in. So it's something really interesting about
• 2:24:15
  Speaker 2: like what everybody's saying, and just like the kind of
• 2:24:18
  Speaker 2: meta narrative of the whole film. Because you could also
• 2:24:22
  Speaker 2: say that they're kind of telling you that, yeah, they
• 2:24:26
  Speaker 2: use we use plutonium, this is our cover story. But
• 2:24:29
  Speaker 2: then when he goes back in the past, he has
• 2:24:31
  Speaker 2: to use lightning. So they're saying, you can actually recreate
• 2:24:35
  Speaker 2: it totally on your own through lightning, because like what
• 2:24:39
  Speaker 2: Heidi said, it's all the dream, right, So the plutonium
• 2:24:42
  Speaker 2: was just the trial in that time and space, but
• 2:24:47
  Speaker 2: once they moved through time into a different space, they
• 2:24:52
  Speaker 2: used a different method. I don't know, there's something really
• 2:24:55
  Speaker 2: metaphysically interesting now that we're all talking about this, because
• 2:24:58
  Speaker 2: I honestly did not catch all of this that I'm saying.
• 2:25:01
  Speaker 2: So don't like this is just like free range me
• 2:25:04
  Speaker 2: just totally.
• 2:25:08
  Speaker 4: Well that goes conversations, right, you know what I mean?
• 2:25:13
  Speaker 3: Yeah, to the two pines splitting apart because they go
• 2:25:17
  Speaker 3: on the journey together to try and fix the dad's life.
• 2:25:19
  Speaker 3: Like I've said, it's linear the whole time. And then
• 2:25:22
  Speaker 3: as he returns, he's the only one returning to the
• 2:25:26
  Speaker 3: one back to one. Same with the speedometer going back.
• 2:25:30
  Speaker 3: It went to one when you added him. So I
• 2:25:33
  Speaker 3: think I mean, for me, it's a hero's journey, all
• 2:25:36
  Speaker 3: of this, you know, Greek stuff, But I mean, I
• 2:25:38
  Speaker 3: see every other point too, So.
• 2:25:43
  Speaker 2: Yeah, he's the true he's like doing the Joe. I'll
• 2:25:46
  Speaker 2: make a warming joke, Heidi for you. He suggest of
• 2:25:49
  Speaker 2: the journey, right, it travels through the arc. That's what
• 2:25:54
  Speaker 2: the DeLorean is. It's his arc, right. Yeah, So like
• 2:25:57
  Speaker 2: he puts in the plutonium, like you said, is kind
• 2:26:00
  Speaker 2: of like the Dead Father, the corpse of the Father,
• 2:26:03
  Speaker 2: maybe you could say. And so they spend it. So
• 2:26:06
  Speaker 2: they spend his seed and then they wind up with nothing,
• 2:26:09
  Speaker 2: so he kind of like burns out the arc and
• 2:26:11
  Speaker 2: then he has to go get his friend who's the
• 2:26:14
  Speaker 2: god of infinite giving Jupiter Zeus, and yes, rectify it with.
• 2:26:19
  Speaker 3: Lightning, yes, exactly, and then they win against Kronos in time.
• 2:26:25
  Speaker 3: And then at the end when when they come back, well,
• 2:26:29
  Speaker 3: I don't know if you want me to tell this
• 2:26:30
  Speaker 3: now or well I was going.
• 2:26:32
  Speaker 4: To say, yeah, we can if we want to wrap
• 2:26:34
  Speaker 4: up the storyline before we get into the actual time
• 2:26:37
  Speaker 4: traveling device here, the Delorian, before we you know, I'm
• 2:26:40
  Speaker 4: going to close up some stuff around the DeLorean subject.
• 2:26:42
  Speaker 4: But if you want to finish up the the cult
• 2:26:44
  Speaker 4: stuff we're seeing the narrative, that's great.
• 2:26:46
  Speaker 8: So when they re enter.
• 2:26:47
  Speaker 3: When he comes back through, you'll see him come in
• 2:26:51
  Speaker 3: and the scene she showed with the fire makes a
• 2:26:54
  Speaker 3: piscy sign.
• 2:26:56
  Speaker 8: As they're coming through. And then on top of it,
• 2:26:59
  Speaker 8: up in the cinema.
• 2:27:00
  Speaker 3: Area, you'll see green lights and it's glowing, so you know,
• 2:27:06
  Speaker 3: with the green and the heart chakra re entrance, and
• 2:27:10
  Speaker 3: then on the town theater when they come back, you'll
• 2:27:13
  Speaker 3: see the movie has changed to an American orgy.
• 2:27:17
  Speaker 8: It's a sex film, so sex magic.
• 2:27:20
  Speaker 3: And then to the other side of it, it has
• 2:27:23
  Speaker 3: Jesus saves signs and all these salvation signs. So there
• 2:27:27
  Speaker 3: was his choice to go either again right right hand path,
• 2:27:31
  Speaker 3: left hand past sex magic. Are you going to be
• 2:27:34
  Speaker 3: the magician of your own life and creation? Or are
• 2:27:36
  Speaker 3: you gonna, you know, put your faith in something else?
• 2:27:39
  Speaker 3: And then it's it's surrounding the hole that he comes
• 2:27:41
  Speaker 3: to like the wa.
• 2:27:44
  Speaker 8: Yeah, so that's what I saw.
• 2:27:46
  Speaker 4: I didn't catch the I didn't catch the Mavie title
• 2:27:48
  Speaker 4: with that, that is very much a reference to such
• 2:27:50
  Speaker 4: things as sex magic, which is interesting. So back to
• 2:27:53
  Speaker 4: for Reacerman real quick, you just spawned a thought of mine.
• 2:27:57
  Speaker 4: For Reackerman, he was a literary agent for ed Wood,
• 2:28:00
  Speaker 4: you know, uh kind of. He was the pioneer of
• 2:28:02
  Speaker 4: exploit exploitation films, which was largely wow.
• 2:28:05
  Speaker 1: Yeah, so he uh you know, there you go with
• 2:28:09
  Speaker 1: these these the one from the Johnny Depp.
• 2:28:12
  Speaker 4: Movie, that's the precise same one, and again depth depths
• 2:28:17
  Speaker 4: deeply involved in the neo process and the processes who
• 2:28:20
  Speaker 4: popular popularized exploitation films in the seventies, such as Processed
• 2:28:24
  Speaker 4: Church member John Waters, Hollywood director.
• 2:28:27
  Speaker 8: M hmm.
• 2:28:29
  Speaker 1: Isn't it crazy how it's like literally every time with
• 2:28:33
  Speaker 1: each new episode, I learn a plethora of fucking information.
• 2:28:39
  Speaker 4: That's why I listen. I listened all of a cult
• 2:28:42
  Speaker 4: rejects when we get together, because I I know things
• 2:28:44
  Speaker 4: when we're talking about I'm like, I always pick up
• 2:28:46
  Speaker 4: other things I didn't know when I re listened to
• 2:28:48
  Speaker 4: it too.
• 2:28:48
  Speaker 2: Yeah, you selected a very s So I'll just say.
• 2:28:55
  Speaker 4: That now that we're talking about that scene, what are
• 2:28:59
  Speaker 4: your thoughts in the hope? Here go ahead, Jen.
• 2:29:02
  Speaker 2: No, it's just a super calistic image and it actually
• 2:29:04
  Speaker 2: fits really well with our discussions on Mormon magic because
• 2:29:08
  Speaker 2: it really is like a very good nuts ofc color.
• 2:29:12
  Speaker 2: But then there's also a quality of green that can
• 2:29:14
  Speaker 2: be hoed. This is where a lot of people get
• 2:29:17
  Speaker 2: confused because there's like a blue green quality also there,
• 2:29:20
  Speaker 2: So it can either be described as like emerald with
• 2:29:23
  Speaker 2: light passing through, but it can also be described as
• 2:29:26
  Speaker 2: blue green like turquoise. But that's really the reflection of hesse.
• 2:29:29
  Speaker 2: That's how it's described. So it's interesting because that's kind
• 2:29:34
  Speaker 2: of the hermetic journey of the whole film, right, So
• 2:29:37
  Speaker 2: it's kind of in one image, it kind of relays
• 2:29:42
  Speaker 2: a hero's journey, like does he go through the mother
• 2:29:45
  Speaker 2: the diamond into the splendors of light? Or does he
• 2:29:48
  Speaker 2: travel through the fire into the path of the Father.
• 2:29:52
  Speaker 4: And so you're saying he's kind of a messenger then,
• 2:29:54
  Speaker 4: because I was thinking, this guy's kind of a messenger
• 2:29:56
  Speaker 4: between all these worlds. He's always run into this dude.
• 2:29:59
  Speaker 2: In town.
• 2:30:01
  Speaker 8: Yep, yep.
• 2:30:03
  Speaker 3: And then in that by the cinema, it's a clearer
• 2:30:05
  Speaker 3: green instead of a turquoise green. It's more of a
• 2:30:09
  Speaker 3: brighter green where you can see the American Orgy sign
• 2:30:13
  Speaker 3: and the Jesus saves and all that signs. And also
• 2:30:16
  Speaker 3: we've got Biff before we leave him out, like Hiram
• 2:30:20
  Speaker 3: a Biff Well.
• 2:30:22
  Speaker 4: Then I was going to close out with Biff once
• 2:30:24
  Speaker 4: we're done with the storyline here, because he ties it
• 2:30:26
  Speaker 4: into the stuff with the Glorian after when we talk
• 2:30:28
  Speaker 4: the Glorian stuff as well.
• 2:30:30
  Speaker 3: Yeah, I just wanted to mention that, and that the
• 2:30:32
  Speaker 3: brother when you look at the photo when they're looking
• 2:30:35
  Speaker 3: at the picture of them disappearing, the brother's wearing a
• 2:30:38
  Speaker 3: Disney Mickey Mouse shirt.
• 2:30:40
  Speaker 8: I just had to say that since we've been talking about.
• 2:30:43
  Speaker 4: Yeah, well there's the m M right, Mickey Mouse, Marty mcfla, and.
• 2:30:49
  Speaker 8: That's all I have. I'll be quiet now. Sorry, I
• 2:30:51
  Speaker 8: nerd it out on this.
• 2:30:52
  Speaker 3: Sorry.
• 2:30:52
  Speaker 4: That's great, that's great and I like it. Do we
• 2:30:58
  Speaker 4: have any other closing commentary on the journey that he
• 2:31:00
  Speaker 4: took before we started closing out with bif Tain and
• 2:31:03
  Speaker 4: the DeLorean?
• 2:31:04
  Speaker 6: Oh, Dolourian, I have some stuff I could talk about
• 2:31:05
  Speaker 6: real quick.
• 2:31:07
  Speaker 4: Yeah, let's do the Dolorium. We'll roll it into fifteen
• 2:31:10
  Speaker 4: and how does that sound? Yeah, and we'll call and
• 2:31:12
  Speaker 4: and we'll call it in here after that.
• 2:31:14
  Speaker 6: All right?
• 2:31:15
  Speaker 1: What uh?
• 2:31:16
  Speaker 4: What are your thoughts on Deloria?
• 2:31:17
  Speaker 8: Nick?
• 2:31:18
  Speaker 3: Oh?
• 2:31:19
  Speaker 6: The DeLorean? Well, I mean it's more like silver, so
• 2:31:22
  Speaker 6: I kind of put that more with mercury lake kind
• 2:31:24
  Speaker 6: of like quicksilver, Uh, symbolic of the albedo stage in alchemy.
