Latest / Ryder Lee / Hotel Monarch A Clockwork Shining Story | DoeNut & Paranoid American

Transcript

Hotel Monarch A Clockwork Shining Story | DoeNut & Paranoid American · Ryder Lee

• 0:02
  Speaker 1: Yo, what bits donah and you tuning into oh you're
• 0:06
  Speaker 1: Illuminata news. We are here with writer Lee filmmaker Paranoid American,
• 0:14
  Speaker 1: and we're.
• 0:15
  Speaker 2: Gonna be paranoid.
• 0:17
  Speaker 1: And write a Lee Filmmaker were what up? What up?
• 0:22
  Speaker 1: We're gonna go over programmed to read ram MK ultra
• 0:27
  Speaker 1: mind control, cinema intelligence, hashashan order the movie The Shining.
• 0:33
  Speaker 1: It's a cult symbolism. When I was looking at these
• 0:36
  Speaker 1: old posters, I saw them sam Pacu eyes. I'd be
• 0:39
  Speaker 1: telling my audience about the symbolism of the sampaku and
• 0:45
  Speaker 1: the stories that are told in these books in art
• 0:50
  Speaker 1: and literature and cinema is all connected to some sort
• 0:55
  Speaker 1: of mind control. And we're here with writer Lee filmmaker
• 1:00
  Speaker 1: of this new film Clockwork Shining, and we're gonna go
• 1:04
  Speaker 1: over so much. You're gonna absolutely love it. But before
• 1:08
  Speaker 1: we start, how you doing right early in Paranoid America?
• 1:12
  Speaker 3: And woo woo was I was good to be here.
• 1:14
  Speaker 3: Thank you guys for having me on. Really appreciate it.
• 1:16
  Speaker 3: What's going on Paranoid American? Good to see you, brother.
• 1:19
  Speaker 4: I'm excited, man.
• 1:20
  Speaker 2: It's one of my absolute favorite topics of all time
• 1:23
  Speaker 2: is anything Kubrick and symbolism related. So I'm ready for this.
• 1:27
  Speaker 1: Yeah, I'll be starting up on all the all the
• 1:29
  Speaker 1: all that Kubrick work. You know, No, I got all
• 1:34
  Speaker 1: the Room two thirty seven Kubrick you know stuff.
• 1:40
  Speaker 3: That's good. Brother. Did you like the movie? You've watched
• 1:43
  Speaker 3: it right, Clockwork Shining.
• 1:45
  Speaker 1: I just think I loved the film. Great film. You
• 1:48
  Speaker 1: broke it down wonderfully. I don't know how much I
• 1:54
  Speaker 1: can reveal of the film without spoiling it, but I
• 1:57
  Speaker 1: got all of those links down below. Everybody go check
• 2:01
  Speaker 1: out the film. Can you explain what it's about for audience?
• 2:06
  Speaker 1: So well?
• 2:08
  Speaker 3: It originally started me and Jay Winer. I was doing
• 2:10
  Speaker 3: a show with him, and people that are familiar with
• 2:12
  Speaker 3: Jay Wiener's work, they know that he did two previous
• 2:15
  Speaker 3: movies called a Kubrick's Odyssey one and two, which he
• 2:18
  Speaker 3: basically came to the conclusion that The Shining is Stanley
• 2:23
  Speaker 3: Kuber's confession to faking the moon landing. And I was
• 2:25
  Speaker 3: bringing him on my show, and I had watched The
• 2:26
  Speaker 3: Shining several times and I was bringing him on to
• 2:28
  Speaker 3: talk about it, and I was like, oh, well, you
• 2:31
  Speaker 3: know what, am I going to find in this movie
• 2:32
  Speaker 3: that people haven't already seen or like have created a
• 2:36
  Speaker 3: new theory about. Because there's so many different theories about
• 2:38
  Speaker 3: the Shining, people have picked it apart with a fine
• 2:40
  Speaker 3: tooth comb. You know that there's so many different things,
• 2:43
  Speaker 3: like it's all in Jack's head, it's all in Wendy's head.