• 2:31:29
  Speaker 6: It's plowered by powered like Heidi had even mentioned before,
• 2:31:32
  Speaker 6: the plutonium Pluto god of the underworld.
• 2:31:35
  Speaker 4: And what was the why situation with the flex capacitor,
• 2:31:38
  Speaker 4: what was the significance there in to me?
• 2:31:40
  Speaker 6: I mean, it's the shape of the rising beast and uh,
• 2:31:43
  Speaker 6: when you're doing the l v X formula and uh interesting, yeah,
• 2:31:49
  Speaker 6: when you're actually yeah, when you're doing a ritual, there's
• 2:31:52
  Speaker 6: certain things that you make a y and uh yeah,
• 2:31:56
  Speaker 6: it's supposed.
• 2:31:59
  Speaker 4: Of some regards with saying yeah.
• 2:32:00
  Speaker 6: It's something that you will make when you're doing a ritual.
• 2:32:04
  Speaker 6: Then I have I mean he needs one point twenty
• 2:32:06
  Speaker 6: when jigawats I just found it interesting with eleven times
• 2:32:09
  Speaker 6: eleven does get that, you know, very gious like or
• 2:32:12
  Speaker 6: double poles or twin pines. I guess again, I don't know, yeah,
• 2:32:16
  Speaker 6: uh again, uh standles still body kind of uh you know,
• 2:32:21
  Speaker 6: even that look purifying mercury stage reflex reality a mirror
• 2:32:26
  Speaker 6: or portal I did, I mean, maybe going too far,
• 2:32:30
  Speaker 6: but even with the wings opening up, it's very like
• 2:32:34
  Speaker 6: scarblike or you know, the soul, the.
• 2:32:37
  Speaker 4: Gold the gold wing style. I mean, that's a very unique,
• 2:32:40
  Speaker 4: very neat even I mean and to all automobiles, that's
• 2:32:43
  Speaker 4: not a very common feature, right, So what do you
• 2:32:45
  Speaker 4: think the nature of that is as far as oc
• 2:32:47
  Speaker 4: cultism goes, I have like.
• 2:32:49
  Speaker 6: Horses ring or rings, the Egyptian like solar, the solar
• 2:32:52
  Speaker 6: disc scarrowlike kind of resurrection.
• 2:32:56
  Speaker 8: That's even a fallen angel, even fallen angel.
• 2:33:00
  Speaker 6: Clip you know, yeah, yeah, that would that would coming back, Yeah,
• 2:33:05
  Speaker 6: that would make sense. Yeah, yes, exactly, Yeah, totally, the
• 2:33:12
  Speaker 6: plutonium core against Pluto when you give the descendant to
• 2:33:15
  Speaker 6: the yeah, and then the flex capacitor, the y shaped sigil. Again,
• 2:33:22
  Speaker 6: I think the rising beast, and I've always like I
• 2:33:25
  Speaker 6: said that, I think the beasts without a leash is
• 2:33:27
  Speaker 6: pretty much just like electricity on its.
• 2:33:29
  Speaker 4: Own, right right, that's very that's an interesting way to
• 2:33:32
  Speaker 4: look at that. I guess it looks like the etymology
• 2:33:34
  Speaker 4: of DeLorean is related to these hills right hillside.
• 2:33:37
  Speaker 8: It says, think of think of what you just said, Nick,
• 2:33:40
  Speaker 8: electricity on its own. That's exactly what the.
• 2:33:43
  Speaker 6: Lighting was, yeah, exactly.
• 2:33:44
  Speaker 8: Yeah, so I didn't need the plutonium. It was on
• 2:33:48
  Speaker 8: its own.
• 2:33:49
  Speaker 6: Yeah, and you see that supposedly that that amount of
• 2:33:53
  Speaker 6: energy does equal electric bolt. I don't know if that's
• 2:33:56
  Speaker 6: true or not.
• 2:33:57
  Speaker 8: Hmm yeah yeah.
• 2:34:01
  Speaker 6: And even another thing, uh, the Masonic the eighth letter
• 2:34:07
  Speaker 6: is H, you know, and you do see that a
• 2:34:09
  Speaker 6: lie like with the number eighty eight, that would be
• 2:34:12
  Speaker 6: like h h again and that you're not even going
• 2:34:14
  Speaker 6: to so much with hal Hitler, but I would even
• 2:34:16
  Speaker 6: say that it would be like maybe the the double
• 2:34:20
  Speaker 6: pillars and like the pines again, the twin pines, like
• 2:34:23
  Speaker 6: just showing like double double stuff, and even the twin towers.
• 2:34:27
  Speaker 6: I even thought that that might have somehow fit in there.
• 2:34:31
  Speaker 6: That's a little just happy to be in my face.
• 2:34:33
  Speaker 2: Yeah, No, I think that makes sense. Sick because you're
• 2:34:37
  Speaker 2: doubling the blessings from Mercury or from Hoe to Hasse.
• 2:34:43
  Speaker 2: That's exactly what you're doing. You're throwing the lightning at
• 2:34:45
  Speaker 2: the ocean, staying and stubbling and stubling double a double
• 2:34:49
  Speaker 2: a double eight. Right, But it's really a reflection. So
• 2:34:53
  Speaker 2: are you're gonna transmute the water like you were saying
• 2:34:56
  Speaker 2: about alchemy? Because the film is extremely outcomical. Everything in
• 2:35:00
  Speaker 2: the film even flux. Flux can be alchemically linked to
• 2:35:05
  Speaker 2: hod or hoke ma is it is it before it's
• 2:35:09
  Speaker 2: used or after it's used, because actually you can reconstitute flux.
• 2:35:15
  Speaker 2: So that's another really interesting thing. I also nested an
• 2:35:18
  Speaker 2: image of that of the Deity with the serpent, which
• 2:35:21
  Speaker 2: reminds me of that image that Nick makes, like the
• 2:35:24
  Speaker 2: the why because it he also makes that, And then
• 2:35:28
  Speaker 2: you can also explain it with like the serpent crown
• 2:35:32
  Speaker 2: behind him, it's like kind of exploding into view, and
• 2:35:36
  Speaker 2: his body is blue, so it's kind of stainless, kind
• 2:35:40
  Speaker 2: of adamantine. You could say. It's interesting. I think that
• 2:35:44
  Speaker 2: you could make a case that, like their God is
• 2:35:46
  Speaker 2: really space. However you want to conceptualize that.
• 2:35:50
  Speaker 3: What if it's like the father's son too, Like what
• 2:35:52
  Speaker 3: if it's representing the two that become one because the
• 2:35:56
  Speaker 3: kid goes home.
• 2:35:57
  Speaker 6: That's why I think I have that Marty has thee
• 2:36:00
  Speaker 6: and the yellow at some points in my opinion, if
• 2:36:03
  Speaker 6: you look at Marty in the street and look at
• 2:36:05
  Speaker 6: a red car, it is an orange kind of looking
• 2:36:07
  Speaker 6: vest that really read the orange and hod and then
• 2:36:10
  Speaker 6: the blue. The blue close shows the prince and the
• 2:36:14
  Speaker 6: King at the same time, sex.
• 2:36:17
  Speaker 3: Sex, sex power too with orange right, passion, perfection, Yeah, I.
• 2:36:29
  Speaker 2: Think so.
• 2:36:31
  Speaker 4: Yeah, So why do y'all think they Aside from these
• 2:36:33
  Speaker 4: are all great details, why do you think they chose
• 2:36:35
  Speaker 4: this car? I mean they said it was kind of
• 2:36:37
  Speaker 4: because it's futuristic look, and I guess I can buy
• 2:36:39
  Speaker 4: that to a certain extent, But I would say.
• 2:36:41
  Speaker 1: It's futuristic looking, especially with the doors opening like that.
• 2:36:45
  Speaker 4: Sure, but I definitely lookistic. But why couldn't they just,
• 2:36:49
  Speaker 4: you know, church up another car that they only know
• 2:36:51
  Speaker 4: what I'm getting, as this was a very unique automobile.
• 2:36:54
  Speaker 4: Not only that was John Dolorian was not like they
• 2:36:57
  Speaker 4: chose this car after a time where he was already
• 2:37:00
  Speaker 4: he just got acquitted of those cocaine trafficking charges, right
• 2:37:04
  Speaker 4: this is nineteen eighty four, just gets acquitted, so he,
• 2:37:07
  Speaker 4: you know, right when the movies just about long. So
• 2:37:09
  Speaker 4: that means they wrote the film while he's on trial
• 2:37:12
  Speaker 4: for cocaine trafficking charges and the car me question of
• 2:37:19
  Speaker 4: just very.
• 2:37:25
  Speaker 9: JJ you cut out, Oh shoot, yes.
• 2:37:29
  Speaker 4: So I was saying, it's very bizarre circumstances. John Deloorian's
• 2:37:32
  Speaker 4: on trial while they're writing this film and getting ready
• 2:37:35
  Speaker 4: to start filming it. It's on trial for cocaine trafficking
• 2:37:38
  Speaker 4: charges that he's on trumped up charges by the FBI
• 2:37:41
  Speaker 4: and the DEA, So they set him up for these
• 2:37:44
  Speaker 4: things on a sting operation. He gets acquitted, but he
• 2:37:46
  Speaker 4: gets acquitted just shortly before they start filming. But meaning
• 2:37:49
  Speaker 4: they used a vehicle of a dude who's on trial
• 2:37:52
  Speaker 4: for cocaine trafficking charges in a vehicle. He only made
• 2:37:55
  Speaker 4: nine thousand of them, which I had already ceased production,
• 2:37:58
  Speaker 4: so just it seemed like an odd vehicle choice to me.
• 2:38:01
  Speaker 9: Well, also, you know what the last name Delarean means.
• 2:38:05
  Speaker 4: Hill Thought apparently, which is wild man.
• 2:38:07
  Speaker 1: From the Hills. Yeah, from the Hills Hill Valley. That's
• 2:38:13
  Speaker 1: that's why I put that in my notes.
• 2:38:16
  Speaker 4: But I mean, oh, I just tell that in the chat.
• 2:38:19
  Speaker 4: I'm going to go. But no, that's great stuff, Julia.
• 2:38:21
  Speaker 6: JJ, real quick before you move on. Uh, I thought
• 2:38:25
  Speaker 6: of the mirroring with the the Laurian. I forgot like
• 2:38:28
  Speaker 6: the first thing of my notes, which really made me
• 2:38:30
  Speaker 6: start to think. Besides Martin McFly with the MM obviously
• 2:38:33
  Speaker 6: for the measons.
• 2:38:35
  Speaker 1: Uh.
• 2:38:35
  Speaker 6: He wakes up at seven fifty three and back. I
• 2:38:37
  Speaker 6: started thinking mirroring, and I really wish I would have
• 2:38:40
  Speaker 6: done this with more stuff. I didn't really get a
• 2:38:41
  Speaker 6: chance to run everything backwards. Yeah, but three fifty seven
• 2:38:45
  Speaker 6: is a Masonic rich write in a ritual that William
• 2:38:48
  Speaker 6: Preston and Thomas Smith Webb do use in like their areas,
• 2:38:52
  Speaker 6: and that kind of starts getting into the Scottish rite
• 2:38:55
  Speaker 6: type stuff.
• 2:38:58
  Speaker 3: And to Julia's point or who made the point about
• 2:39:01
  Speaker 3: the hill Julia? And where do they build the altars
• 2:39:06
  Speaker 3: to their fallen angels at the high point, I mean,
• 2:39:12
  Speaker 3: I think.
• 2:39:13
  Speaker 1: They chose it for a reason. I mean the doors
• 2:39:15
  Speaker 1: do look futuristic, Don't get me wrong.
• 2:39:17
  Speaker 4: That's what I'm saying. We like that is an easy
• 2:39:19
  Speaker 4: cop out there, right, there's more to it, much like
• 2:39:21
  Speaker 4: the film. There's more of an esoteric or I think, well,
• 2:39:25
  Speaker 4: the pr natural and the dudes on the dudes on
• 2:39:28
  Speaker 4: trial for cocaine? What if what if he gets found guilty?
• 2:39:30
  Speaker 4: They're going to have his car in a big budget film?
• 2:39:33
  Speaker 4: I don't think so.
• 2:39:34
  Speaker 1: Yeah, but what if was he found guilty?
• 2:39:38
  Speaker 4: No, but that's what I'm saying. They wrote the film
• 2:39:40
  Speaker 4: while he was on trial. Okay, but well they started
• 2:39:46
  Speaker 4: filming at weeks like two maybe we'll call it ten
• 2:39:48
  Speaker 4: weeks after the trial ended.
• 2:39:51
  Speaker 1: Okay, well, what if they knew he wasn't going to
• 2:39:54
  Speaker 1: get convicted of anything? I know that, what if he
• 2:39:58
  Speaker 1: was running? What if he was read because they let
• 2:40:01
  Speaker 1: him off just like they did with like literally a
• 2:40:03
  Speaker 1: bunch of hereies.
• 2:40:04
  Speaker 4: Yes, but I mean whatever, they were really this guy.
• 2:40:08
  Speaker 4: I don't know who he pissed off, but the Feds
• 2:40:10
  Speaker 4: literally set him up. They brought him the deal and
• 2:40:12
  Speaker 4: then they videotaped him doing the deal, and that's why
• 2:40:15
  Speaker 4: he got off. But then a couple of years later
• 2:40:17
  Speaker 4: they busted in for tax evasion, so they were really
• 2:40:19
  Speaker 4: after old JD.
• 2:40:21
  Speaker 2: Here John.
• 2:40:22
  Speaker 1: Maybe maybe he pissed them off in some kind of way,
• 2:40:25
  Speaker 1: because like if you were trying to buy a Dolorean,
• 2:40:28
  Speaker 1: now you can't.
• 2:40:35
  Speaker 4: Yeah. Strangely enough, Julia, there's a he made a very
• 2:40:37
  Speaker 4: fine automobile apparently, because out of the nine thousand or
• 2:40:40
  Speaker 4: so was produced, about sixty percent are still still on
• 2:40:42
  Speaker 4: the road.
• 2:40:43
  Speaker 1: Well, what I'm saying though, is unless you're a millionaire,
• 2:40:46
  Speaker 1: you're not probably going to be able to just afford
• 2:40:49
  Speaker 1: this to ride around it.
• 2:40:51
  Speaker 4: No, I know, I that's a great point. I wasn't
• 2:40:53
  Speaker 4: saying you wrong. Yeah, it's a great point because there's
• 2:40:55
  Speaker 4: only nine thousand that were ever produced, and you know,
• 2:40:57
  Speaker 4: only about six thousand I believe exists today. But yeah,
• 2:40:59
  Speaker 4: you're you're paying money because of the lack of a
• 2:41:01
  Speaker 4: you know, supplying man.
• 2:41:02
  Speaker 1: Right, So well, you're paying money because everybody loves back
• 2:41:06
  Speaker 1: to the future, you know what I mean.
• 2:41:10
  Speaker 4: Everyone wants a Delarey and they want to pamp it
• 2:41:12
  Speaker 4: out right.
• 2:41:13
  Speaker 9: Yeah, they want to put the led freak light strips
• 2:41:17
  Speaker 9: on it.
• 2:41:17
  Speaker 2: Yet, what if Delaurian guy was a member of their lodge.
• 2:41:21
  Speaker 2: I'm just thinking totally hypothetically, okay, and so or he
• 2:41:25
  Speaker 2: was like a member of their faction. You could say, like,
• 2:41:27
  Speaker 2: I know, JJ likes that word.
• 2:41:28
  Speaker 4: So yeah, you're reading my mind there, Jen, I'll be
• 2:41:31
  Speaker 4: using your wizard skills over here, buddy. You're reading my
• 2:41:33
  Speaker 4: mind though, so.
• 2:41:35
  Speaker 2: Well, thank you. So yeah, he's a member of their fashion.
• 2:41:39
  Speaker 2: It doesn't matter if he gets convicted or not convicted,
• 2:41:41
  Speaker 2: because they're going to like give their little wink in
• 2:41:43
  Speaker 2: their nod to him. It's also interesting that like Delaian
• 2:41:48
  Speaker 2: Motor Company d m C. De lette them cough, I
• 2:41:52
  Speaker 2: don't know, there's something kind of interesting about that because
• 2:41:55
  Speaker 2: if you write it out in Hebrew, it looks like
• 2:41:57
  Speaker 2: seven O seven. Just saying sure is an additional way
• 2:42:02
  Speaker 2: to do the tamata. I'm not saying that's the proper way,
• 2:42:04
  Speaker 2: and just just like you know, just riffing.
• 2:42:07
  Speaker 4: That's good stuff. And to this comment here, that's a
• 2:42:09
  Speaker 4: great comment. The car turned out to suck, but it's
• 2:42:11
  Speaker 4: the collectors.
• 2:42:12
  Speaker 3: I know it.
• 2:42:13
  Speaker 4: Apparently mechanically it did not function well. But what I
• 2:42:15
  Speaker 4: was getting at was the durability and long lasting nature
• 2:42:17
  Speaker 4: of the body style and everything. The way they did
• 2:42:19
  Speaker 4: it kind of reminds me. I think Elon Musk copied
• 2:42:22
  Speaker 4: it for a cyber truck, right. It is like that
• 2:42:24
  Speaker 4: same kind of steel or whatever, or that same kind
• 2:42:26
  Speaker 4: of production of the body style.
• 2:42:29
  Speaker 2: They think they're plus ultra dude.
• 2:42:32
  Speaker 4: Think they're talking about factions and cults, right, Yeah, talking
• 2:42:35
  Speaker 4: about factions and cults right there you go, right, I
• 2:42:37
  Speaker 4: mean that sounds like a nice connection right there with
• 2:42:39
  Speaker 4: just having the same aesthetic to these automobiles they're designing.
• 2:42:44
  Speaker 8: Yep, they think they're the gay GAO t U right,
• 2:42:50
  Speaker 8: like we talked about last night.
• 2:42:53
  Speaker 4: For sure, so just a quick rundown on Old Dolaurian.
• 2:42:56
  Speaker 4: Here he gets charged October nineteenth of nineteen eighty two
• 2:43:00
  Speaker 4: ft nine pounds of coke. That's a lot. That's a lot.
• 2:43:02
  Speaker 4: He wanted to sell two hundred and twenty of them though,
• 2:43:04
  Speaker 4: so he was even into more of that. So again
• 2:43:07
  Speaker 4: the FEDS brought it to him, and the FED busted him.
• 2:43:09
  Speaker 4: He was pissing off to Troy by making this vehicles,
• 2:43:11
  Speaker 4: I think, is what it really boiled down to him
• 2:43:13
  Speaker 4: in one aspect at least. You know, he he was
• 2:43:15
  Speaker 4: a former Detroit Guy's like, I'm gonna make my own car,
• 2:43:17
  Speaker 4: and they're like, the hell you are, buddy. So he
• 2:43:20
  Speaker 4: gets to quit it on that on let's see here
• 2:43:24
  Speaker 4: some September twenty first, nineteen eighty five, So this movie
• 2:43:28
  Speaker 4: comes out, comes out. I guess really what started filming.
• 2:43:32
  Speaker 4: I guess in December I believe, so about three months later.
• 2:43:36
  Speaker 4: So you know, I think that's very interesting. And again
• 2:43:38
  Speaker 4: I'm sorry that we'd know. That's when he got charged
• 2:43:40
  Speaker 4: with the fraud stuff. He gets a quitted on August sixteenth,
• 2:43:44
  Speaker 4: that's right, because the movie came out July third, twenty
• 2:43:46
  Speaker 4: or nineteen eighty five. That makes sense. So he gets
• 2:43:49
  Speaker 4: a quitted on August sixteenth, nineteen eighty four, and then
• 2:43:53
  Speaker 4: he's charged again in September of eighty five, So they
• 2:43:55
  Speaker 4: were after Delaurien, right, you know what I mean, like
• 2:43:57
  Speaker 4: whatever this dude? Did you know? There was some some
• 2:44:00
  Speaker 4: uh lawfare if you will, being executed against him.
• 2:44:04
  Speaker 9: But what I find he was acquitted of all charges.
• 2:44:09
  Speaker 4: Well, yeah, they had it on videotape and there was
• 2:44:11
  Speaker 4: so much evidence that he was all it was all
• 2:44:13
  Speaker 4: in trapman, and he had some good attorneys. But then
• 2:44:15
  Speaker 4: and then, but did he win because then they came
• 2:44:18
  Speaker 4: after him, right, and then they're like, yeah, we got
• 2:44:20
  Speaker 4: you for fraud like months after, you know, a year
• 2:44:22
  Speaker 4: or so after he gets acquitted, right, So you know.
• 2:44:26
  Speaker 1: He said he was he was acquitted even after this
• 2:44:29
  Speaker 1: September nineteen eighty five.
• 2:44:32
  Speaker 4: No, that's a great point, That's what I'm getting at.
• 2:44:33
  Speaker 4: So do you really win because he's spending all this
• 2:44:35
  Speaker 4: money on attorneys to buy two thousand, he's got he's
• 2:44:38
  Speaker 4: financially bankrupt, and he's got to sell mansion.
• 2:44:42
  Speaker 9: It's all in who you know, right, right?
• 2:44:45
  Speaker 3: Right?
• 2:44:45
  Speaker 4: But what I'm getting is there after someone's after bankrupting
• 2:44:48
  Speaker 4: glory and he sells his mansion in two thousands as
• 2:44:51
  Speaker 4: a result of this bankruptcy. Right, we're gonna get into
• 2:44:53
  Speaker 4: the fIF tan and here's when I'm I'm heading here.
• 2:44:55
  Speaker 2: So the day he got acquitted was magic.
• 2:44:58
  Speaker 4: I just want to say that seven twenty one.
• 2:45:01
  Speaker 2: The August sixteenth, nineteen eighty four, nineteeny four is twenty two,
• 2:45:07
  Speaker 2: super much? Right?
• 2:45:09
  Speaker 4: How about September twenty first, nineteen eighty five.
• 2:45:15
  Speaker 6: Well, August is also the eight did you say them?
• 2:45:19
  Speaker 4: Yeah, eighteen sixteen, you got two eights, right, yeah, how
• 2:45:25
  Speaker 4: about September twenty first, nineteen eighty five.
• 2:45:30
  Speaker 6: I don't optional.
• 2:45:34
  Speaker 4: Any commentary.
• 2:45:37
  Speaker 2: Math, Yeah, well ninety three right right away? Yeah, and
• 2:45:42
  Speaker 2: what'd you say nineteen eighty five? Yes, sir, well you
• 2:45:49
  Speaker 2: have I mean you would be like a perfect five, right.