• 2:46
  Speaker 3: It's the faking of the moon landing, like Jay Wiiner
• 2:48
  Speaker 3: is Native American genocide, it's the Holocaust. Which I think
• 2:52
  Speaker 3: that all of that all ties in together, and you know,
• 2:56
  Speaker 3: brings our movie to the forefront. It doesn't discount any
• 2:59
  Speaker 3: of those other theory. I think it just really adds
• 3:02
  Speaker 3: to it. But this is something new, This is something
• 3:04
  Speaker 3: that no one has ever heard before. This isn't a
• 3:07
  Speaker 3: rehashing of old information, though we do bring other people's
• 3:12
  Speaker 3: research into our movie and also bring in Jay Winer.
• 3:15
  Speaker 3: We talk about the moon landing a little bit within
• 3:17
  Speaker 3: our film, just because Jay Widener is in it, and
• 3:21
  Speaker 3: he made those films about you know, Cubic faking the
• 3:23
  Speaker 3: moon landing. So what had happened was is I was
• 3:27
  Speaker 3: bringing him on my show, I was rewatched his movies.
• 3:30
  Speaker 3: I was rewatching Shining a bunch of times, and I'm
• 3:32
  Speaker 3: seeing all these different things within the shining that is
• 3:35
  Speaker 3: pointing towards something completely different than what other people think
• 3:39
  Speaker 3: is actually going on. And I was explaining this to
• 3:43
  Speaker 3: Jay during you know my show, and I'm like, hey, Jay, like,
• 3:47
  Speaker 3: this is what I think is happening, and he was like,
• 3:49
  Speaker 3: that makes a lot of sense. And a few months
• 3:51
  Speaker 3: later I was like, hey, we should do you know,
• 3:53
  Speaker 3: a documentary about this? He was like, yeah, we should,
• 3:56
  Speaker 3: but we ended up doing another documentary before this one,
• 3:59
  Speaker 3: so we could really cut our teeth on that, and
• 4:02
  Speaker 3: which I'm really glad that we did do that first
• 4:04
  Speaker 3: one before this one, because this is one is like
• 4:07
  Speaker 3: a really hefty project. I worked on it for like
• 4:10
  Speaker 3: six months straight, like I would eat, sleep, and breathe
• 4:13
  Speaker 3: this freaking documentary. And you know what that's like doingnut
• 4:16
  Speaker 3: Like you had put together a lot of videos and stuff,
• 4:19
  Speaker 3: and this took up a lot of my life and
• 4:21
  Speaker 3: a lot of time and energy and effort I put
• 4:24
  Speaker 3: into this thing.
• 4:25
  Speaker 1: So congratulations, because I'm you know, a big, big filmmaker.
• 4:31
  Speaker 1: Love the art. It's the highest form of art where
• 4:34
  Speaker 1: you got the mixtures of writers, actors, editors, cinematographers, sound music, composition.
• 4:43
  Speaker 1: It's like all the different arts put into one. And
• 4:47
  Speaker 1: Stanley Kubrick has done an excellent job on all of
• 4:50
  Speaker 1: his movies. You made multiple movies and films. Paranoid is
• 4:55
  Speaker 1: what we're all building projects Paranoid and I are working
• 4:59
  Speaker 1: on the Illuminati comic right now, and so it does
• 5:04
  Speaker 1: take a lot of effort and energy to work on
• 5:08
  Speaker 1: comic books, to work on films, to work on editing,
• 5:11
  Speaker 1: and just you know, my beanie off to you, bro.
• 5:15
  Speaker 1: You know what I'm saying. You know what I mean,
• 5:18
  Speaker 1: because like you gotta put into work, get creative and build.