• 2:45:52
  Speaker 2: It would be like the completion of like something that
• 2:45:56
  Speaker 2: you've done, maybe to do some greater thing, because you
• 2:45:59
  Speaker 2: all want to try and go up to seven. That's
• 2:46:01
  Speaker 2: the idea, so you use like maybe a launching pad.
• 2:46:06
  Speaker 2: That'd be a good date for like some of the
• 2:46:08
  Speaker 2: new venture. You could say.
• 2:46:10
  Speaker 4: Yeah, so so that's uh, that former estate there you
• 2:46:17
  Speaker 4: see now is the clubhouse of the Trump National Bedminster
• 2:46:20
  Speaker 4: golf Course and the Prime Residency. Trump calls it his
• 2:46:23
  Speaker 4: summer white House Prime Residency that he established there in
• 2:46:26
  Speaker 4: his first term between May and September. That's where he
• 2:46:29
  Speaker 4: normally lives during those months. But I'm saying that's that's
• 2:46:31
  Speaker 4: what he called the summer white House there. That house
• 2:46:34
  Speaker 4: right there used to be John Delauriance. So after getting now,
• 2:46:40
  Speaker 4: I can't make this ship up. It's for all those
• 2:46:41
  Speaker 4: damn UFO sidings in New Jersey. I mean to holler
• 2:46:44
  Speaker 4: there as well. I'm getting a little a little too
• 2:46:47
  Speaker 4: wild there. This is where all those UFO sidings in
• 2:46:49
  Speaker 4: New Jersey were over Trump's, over Delorian's property, which is
• 2:46:53
  Speaker 4: now Trump's property.
• 2:46:54
  Speaker 9: Are you serious?
• 2:46:56
  Speaker 4: Right right over right over it?
• 2:46:58
  Speaker 1: Not all that FOE sidings.
• 2:47:01
  Speaker 4: Well, those drone those weird drone startings, there was a
• 2:47:03
  Speaker 4: high concentration of them in New Jersey that were going
• 2:47:05
  Speaker 4: over Bedminster, the former property of the Dory in the
• 2:47:08
  Speaker 4: current property of Trump.
• 2:47:10
  Speaker 1: Wow, Yeah, it was weird.
• 2:47:16
  Speaker 2: So it makes sense from the numbers.
• 2:47:19
  Speaker 4: What's that gening makes sense to what the numbers.
• 2:47:21
  Speaker 2: Summoning that, Like Heidi always says, like there's some they're
• 2:47:24
  Speaker 2: playing with angels. That's that's exactly what it is, and
• 2:47:27
  Speaker 2: that like or they or they're playing with going away
• 2:47:30
  Speaker 2: like an angel, like how the movie describes it's like
• 2:47:34
  Speaker 2: the same. It's like two different ideas, like do you
• 2:47:36
  Speaker 2: believe in the other power or do you believe in
• 2:47:38
  Speaker 2: the self power? Exactly what Heidi said. I'm just seeing
• 2:47:40
  Speaker 2: a different way to describe it. So it is exactly
• 2:47:43
  Speaker 2: do you believe in the angels or do you believe
• 2:47:45
  Speaker 2: in yourself? There's two different schools of thinking, two different factions.
• 2:47:50
  Speaker 2: So that that's an interesting idea because it's like the
• 2:47:54
  Speaker 2: Trump connection is really interesting. The just all of this,
• 2:47:57
  Speaker 2: it's just so fascinating, Like the whole whole film is
• 2:48:00
  Speaker 2: like very much deeper than its outer presentation. And maybe
• 2:48:05
  Speaker 2: that's also like a credit to its success because it
• 2:48:10
  Speaker 2: it it's not like, you know, sometimes the magical works,
• 2:48:14
  Speaker 2: they work and sometimes they don't. That's kind of the idea,
• 2:48:16
  Speaker 2: so that sometimes they are successful and bear fruit and
• 2:48:19
  Speaker 2: sometimes they don't. But like this film sort of bears
• 2:48:23
  Speaker 2: endless fruit in a way very double hates that's right,
• 2:48:27
  Speaker 2: because it kind of like it keeps Michael J. Fox
• 2:48:29
  Speaker 2: perpetually famous even though he retired like twenty years ago.
• 2:48:34
  Speaker 2: He's perpetually. He'll be famous long after he's like an
• 2:48:38
  Speaker 2: old man because of his film.
• 2:48:41
  Speaker 1: Yeah, it's definitely not because of Teen Wolf. I'm telling
• 2:48:44
  Speaker 1: you that right now.
• 2:48:48
  Speaker 2: I don't.
• 2:48:49
  Speaker 1: I'm just saying to the Back to the Future is
• 2:48:52
  Speaker 1: is like what it put saled him off into infamy?
• 2:48:58
  Speaker 4: Oh it does. It doesn't compare between the city and
• 2:49:00
  Speaker 4: doesn't compare. But still a fine film.
• 2:49:02
  Speaker 1: You do find the.
• 2:49:04
  Speaker 3: FBI informant on the Dolorean case thing. His last name
• 2:49:08
  Speaker 3: was Hoffman, which made me giggle.
• 2:49:10
  Speaker 4: Oh, well, that's yeah, I've dug into that dude's past.
• 2:49:13
  Speaker 4: He was doing some I ran concerence spoking for the
• 2:49:15
  Speaker 4: FEDS and the DA back in the mid seventies. So
• 2:49:17
  Speaker 4: that's how he became an informant. So I got a
• 2:49:19
  Speaker 4: lot to unpack with that because I got some cocaine
• 2:49:21
  Speaker 4: Bob connections involved in that. Next month, Oh boy, topic
• 2:49:24
  Speaker 4: for a different day, Yeah, for sure, for a different day.
• 2:49:28
  Speaker 2: The well, cocaine, like you say, JJ, cocaine seems to
• 2:49:32
  Speaker 2: drive a lot of these kinds of protects, and cocaine
• 2:49:36
  Speaker 2: is a very mercurial substance, Like if you were to
• 2:49:38
  Speaker 2: mop it out in Kabala would be a very hard
• 2:49:41
  Speaker 2: substance because it requires fire from government, don't.
• 2:49:47
  Speaker 4: You ain't kidding? I mean that's for sure. So uh
• 2:49:50
  Speaker 4: we can transition here on the fifteen and who is
• 2:49:53
  Speaker 4: based on Donald Trump as the man who was owning
• 2:49:56
  Speaker 4: the owner now of the old Dolorian estate the five
• 2:49:58
  Speaker 4: hundred and thirty five acres a formerly known as as
• 2:50:03
  Speaker 4: the Delarey in the state. Again, it's a fantastic place,
• 2:50:06
  Speaker 4: the summer White House where Trump uh trump uh In fact,
• 2:50:10
  Speaker 4: moments after he left Pennsylvania there in July was at
• 2:50:13
  Speaker 4: fourteenth twenty twenty four when he got the assassination attempted
• 2:50:16
  Speaker 4: Butler Pa. He went directly to his Badminster property, just
• 2:50:21
  Speaker 4: saying he likes he likes that place.
• 2:50:26
  Speaker 8: Maybe that the fallen angels held his ear there you go.
• 2:50:30
  Speaker 4: Maybe the drone UFO aliens got him, maybe they helped
• 2:50:33
  Speaker 4: him out them in JFK Junior, you.
• 2:50:38
  Speaker 6: Know, there was somebody who showed that those things like
• 2:50:40
  Speaker 6: flew out like right near like a Boeing plan.
• 2:50:44
  Speaker 3: Yeah.
• 2:50:45
  Speaker 4: No, for sure, there's some weird stuff. I mean it
• 2:50:47
  Speaker 4: was all hot news and then now it's not. And no,
• 2:50:49
  Speaker 4: one really explained it. It was shining, it was Iran,
• 2:50:52
  Speaker 4: it was nothing, it was ours. I mean, I mean,
• 2:50:54
  Speaker 4: I think that's all part of a distraction from whatever
• 2:50:56
  Speaker 4: what it really was, right in which we don't really
• 2:50:58
  Speaker 4: know and did it didn't not. Again, it was over
• 2:51:01
  Speaker 4: a lot, over different parts of New Jersey, but there
• 2:51:04
  Speaker 4: was a pocket where the concentration was for weeks. Donald
• 2:51:07
  Speaker 4: Trump did a press conference about it during the election
• 2:51:09
  Speaker 4: and during his campaign, like, you know, someone really needs
• 2:51:11
  Speaker 4: to check this out. I've had these drones over my
• 2:51:14
  Speaker 4: property for two weeks. This seems to be a national
• 2:51:16
  Speaker 4: security issue or something. He says, so very very wild stuff.
• 2:51:22
  Speaker 4: If you asked me so Bif Tanner, based on Donald
• 2:51:25
  Speaker 4: Trump there, what what are your thoughts on him as
• 2:51:28
  Speaker 4: a character.
• 2:51:31
  Speaker 9: Well, he's just a dick.
• 2:51:34
  Speaker 4: He's just that's true. That's true.
• 2:51:37
  Speaker 1: And he's not and he's like the proverbi. He's like
• 2:51:40
  Speaker 1: not even a smart dick. He's just a retarded dick.
• 2:51:44
  Speaker 1: And he's like a tree and get out of.
• 2:51:47
  Speaker 4: Here, right, And he's kind of that's right, and he's
• 2:51:50
  Speaker 4: kind of like he's like quantum entangled with Marty mcflys. Uh,
• 2:51:54
  Speaker 4: you know, a family tree, right, yeah, that's.
• 2:51:59
  Speaker 2: Just like what I high do you mix that that
• 2:52:01
  Speaker 2: they have to play each other's like opposing role.
• 2:52:04
  Speaker 4: Because every time he goes back before it in time,
• 2:52:07
  Speaker 4: he's got a new Biff, and he's got a new
• 2:52:08
  Speaker 4: Biff to handle.
• 2:52:09
  Speaker 8: Mm hmmm hmm.
• 2:52:12
  Speaker 1: Kind of reminds me of the Butterfly effect. That's another
• 2:52:16
  Speaker 1: movie I really love and uh, would you.
• 2:52:21
  Speaker 6: Say nicked Out?
• 2:52:24
  Speaker 1: Oh yeah, no, dude, that that's that could be another
• 2:52:26
  Speaker 1: episode in itself.
• 2:52:28
  Speaker 9: But it's like every time Marty goes back or forward, he.
• 2:52:32
  Speaker 1: Gets a new Biff and it's like he's still just
• 2:52:34
  Speaker 1: as awful as ever, but just in different ways. He
• 2:52:37
  Speaker 1: Butterfly affects him throughout. It's like he's still a dick,
• 2:52:42
  Speaker 1: it's just different variations of what kind of dicky is like.
• 2:52:46
  Speaker 4: Through just too McFly. It's to his parents, right, he's
• 2:52:49
  Speaker 4: got a whole thing with the Antagon, this thing with
• 2:52:53
  Speaker 4: George McFly, So he's like he's just the dude. He's
• 2:52:56
  Speaker 4: always there, you know, beefing mm hmmmm.
• 2:53:00
  Speaker 1: I will say though, in the second movie, the old
• 2:53:03
  Speaker 1: Man Biff is a lot more intelligent than this one
• 2:53:08
  Speaker 1: that we got pulled up because he's like he wants
• 2:53:10
  Speaker 1: to rig the sports and stuff like that, so he
• 2:53:14
  Speaker 1: becomes the billionaire.
• 2:53:17
  Speaker 4: Of course, there's the masonic nature of Hira a Biff, right,
• 2:53:19
  Speaker 4: Like how he was saying.
• 2:53:20
  Speaker 1: Before, mm hmmm, Well, isn't there something about like Trump's
• 2:53:26
  Speaker 1: family being connected with Tesla and they were working on
• 2:53:29
  Speaker 1: some kind of time travel thing?
• 2:53:32
  Speaker 3: Like I love that. Yeah, so that's to go with
• 2:53:38
  Speaker 3: So Tesla uncle John was his understudy, and then you
• 2:53:43
  Speaker 3: get to Van olver Bush and this goes into a
• 2:53:45
  Speaker 3: hole like I'll be short because I've talked way too
• 2:53:48
  Speaker 3: much tonight. But yes, he supposedly possibly got Tesla's papers. However,
• 2:53:54
  Speaker 3: there's an argument whether he ever wrote a paper because
• 2:53:56
  Speaker 3: he memorized everything.
• 2:53:57
  Speaker 8: So it's a little shady there, but that that's basically
• 2:54:01
  Speaker 8: you know, they talked Maro Largo and they were looking
• 2:54:04
  Speaker 8: for something. So I'm just saying, I don't know.
• 2:54:06
  Speaker 1: I had only heard about it, like on on a
• 2:54:10
  Speaker 1: very surface level, that there was something about Trump and Tesla.
• 2:54:15
  Speaker 1: And then if that's true and this character is based
• 2:54:19
  Speaker 1: off of like his archetype, the Trump archetype, it makes
• 2:54:25
  Speaker 1: it would make a lot of sense, especially like in
• 2:54:27
  Speaker 1: the second movie with like the Biff Tower or whatever,
• 2:54:30
  Speaker 1: and the sure the weirdness with that.
• 2:54:33
  Speaker 4: No, it's and it's definitely true.
• 2:54:35
  Speaker 3: It was.
• 2:54:35
  Speaker 4: It was Uh, it was not unclassified for four years,
• 2:54:39
  Speaker 4: but it was a John G. Trump was the top
• 2:54:41
  Speaker 4: physicist at m I t was the longest serving professor.
• 2:54:44
  Speaker 4: You know, and him and you will see plenty of
• 2:54:47
  Speaker 4: interviews where Trump talks about his relationship with his uncle.
• 2:54:50
  Speaker 8: Oh, he flexes on that hardcore. He's like my uncle John.
• 2:54:54
  Speaker 3: Whenever he wants to push something and f with everybody,
• 2:54:57
  Speaker 3: He's like my uncle John and papers.
• 2:55:01
  Speaker 4: He knows what buttons to push, he knows what he's doing.
• 2:55:04
  Speaker 1: I hate to say it, but I give him an
• 2:55:07
  Speaker 1: A plus A plus for disgrace nuclear physicist.
• 2:55:13
  Speaker 9: He's the best you've ever seen.
• 2:55:16
  Speaker 4: And do we know that's that's a good does a
• 2:55:19
  Speaker 4: good trouve repression. But I just want to I just
• 2:55:22
  Speaker 4: wanted to ask if you all any more commentary here
• 2:55:24
  Speaker 4: on Biff before we get too long in the matters.
• 2:55:27
  Speaker 1: Yeah, I do fuck Biff his character and get out
• 2:55:33
  Speaker 1: of here. Yeah, I want. I want Biff to make
• 2:55:35
  Speaker 1: like a tree and get out of here.
• 2:55:38
  Speaker 3: Believe well, I did think it was funny that they
• 2:55:40
  Speaker 3: covered him in ship and I do think that the
• 2:55:43
  Speaker 3: whole darkness I could have gone into a whole thing.
• 2:55:45
  Speaker 8: But I talked a lot tonight, so.
• 2:55:48
  Speaker 2: That's good. The ship thing isn't is honest, legit interesting
• 2:55:52
  Speaker 2: From a metaphysical perspective, it's kind of it was like
• 2:55:55
  Speaker 2: public humiliation almost. I'm not saying humiliation ritual nick I
• 2:56:00
  Speaker 2: was saying. I'm saying that it was like a public humiliation.
• 2:56:04
  Speaker 2: Like it was like he's tard and feathered. He is
• 2:56:07
  Speaker 2: the chicken, he has to start again. And Biff is
• 2:56:11
  Speaker 2: never like there's nothing redeemable about him in any of
• 2:56:14
  Speaker 2: the films, in any moment. Like he's not funny, he's
• 2:56:19
  Speaker 2: not charming, he's not like the Trump.
• 2:56:22
  Speaker 9: That we see right, like that he's a rapist.
• 2:56:25
  Speaker 2: Yeah well yeah, he's an attempted like assaulter.
• 2:56:29
  Speaker 3: And he's gigantic like back at like possible following angel stuff,
• 2:56:34
  Speaker 3: but like yeah.
• 2:56:37
  Speaker 2: Plus ultra right, Like they believe that Tesla was like
• 2:56:41
  Speaker 2: the one magician to follow. He was like there, I'm sorry, Heidi,
• 2:56:46
  Speaker 2: I forget that.
• 2:56:48
  Speaker 4: You're telling me, Jim, Yeah yeah.
• 2:56:51
  Speaker 2: Like and they're going in different directions, different factions, they
• 2:56:54
  Speaker 2: follow different leaders. One follows Crowley one follows. You know,
• 2:56:59
  Speaker 2: there's the weight.
• 2:57:01
  Speaker 3: Well, and he has always the people behind him backing him,
• 2:57:04
  Speaker 3: like you know Trump has had the Mob and Cone
• 2:57:06
  Speaker 3: and you know, lots of people that helped him get
• 2:57:09
  Speaker 3: where he is. I mean, he came up from the
• 2:57:12
  Speaker 3: depths of shit, is what you know.
• 2:57:15
  Speaker 4: Well, I'm glad you point out the rape, the rape
• 2:57:17
  Speaker 4: part two with this character. He's kind of rapial Biff
• 2:57:20
  Speaker 4: and there is an element to it, right with this
• 2:57:24
  Speaker 4: with his character, but there's an underlying kind of rape
• 2:57:27
  Speaker 4: element to the whole film if you asked me. And
• 2:57:29
  Speaker 4: that was one of the apparent contentions as we mentioned earlier,
• 2:57:31
  Speaker 4: with Crispin Glover not returning to the film there in
• 2:57:34
  Speaker 4: number two and suing them when they use his likeness,
• 2:57:37
  Speaker 4: and he's got a big beef about all those things.
• 2:57:40
  Speaker 4: But that really does kind of there is kind of
• 2:57:42
  Speaker 4: that esoteric understanding to this whole situation based if his
• 2:57:46
  Speaker 4: statements are true, which I'll do a quick recap on
• 2:57:50
  Speaker 4: that here. If we're done with the character of Biff
• 2:57:56
  Speaker 4: so on crazy days and nights, which you know, take
• 2:57:59
  Speaker 4: it for much you will. This guy's got a lot
• 2:58:01
  Speaker 4: of He's got a long record of being right on
• 2:58:03
  Speaker 4: a lot of things before it's public, this entertainment lawyer fellow,
• 2:58:07
  Speaker 4: but back in twenty eighteen August seventeenth, twenty eighteen, he's
• 2:58:13
  Speaker 4: discussing the why the Chrispin Glover and the actress who
• 2:58:19
  Speaker 4: played Jennifer there did not return to the film. This actor,
• 2:58:22
  Speaker 4: who has never probably eclipsed B plus lists, was portrayed
• 2:58:26
  Speaker 4: as a troublemaker for spreading the truth. He was effectively
• 2:58:30
  Speaker 4: blacklisted by any and all people who were friends with
• 2:58:33
  Speaker 4: the producers. Again, Lucas Spielberg semechis, I mean that's most
• 2:58:37
  Speaker 4: of Hollywood, and the entertainment lawyer says, that's seventy five percent.
• 2:58:41
  Speaker 4: That sounds about right. There was a group through though,
• 2:58:44
  Speaker 4: that were not friends with those producers. They have kept
• 2:58:46
  Speaker 4: the actor at least earning enough to make a living,
• 2:58:48
  Speaker 4: and that's accurate. He played some bit roles in smaller
• 2:58:50
  Speaker 4: roles in things including the antagonist or the villain, and
• 2:58:54
  Speaker 4: Charlie's Angels being one of the bigger ones that he
• 2:58:56
  Speaker 4: was offered, you know, many years after, you know, back
• 2:58:59
  Speaker 4: to future, I would say he's a pretty good actor, right, I.
• 2:59:01
  Speaker 9: Tend to like I love him.
• 2:59:03
  Speaker 1: I love him.
• 2:59:04
  Speaker 9: I think he's so funny.
• 2:59:06
  Speaker 4: Kind of annoyed him now when he started the Smiley
• 2:59:08
  Speaker 4: Face Killer film by Brendyson Ellis, who wrote American Psychode.
• 2:59:12
  Speaker 4: But that's a different story altogether. So it says the
• 2:59:17
  Speaker 4: entertaining tament. Lawyer goes on to say, I can't even
• 2:59:19
  Speaker 4: watch the film any longer because of what I know
• 2:59:21
  Speaker 4: what was happening on the set. The actor said the
• 2:59:23
  Speaker 4: multiple bedrooms used in scenes in the film, so the
• 2:59:25
  Speaker 4: scenes from the film would often smell of cigars and
• 2:59:28
  Speaker 4: booze because that is often where the producers would take
• 2:59:30
  Speaker 4: the boys after their tour of the set, and they're
• 2:59:33
  Speaker 4: quote their jan Waite for quote unquote tour of the set.
• 2:59:37
  Speaker 4: Our actor also says that every other actor on that
• 2:59:40
  Speaker 4: film set knew what was going on, but they valued
• 2:59:42
  Speaker 4: their careers more than the horrors taking place. So that's
• 2:59:46
  Speaker 4: why apparently those two decided not to leave. Again, this
• 2:59:49
  Speaker 4: was made by you. We were mentioning the Steven Spielberg
• 2:59:52
  Speaker 4: gets ambling entertainment. So he was in charge of this
• 2:59:54
  Speaker 4: operation along with Zamechus and Lucas wasn't necessiately involved, but
• 2:59:58
  Speaker 4: he's you know, he's part of their same mix with
• 2:59:59
  Speaker 4: these I don't know where he was necessarily, but I'm
• 3:00:03
  Speaker 4: just saying they socially speaking, they were probably hanging out
• 3:00:05
  Speaker 4: still even while the film was going right. But you know,
• 3:00:08
  Speaker 4: it's a very very odd environment. We see Crispin Glover.
• 3:00:11
  Speaker 4: I got a quick clip to show you kind of
• 3:00:12
  Speaker 4: how he feels about this stuff today.
• 3:00:15
  Speaker 8: I did not do anything illegal. Bob Gail did something like,
• 3:00:19
  Speaker 8: we didn't do anything that was illegal. In the ever
• 3:00:21
  Speaker 8: twisting corridors of Hollywood history, one of tinsel Town's most
• 3:00:25
  Speaker 8: intriguing tales is the legal drama surrounding Crispin Glover and
• 3:00:29
  Speaker 8: Back to the Future Part two.
• 3:00:33
  Speaker 4: So obviously he's talking about using his likeness where he
• 3:00:35
  Speaker 4: fantasy sued them and was successful in that effort, and
• 3:00:38
  Speaker 4: that was kind of a landmark issue. But with the
• 3:00:40
  Speaker 4: anger in Visrael, you see Crispin Glover in an interview
• 3:00:43
  Speaker 4: from recent years. I think it's rooted more in that
• 3:00:46
  Speaker 4: letter you were talking about it earlier, Julia, which is hmm,
• 3:00:49
  Speaker 4: I will include in the show notes. But I had
• 3:00:51
  Speaker 4: to go back to locate. I had to go back
• 3:00:53
  Speaker 4: to the wayback machine.
• 3:00:55
  Speaker 1: Mm hmmm, yeah, I mean it's it's buried and he
• 3:00:58
  Speaker 1: talks about Steven Spielberg on, he goes, he goes, he.
• 3:01:05
  Speaker 4: Goes pretty, he goes pretty tough on Spielberg, here.
• 3:01:08
  Speaker 1: Doesn't he Yeah, he does, he does, he does, he does.
• 3:01:12
  Speaker 3: If you ever saw the picture of Steven Spielberg with
• 3:01:15
  Speaker 3: the little Poultergeist girl on.
• 3:01:16
  Speaker 11: His lap, you will have no questions, right right, And
• 3:01:21
  Speaker 11: she died like a bell obstruction. Yeah, that's what they said.
• 3:01:28
  Speaker 11: That's what they said.
• 3:01:30
  Speaker 8: Well, if there was traumatic injury there where.
• 3:01:34
  Speaker 1: She couldn't yeah, but that they said that she that
• 3:01:38
  Speaker 1: she had like a congested colon and that way that
• 3:01:42
  Speaker 1: she got backed up, and that's what But it's like,
• 3:01:45
  Speaker 1: come on, now, I agree.
• 3:01:48
  Speaker 4: And I and Steven Spielberg got so many dark tales.
• 3:01:51
  Speaker 4: I was, you know, I was gonna say, maybe we'll
• 3:01:53
  Speaker 4: have to discuss that one, you know, collectively here in
• 3:01:56
  Speaker 4: the future, because I think we all have some. But
• 3:01:57
  Speaker 4: it sounds like, well, I think it's I think, well,
• 3:02:03
  Speaker 4: hold on, when I think of well, when I think
• 3:02:04
  Speaker 4: it's Drew Barrymore, this is also my same reaction Scott
• 3:02:10
  Speaker 4: Drew Barrymore was doing coke and drinking at Studio fifty nine.
• 3:02:13
  Speaker 4: I mean, yeah, I don't know Spielberg was there, but
• 3:02:16
  Speaker 4: some of the other characters in this old Donald Trump, right.
• 3:02:20
  Speaker 8: Yeah, some girls person was there for sure.
• 3:02:22
  Speaker 4: Shed This is this is the era of when Rokee
• 3:02:25
  Speaker 4: Roy cohnees basically running Studio fifty four because the owners
• 3:02:28
  Speaker 4: are so in debt to him for legal services to
• 3:02:31
  Speaker 4: stay out of jail and keep the place open that
• 3:02:33
  Speaker 4: he's kind of running that spot by that point.
• 3:02:35
  Speaker 8: Oh yeah.
• 3:02:36
  Speaker 1: The only reason I bring her up is because a
• 3:02:38
  Speaker 1: fire starter in et both Steven Spielberg.
• 3:02:43
  Speaker 4: Right, And that's what I'm saying. They got up seventy
• 3:02:45
  Speaker 4: eight back there Studio fifty four on some coke and
• 3:02:47
  Speaker 4: some benzos and some alcohol and whatnot. By the time
• 3:02:50
  Speaker 4: she met Spielberg, he was like, He's like, yep, Jack thought,
• 3:02:54
  Speaker 4: mm hmmmmm, sad.
• 3:02:58
  Speaker 1: Do you have drums? By the way, the clip, the clip.
• 3:03:05
  Speaker 4: I enjoyed.
• 3:03:07
  Speaker 8: It was better without the sound.
• 3:03:09
  Speaker 3: I think that.
• 3:03:10
  Speaker 2: I think Julian narrating it was.
• 3:03:11
  Speaker 8: Actually thank you.
• 3:03:14
  Speaker 1: I appreciate that.
• 3:03:15
  Speaker 4: I appreciate that. Let me make one more note on it.
• 3:03:19
  Speaker 4: We'll go ahead, go ahead.
• 3:03:20
  Speaker 1: Oh, I was gonna say I had I had just
• 3:03:22
  Speaker 1: a funny pop culture reference to Back to the Future.
• 3:03:26
  Speaker 1: You guys might remember did. Have you guys watched Knocked Up?
• 3:03:32
  Speaker 1: It's it's got like seth Rogen and what's her face
• 3:03:37
  Speaker 1: in it? Where she gets pregnant and whatever. Paul Redd
• 3:03:40
  Speaker 1: is in it and they go to like this dinner whatever,
• 3:03:45
  Speaker 1: and Paul Redd is like, you know, if Doc Brown
• 3:03:47
  Speaker 1: screeched up in the Dolorean right now, would you go
• 3:03:50
  Speaker 1: back and put a condom on Ben's stick? And they
• 3:03:53
  Speaker 1: act like Catherine Heigel and the other chick don't know
• 3:03:56
  Speaker 1: what Back to the Future is. They were like, you
• 3:03:58
  Speaker 1: don't know who.
• 3:03:59
  Speaker 9: Doc Brown is?
• 3:04:01
  Speaker 1: And yeah, I was like, who the fuck wouldn't know
• 3:04:05
  Speaker 1: what back to Like, I'm not believing that for a
• 3:04:08
  Speaker 1: fucking second that they didn't know what Back to the
• 3:04:10
  Speaker 1: Future was.
• 3:04:12
  Speaker 4: But that's a good example of how culturally impactful this
• 3:04:14
  Speaker 4: has been, right M.
• 3:04:17
  Speaker 9: Yeah, yeah, for sure.
• 3:04:19
  Speaker 1: I just mentioned that because I watched that movie the
• 3:04:22
  Speaker 1: other day and then you asked me to do this
• 3:04:24
  Speaker 1: and I was like, dude, everybody loves Back to the Future.
• 3:04:26
  Speaker 4: Right, So well, I mean, I don't know if Christin
• 3:04:30
  Speaker 4: Glover does, but I do love the film. I know,
• 3:04:33
  Speaker 4: I know what you mean. I know what you mean.
• 3:04:35
  Speaker 4: So on this nature though of this, Christin Glover in
• 3:04:37
  Speaker 4: Spielberg situations and the parent kduling situations. There's in the
• 3:04:42
  Speaker 4: rapist you know, rape ee qualities of old beif tain
• 3:04:44
  Speaker 4: and you know there's a there's a nature of again
• 3:04:47
  Speaker 4: still underlying in this film that continues to perpetrate these
• 3:04:49
  Speaker 4: same ideas. If you ask me, and I'll play this
• 3:04:51
  Speaker 4: clip to demonstrate that point, because it is Barry.
• 3:05:02
  Speaker 7: You know that no sound to me.
• 3:05:11
  Speaker 4: So that cousin obviously being Chuck Berry. The song that
• 3:05:13
  Speaker 4: old Johnny be Good? Then Michael J. Fox was playing
• 3:05:17
  Speaker 4: right so in a forest Gump effect, and another's is
• 3:05:19
  Speaker 4: some Becca style there he events the song Johnny be Good?
• 3:05:23
  Speaker 1: Uh yeah, Chuck Berry infamous for the taco bellfarts.
• 3:05:28
  Speaker 4: Uh well, that's that's only later in his life, mame.
• 3:05:31
  Speaker 4: He has a lot of accolades in this nature previous
• 3:05:33
  Speaker 4: to that. If you will, I'll never.
• 3:05:35
  Speaker 1: Forget that after you told me that I can't even
• 3:05:38
  Speaker 1: drive past the taco bell without playing Johnny be Good.
• 3:05:41
  Speaker 8: There you go, that's Taco bellfarts.
• 3:05:45
  Speaker 4: So Chuck Berry was convicted under the Main Act in
• 3:05:48
  Speaker 4: nineteen fifty nine for transporting a fourteen year old girl
• 3:05:50
  Speaker 4: across state lines for the purposes of prostitutionals or sexual exploitation.
• 3:05:55
  Speaker 4: The record company is the one who got him out
• 3:05:57
  Speaker 4: of prison, so, which is kind of funny. So he's
• 3:05:59
  Speaker 4: a convict sex offender. And then in nineteen seventy two
• 3:06:02
  Speaker 4: he records this song tours nationally on number one hit
• 3:06:05
  Speaker 4: on the billboards. My dingling, that's kind of weird. So
• 3:06:11
  Speaker 4: then so then in nineteen ninety two he gets rated
• 3:06:15
  Speaker 4: for all sorts of drugs in Saint Louis, which becomes
• 3:06:17
  Speaker 4: in another incident later as Julia he just pointed out.
• 3:06:21
  Speaker 4: And in this incident they raid his home there in
• 3:06:24
  Speaker 4: Saint Louis, and he they raid a bunch of videotapes
• 3:06:27
  Speaker 4: the later get leaked to tabloids of him farting in
• 3:06:29
  Speaker 4: hooker's mouse. Apparently that was his favorite thing to do
• 3:06:32
  Speaker 4: higher hooker and then fart in her mouth, so he
• 3:06:36
  Speaker 4: would and then he would, so you know, he would
• 3:06:39
  Speaker 4: later be arrested for or payoff a lot of women
• 3:06:42
  Speaker 4: in civil lawsuits. I don't know if they think they
• 3:06:44
  Speaker 4: dropped the criminal charges for installing video cameras and the
• 3:06:47
  Speaker 4: toilets of women's bathrooms, of the Taco Bells and KFCs
• 3:06:51
  Speaker 4: that he owned about you know, a couple dozen I believe,
• 3:06:55
  Speaker 4: so Chuck Berry kind of was. I mean, he hadn't
• 3:06:58
  Speaker 4: got he'd been know he was, Oh, he's just sick. Fuck,
• 3:07:01
  Speaker 4: but he you know, he was. He was convicted of
• 3:07:03
  Speaker 4: the man next stuff by that point. And then weird
• 3:07:05
  Speaker 4: that he did the whole dangling thing, but that you know,
• 3:07:07
  Speaker 4: it was after it was after the Back of the
• 3:07:09
  Speaker 4: Future stuff they got on for the partner in the
• 3:07:11
  Speaker 4: Hooker's Mouse, which is not obviously not the charge, but
• 3:07:13
  Speaker 4: so's so ridiculous. And then you know then of course
• 3:07:16
  Speaker 4: the camera stuff I think was more like nineteen ninety
• 3:07:18
  Speaker 4: eight or ninety nine.
• 3:07:19
  Speaker 1: Well you want.
• 3:07:22
  Speaker 9: You want a full circle movement?
• 3:07:24
  Speaker 4: Please?
• 3:07:24
  Speaker 1: Do you remember I said, nobody gets out of this
• 3:07:28
  Speaker 1: place without farting in my mouth?
• 3:07:30
  Speaker 9: The adventures in babysitting.
• 3:07:32
  Speaker 4: So adventures in leaving the stage unless you play the
• 3:07:35
  Speaker 4: blues right, but.
• 3:07:36
  Speaker 1: Adventures in babysitting and back to the Future to Elizabeth Shoe,
• 3:07:42
  Speaker 1: Oh shit.
• 3:07:42
  Speaker 4: You're right, yep, you are correct, man.
• 3:07:46
  Speaker 9: That's the full circle moment.
• 3:07:47
  Speaker 4: That is full that is full circle. And if I
• 3:07:49
  Speaker 4: if I may close this, if anyone else has any
• 3:07:51
  Speaker 4: other commentary here, we we'll do some closing statements, but
• 3:07:53
  Speaker 4: I want to kind of go full circle here myself
• 3:07:55
  Speaker 4: here with going back to the future on some operations
• 3:07:58
  Speaker 4: GCD shows relative to these topics here, relative of the
• 3:08:01
  Speaker 4: character bif taining, the you know, Jnald Trump, who was
• 3:08:05
  Speaker 4: you know that based on biftaining kind of the predictive
• 3:08:08
  Speaker 4: programming natures of that stuff, and the fact that he's
• 3:08:11
  Speaker 4: connected to the Delirium property. I find it all very fascinating.
• 3:08:14
  Speaker 4: So we'll do some closing stuff here after this clip
• 3:08:17
  Speaker 4: if I just want to go back to the future
• 3:08:19
  Speaker 4: here on this one and go full circle as you
• 3:08:21
  Speaker 4: were just saying there, Julia. So that's some interesting aspects.
• 3:08:58
  Speaker 4: You know, Deanni does use a cae you know, money
• 3:09:00
  Speaker 4: and shakes out the Republican Party in the movie. Did
• 3:09:03
  Speaker 4: almost get right? They winning the Chicago Cubs winning the
• 3:09:07
  Speaker 4: World Series?
• 3:09:08
  Speaker 3: Right?
• 3:09:08
  Speaker 4: They were off?
• 3:09:09
  Speaker 7: Ye? Right?
• 3:09:11
  Speaker 4: Well they were off by year they won in twenty sixteen.
• 3:09:14
  Speaker 4: They were in twenty sixteen. So well, that's what I'm saying.
• 3:09:17
  Speaker 4: It's creepy enough, right, And that whole incident of the
• 3:09:19
  Speaker 4: Cubs winning the World Series, that incident's real creepy to me.
• 3:09:24
  Speaker 4: So it was called the Curse of the Goat was
• 3:09:27
  Speaker 4: this was this curse of the Goat was like one
• 3:09:29
  Speaker 4: of the most infamous curses and in any major sports right,
• 3:09:34
  Speaker 4: haunting the Cubs for nearly one hundred years. Well, the
• 3:09:38
  Speaker 4: folks that are credited for breaking the Curse of the
• 3:09:40
  Speaker 4: Goat is the Revisa sports hypnosis and sports psychotherapist family
• 3:09:46
  Speaker 4: family business as in Buffalo Jered. Yeah, that man my
• 3:09:55
  Speaker 4: former stocker. He his dad and uncle. He was actually
• 3:09:58
  Speaker 4: part of the family business too. Uh, were the folks
• 3:10:01
  Speaker 4: who broke the Curse of the Goat. The Chicago Cubs
• 3:10:04
  Speaker 4: officially recognized Ken Revisa as the person who broke the
• 3:10:08
  Speaker 4: Curse of the Goat. So that aspect of the Back
• 3:10:11
  Speaker 4: to the Future series, it's a little close to home.
• 3:10:15
  Speaker 2: What if the come thing was a year and a day,
• 3:10:19
  Speaker 2: Like it was like like an HGA ritual, Like it
• 3:10:22
  Speaker 2: was like intentionally off by a year. It was like,
• 3:10:27
  Speaker 2: it was like to I don't know that that would
• 3:10:29
  Speaker 2: be a funny little game.
• 3:10:31
  Speaker 4: I enjoy your perspective on these things because it's not
• 3:10:33
  Speaker 4: it's totally unique from what I way I look at things.
• 3:10:36
  Speaker 4: So I like, like we were saying, so I appreciate it.
• 3:10:41
  Speaker 4: I appreciate you all join me here tonight to gild
• 3:10:43
  Speaker 4: GCD and discussed this occult esoteric review of the nineteen
• 3:10:46
  Speaker 4: eighty five cinematic masterpiece Back to the Future. And I
• 3:10:49
  Speaker 4: appreciate the folks with the interwebs staying with us. We
• 3:10:52
  Speaker 4: got we folks seem to be enjoying the conversation.
• 3:10:54
  Speaker 3: I know.
• 3:10:55
  Speaker 4: I am so like to go on a round table
• 3:10:57
  Speaker 4: here and uh give everyone, you know, any closing statements,
• 3:11:00
  Speaker 4: any plugs you want to do by all me to
• 3:11:02
  Speaker 4: take your time, not trying to rush anybody, but you
• 3:11:05
  Speaker 4: know who We'll start off with, Heidi, since you're down
• 3:11:09
  Speaker 4: there in the bottom right, let's start down there.
• 3:11:11
  Speaker 8: Well, thank you so much for putting up with me tonight.
• 3:11:13
  Speaker 8: You guys, I'm I nerd it out.
• 3:11:15
  Speaker 1: I'm so sorry.
• 3:11:16
  Speaker 8: Good me to I was, Yeah, it was fun. I
• 3:11:21
  Speaker 8: love the show. I love I love the second one
• 3:11:23
  Speaker 8: almost as much. So it was just this series right, yes,
• 3:11:28
  Speaker 8: always always a.
• 3:11:29
  Speaker 3: Great time to be a colt rejects And anytime I
• 3:11:32
  Speaker 3: can come on and be on a show with JJ
• 3:11:34
  Speaker 3: is amazing.
• 3:11:35
  Speaker 8: So thank you, guys, you ma'am, thank you, thank you.
• 3:11:39
  Speaker 3: Find me anywhere podcasts are served Unfiltered Rise podcast dot com.
• 3:11:43
  Speaker 3: I also know if you watch me on YouTube it's
• 3:11:45
  Speaker 3: only once a week drop versus twice or more on Spotify,
• 3:11:50
  Speaker 3: just because they dig me so much.
• 3:11:51
  Speaker 8: Love to all of you, Thank you for watching, Julia.
• 3:11:57
  Speaker 4: Appreciate you joining us ma'am as always since I got
• 3:12:00
  Speaker 4: about you joining us in Golden Child, I'm glad you
• 3:12:01
  Speaker 4: could make it back around too. We'll have to do
• 3:12:04
  Speaker 4: a non occult necessary review and talk to some other
• 3:12:07
  Speaker 4: parapolitics as we often cross over in a lot of
• 3:12:11
  Speaker 4: our ideas and subjects we we enjoy, not not the
• 3:12:13
  Speaker 4: least of which Tuesday Wild.
• 3:12:15
  Speaker 1: Hey, you know what would be a nice follow up
• 3:12:17
  Speaker 1: to Tuesday Weld. We we could really throw down on JFK.
• 3:12:21
  Speaker 1: Junior because that's another one of my faiths that I'm doing.
• 3:12:26
  Speaker 4: Kids once again. Once again, like I said, a lot
• 3:12:29
  Speaker 4: of cross every You may have well just read my
• 3:12:31
  Speaker 4: mind because Heidi and I were on the sixth Census
• 3:12:33
  Speaker 4: since a sixth Sensory podcast last night, and I came
• 3:12:36
  Speaker 4: to the revelation when we were talking Society of Cincinnati
• 3:12:39
  Speaker 4: that JFK. Junior was likely a dual member of the
• 3:12:42
  Speaker 4: Society of Cincinnati won the French chapter and won the
• 3:12:46
  Speaker 4: Maryland chapter and that's a longer tail, but it's wow.
• 3:12:49
  Speaker 1: No, yeah, I would. I'd love to pick your guys'
• 3:12:52
  Speaker 1: brain on him, because that's that's another topic I could
• 3:12:55
  Speaker 1: just talk about forever. But thanks so much for having
• 3:12:58
  Speaker 1: me on this one. I love back to the few.
• 3:13:00
  Speaker 1: I love the third one. You can skip me on
• 3:13:02
  Speaker 1: the esoteric review of the second one because I think
• 3:13:04
  Speaker 1: it sucks sticks, but the first one.
• 3:13:06
  Speaker 9: In the third one, I'm down.
• 3:13:08
  Speaker 4: You think it's garbage.
• 3:13:09
  Speaker 9: Jay, Yeah, I.
• 3:13:10
  Speaker 11: Don't like it.
• 3:13:11
  Speaker 1: And you know, it's funny to think where they thought
• 3:13:15
  Speaker 1: we would be in twenty fifteen and we're still just
• 3:13:18
  Speaker 1: lame weirdos. No flying cars, no hoverboards, no self tying shoes.
• 3:13:24
  Speaker 1: I mean, I don't like the second one. But thanks
• 3:13:27
  Speaker 1: so much for having me. This was really fun. Jen,
• 3:13:30
  Speaker 1: n Heidi JJ, You're all awesome. I love working with you.
• 3:13:34
  Speaker 1: I think we covered a lot of ground on this one.
• 3:13:39
  Speaker 4: For sure.
• 3:13:40
  Speaker 3: Jen.
• 3:13:41
  Speaker 4: Greeting, sir, how about you share some more wizard skills
• 3:13:44
  Speaker 4: with us this evening. I appreciate your reviews. Yay, I'm
• 3:13:48
  Speaker 4: convinced of it. Man, you've always you're always having some
• 3:13:50
  Speaker 4: wizardry on me.
• 3:13:52
  Speaker 2: You know, I I love to play the hermestissis one
• 3:13:55
  Speaker 2: I had when he lies, it's like Nick already knows
• 3:13:58
  Speaker 2: how he also knows just because she's into it like that,
• 3:14:01
  Speaker 2: but Nick actually knows because there's that it's him.
• 3:14:03
  Speaker 7: I love.
• 3:14:04
  Speaker 2: It's my favorite thing to play plus ultra on on live.
• 3:14:07
  Speaker 2: So there you go. There's I'm admitting it. No, I
• 3:14:11
  Speaker 2: want to thank you guys obviously, Thank you JJ so
• 3:14:14
  Speaker 2: much for inviting me, including me on this years. I
• 3:14:16
  Speaker 2: know that we get a lot of cool people liking
• 3:14:18
  Speaker 2: my posts about this, so it's like it's it's a
• 3:14:20
  Speaker 2: big It's interesting for me to like see these people
• 3:14:24
  Speaker 2: who I think are like cooler than me and they're
• 3:14:26
  Speaker 2: kind of into it. So that's great. And thank you obviously, boss,
• 3:14:29
  Speaker 2: thank you Nick so much, thank you Heidi so much,
• 3:14:32
  Speaker 2: thank you Julia so much. And I just want to
• 3:14:35
  Speaker 2: say thank you. I want to keep it light tonight,
• 3:14:37
  Speaker 2: but the Carl Wood interview was like a really cathartic
• 3:14:40
  Speaker 2: moment for me, and I just want to dedicate this
• 3:14:43
  Speaker 2: one to my co host for the Twynement series, Zach
• 3:14:46
  Speaker 2: Schumer and of course Zach third Eye Homuncula, who passed away.
• 3:14:50
  Speaker 2: So thank you guys so much. It meant like a huge,
• 3:14:53
  Speaker 2: a great deal to me. So it's like a really
• 3:14:57
  Speaker 2: beautiful way to close that chapter.
• 3:15:01
  Speaker 6: Oh yeah, that was awesome.
• 3:15:05
  Speaker 3: Nick.
• 3:15:05
  Speaker 4: As always, I appreciate your time as always, sir, and
• 3:15:07
  Speaker 4: look forward to our Friday conversation. Come up with as
• 3:15:10
  Speaker 4: always with our cars Fridays together. Yes, yeah, Austin, wait
• 3:15:14
  Speaker 4: the car.
• 3:15:14
  Speaker 6: But what else?
• 3:15:15
  Speaker 4: What else? Your thoughts on closing statements tonight and anything
• 3:15:17
  Speaker 4: else you want to plug?
• 3:15:18
  Speaker 6: Oh well, I think well, first off, I'm thankfully after
• 3:15:24
  Speaker 6: posting it was gonna be the most comprehensive covering of
• 3:15:27
  Speaker 6: Back to the Future. That's what exactly happened, So thank
• 3:15:30
  Speaker 6: you everybody. I think that was amazing. It was three
• 3:15:33
  Speaker 6: hours long. There was a lot, a lot of a
• 3:15:35
  Speaker 6: lot of stuff in there. That's what's yes, Yeah, it was.
• 3:15:38
  Speaker 6: That was called recheck style. So and I will just
• 3:15:42
  Speaker 6: one thing I just want to add. I do think,
• 3:15:44
  Speaker 6: and I think we've all kind of said it as
• 3:15:46
  Speaker 6: somebody said it earlier. It might have been Julia or
• 3:15:50
  Speaker 6: maybe it was Heidi.
• 3:15:51
  Speaker 7: Uh.
• 3:15:51
  Speaker 6: I do think if you look at everything that we
• 3:15:53
  Speaker 6: talked about, in my opinion, all that stuff is in
• 3:15:56
  Speaker 6: that movie on purpose. It's all been added to the scene.
• 3:16:00
  Speaker 6: It's all there for a reason. I think the way
• 3:16:03
  Speaker 6: we all looked at it and pretty much came to
• 3:16:05
  Speaker 6: the same stuff, I think you can kind of see
• 3:16:08
  Speaker 6: that that's the choreographed that doesn't happen by Actually I
• 3:16:11
  Speaker 6: don't think.
• 3:16:11
  Speaker 1: I mean, there it is, JJ.
• 3:16:13
  Speaker 9: You finally found it.
• 3:16:14
  Speaker 4: For that yep, to that point you were making it
• 3:16:17
  Speaker 4: and to Julius Common earlier. There you go. That's the
• 3:16:20
  Speaker 4: opening scene, and there's Doc Brown hanging from a clock
• 3:16:22
  Speaker 4: tower in the background of that opening scene.
• 3:16:25
  Speaker 1: Everything is on purpose, dude, Every little thing is on purpose.
• 3:16:32
  Speaker 4: Even me bringing this up right now is on purpose.
• 3:16:34
  Speaker 4: I was waiting for this moment.
• 3:16:38
  Speaker 6: I love it.
• 3:16:38
  Speaker 8: Yeah, man, I love that was on the clock it
• 3:16:42
  Speaker 8: says axis.
• 3:16:45
  Speaker 2: Oh yeah, that's a room too. The kid hanging from anything.
• 3:16:50
  Speaker 2: It's thorn. Actually, I don't really know the rooms. I
• 3:16:53
  Speaker 2: hate the Norse stuff.
• 3:16:54
  Speaker 4: I'm like, you need, I'm all. Julie's even got the
• 3:17:02
  Speaker 4: same hat on. He's got that hat on.
• 3:17:05
  Speaker 1: That's what I'm telling you, dude.
• 3:17:07
  Speaker 4: It's Doc Brown for sure. Dude. That's crazy.
• 3:17:12
  Speaker 8: The shadow doesn't match and it's very phallic looking.
• 3:17:15
  Speaker 4: Sorry, you're good. No, by all means. But I mean,
• 3:17:19
  Speaker 4: this is what we're talking about here, right, we're closing
• 3:17:21
  Speaker 4: it out here with exactly this is the great great
• 3:17:23
  Speaker 4: closing m hm. It's like the.
• 3:17:26
  Speaker 8: Amazon sign almost, right, yeah, dude, Or.
• 3:17:31
  Speaker 1: Like if you look at it maybe from the side,
• 3:17:34
  Speaker 1: it kind of looks like the whole compass thing.
• 3:17:37
  Speaker 4: I don't know, right, right, well, why is there a
• 3:17:39
  Speaker 4: pretty aspect to a two D object here?
• 3:17:41
  Speaker 3: Right?
• 3:17:42
  Speaker 6: Exactly?
• 3:17:43
  Speaker 1: Well, I think it might be.
• 3:17:45
  Speaker 9: I think it might be three D though I think like.
• 3:17:48
  Speaker 4: The guy I thought I was painted on, Okay, no,
• 3:17:50
  Speaker 4: I don't. Is this more of that duality.
• 3:17:54
  Speaker 3: It is?
• 3:17:57
  Speaker 1: I mean, I see the shadow I thought it was
• 3:17:59
  Speaker 1: because it was like as the clockhand moves, the little
• 3:18:02
  Speaker 1: guy moves with it.
• 3:18:03
  Speaker 4: You know, you may be right, you may be right.
• 3:18:06
  Speaker 4: I was just being painted on there with that kind
• 3:18:07
  Speaker 4: of shadow of it as well. Like the duality nature
• 3:18:09
  Speaker 4: of it's still.
• 3:18:11
  Speaker 2: M yeah, because then is he who travels through time?
• 3:18:15
  Speaker 2: It's not. It's not someone who's matten right, Like they're
• 3:18:18
  Speaker 2: out to master traveling, right like they they they they
• 3:18:22
  Speaker 2: solved time travel, They solve that paradox, they solve that
• 3:18:25
  Speaker 2: area between the hill and the valley. That's done. Now
• 3:18:28
  Speaker 2: the next thing is that you did is conquer space.
• 3:18:33
  Speaker 2: It's just a metaphor for the whole film. It's like
• 3:18:35
  Speaker 2: the hermetic journey.
• 3:18:37
  Speaker 4: And again and again my response, don't you again?
• 3:18:43
  Speaker 8: Almost innate.
• 3:18:44
  Speaker 3: It's almost like he's trying to hold it back from
• 3:18:46
  Speaker 3: being an eight once again.
• 3:18:48
  Speaker 6: Here, Yeah, the bottom it will look like the bottom
• 3:18:52
  Speaker 6: one would be on an eight anyway.
• 3:18:54
  Speaker 4: Right, I was gonna say, I think you have this
• 3:18:55
  Speaker 4: all hands on the eight.
• 3:18:57
  Speaker 8: Yeah, but it's it's not quite right, right, it's.
• 3:19:01
  Speaker 4: Not it's almost it's almost eight am, right, yeah, it's
• 3:19:03
  Speaker 4: seven fifty.
• 3:19:05
  Speaker 3: Four, right, So he's holding back time, so there can't
• 3:19:09
  Speaker 3: be a complete, a completeness of infinity.
• 3:19:13
  Speaker 4: Well, I think all those clocks here on that same time, right,
• 3:19:16
  Speaker 4: there's this one, right.
• 3:19:16
  Speaker 2: Is that right?
• 3:19:17
  Speaker 4: Chelieu?
• 3:19:18
  Speaker 1: Yeah, they're all on the same time exactly, remember from
• 3:19:21
  Speaker 1: the phone call exactly twenty five minutes late?
• 3:19:24
  Speaker 8: Right, Yeah, that's right?
• 3:19:29
  Speaker 4: Okay, nice, nice. Now I don't remember where I was
• 3:19:34
  Speaker 4: going with that before, but I like those points. That's
• 3:19:37
  Speaker 4: good stuff.
• 3:19:38
  Speaker 3: Oh.
• 3:19:38
  Speaker 4: My response to all this, my response to all this
• 3:19:41
  Speaker 4: scot there you go. So now I I appreciate everyone's time,
• 3:19:46
  Speaker 4: and uh if I if I can offer a couple
• 3:19:48
  Speaker 4: quick plugs. Like I said, I got Operation GCD Live
• 3:19:51
  Speaker 4: Sundays coming up here eight pm Patreon only with links
• 3:19:54
  Speaker 4: in the show notes, along with links for all of
• 3:19:57
  Speaker 4: our wonderful guests here in the Occult Rejects panel. Here
• 3:19:59
  Speaker 4: this evening full blown a cult Rejects panel. And I
• 3:20:02
  Speaker 4: got this Sunday at eight pm Eastern time. I got
• 3:20:05
  Speaker 4: the Curse of Robert the Doll. That's gonna be a
• 3:20:08
  Speaker 4: scary one, more so for me than anyone else. And
• 3:20:10
  Speaker 4: then the following Sunday, as I just mentioned, the Revisa
• 3:20:13
  Speaker 4: family and the Curse of the Goat, which is a great,
• 3:20:15
  Speaker 4: great tie in here because I got the Legends of
• 3:20:18
  Speaker 4: Buffalo Jared Revisa. This is my former stalker, slash almost
• 3:20:23
  Speaker 4: he wanted me to hire him as my PR guy,
• 3:20:24
  Speaker 4: and then he pretty sure he wanted to murder me
• 3:20:27
  Speaker 4: and wear my skin as a coat because he later
• 3:20:29
  Speaker 4: went out to multi state killing spree. And I think
• 3:20:31
  Speaker 4: he's I suspected some sort of mind controlled situation. So
• 3:20:35
  Speaker 4: that'll be a fun tale again, not so much for me,
• 3:20:37
  Speaker 4: but probably for other people. For you, just ptsc Yeah,
• 3:20:41
  Speaker 4: for me, just drudging out some nasty memories. But you know,
• 3:20:44
  Speaker 4: I try to make some humor out of it. That's
• 3:20:45
  Speaker 4: how that's how I get by in life.
• 3:20:47
  Speaker 1: He wanted to wear you like an Edgar suit.
• 3:20:50
  Speaker 4: Yeah, he was like. He told me to put the
• 3:20:53
  Speaker 4: lotion on the skin, and you know, I was like, wait,
• 3:20:55
  Speaker 4: what's wrang?
• 3:20:57
  Speaker 1: Yeah, dude, about what.
• 3:21:00
  Speaker 4: Are you talking about? Lotion?
• 3:21:01
  Speaker 9: Fatten you up so you could hibernate together, all right, right?
• 3:21:08
  Speaker 4: Well, strangely enough, the man he murdered, he actually hired
• 3:21:11
  Speaker 4: him to be his pr rep heed. So again, this
• 3:21:15
  Speaker 4: is the life and times of that I have to
• 3:21:17
  Speaker 4: deal with here in the circumstances and whatnot. But I
• 3:21:20
  Speaker 4: appreciate all folks at the innerwebs tonight and tune in
• 3:21:22
  Speaker 4: and chatting and seem to be fairly well engaged in
• 3:21:25
  Speaker 4: and joining the things I like to see that I
• 3:21:27
  Speaker 4: always aim to entertain here, and I believe many of
• 3:21:30
  Speaker 4: most of the rest of the panel here does, except
• 3:21:32
  Speaker 4: for Jen. He just intends to do wizardry around everywhere.
• 3:21:35
  Speaker 4: So for that much I also appreciate. But I think
• 3:21:39
  Speaker 4: thanks to all the occult rejects here for joining us
• 3:21:41
  Speaker 4: and any any final comments from anyone.
• 3:21:45
  Speaker 9: Where we're going, we don't need roads.
• 3:21:48
  Speaker 4: That's great. Scott Batt