• 5:23
  Speaker 1: And you did bring a total new perspective of the
• 5:27
  Speaker 1: film that got a lot of the guests that we
• 5:30
  Speaker 1: had on super hyped about it. Am Wake Up Show,
• 5:34
  Speaker 1: Real Nature Boy. They just couldn't stop talking about this film.
• 5:39
  Speaker 1: And so I'm so grateful to have you on because
• 5:42
  Speaker 1: these topics of a clockwork, orange eyes, wide shut one
• 5:48
  Speaker 1: who flew over the Cuckoo's Nest, all about Lstie, all
• 5:52
  Speaker 1: about my control, It's all about it. So yeah, we
• 5:55
  Speaker 1: gotta have a great show for all y'all today.
• 5:57
  Speaker 3: Yeah, and Jack Nicholson being involved in that scene as well,
• 6:01
  Speaker 3: and basically promoting a lot of those early movies that
• 6:04
  Speaker 3: were coming directly out of Laurel Canyon which involved LSD.
• 6:09
  Speaker 3: You had psych Out, you had Easy Rider, you had
• 6:12
  Speaker 3: the Monkeys movie had and all these movies that John
• 6:16
  Speaker 3: Nicholson was in in like his early years, were all
• 6:19
  Speaker 3: like this glorification of LSD. And then that relates into
• 6:24
  Speaker 3: you know Lookout Mountain Air Force Base, which was on
• 6:27
  Speaker 3: top of Laurel Canyon. That is a big part of
• 6:30
  Speaker 3: our movie as well, because Lookout Mountain Air Force Base
• 6:33
  Speaker 3: highly resembles the Overlook in Stanley Kubrick's The Shining and
• 6:39
  Speaker 3: it used to be the hotel that was there, and
• 6:42
  Speaker 3: the hotel burnt down, and then the Air Force came
• 6:46
  Speaker 3: in and built a movie studio on top of the
• 6:49
  Speaker 3: very same spot where the Lookout Hotel used to be,
• 6:55
  Speaker 3: and that's where like all these highly classified military film
• 7:00
  Speaker 3: were made at which are a lot of them are
• 7:03
  Speaker 3: still classified to this very day. You know a lot
• 7:06
  Speaker 3: of people had high ranking clearance for this place, a
• 7:09
  Speaker 3: lot of big name actors, you know, back in the sixties,
• 7:12
  Speaker 3: even Ronald Reagan had a top secret security clearance for
• 7:15
  Speaker 3: this Lookout Mountain military base on top of Laurel Canyon,
• 7:19
  Speaker 3: Marilyn Monroe, James Stewart, carry Grant like, and nobody really
• 7:24
  Speaker 3: knows exactly what was going on up there. But we
• 7:26
  Speaker 3: do know one thing for a fact, that is where
• 7:29
  Speaker 3: these atomic bomb test sites were filmed at. And they
• 7:34
  Speaker 3: weren't filmed on they weren't actual real atomic bombs being dropped.
• 7:38
  Speaker 3: And that's something that I'm sure a lot of people
• 7:40
  Speaker 3: by now have already figured out, but I'm sure for
• 7:42
  Speaker 3: people that don't know that are kind of shocked and
• 7:45
  Speaker 3: surprised that it's not actually, you know, them filming a
• 7:50
  Speaker 3: real atomic bomb dropping is filmed on miniature sets, and
• 7:53
  Speaker 3: that was filmed that lookout Mountain Air Force Base on
• 7:56
  Speaker 3: top of Laurel Canyon.
• 7:58
  Speaker 1: And this whole thing with mountains bringing that up. I
• 8:02
  Speaker 1: even had it in the thumbnail where I switched it out,
• 8:06
  Speaker 1: I wrote intelligence instead of mountains. But mountains are so
• 8:10
  Speaker 1: important to ancient colts, going back to the Volcano colts
• 8:14
  Speaker 1: or films like the Twin Peaks of the Pyramids as well,
• 8:19
  Speaker 1: but the Hashashian Order, going back to some of the
• 8:23
  Speaker 1: first mk ultra through different drugs of the guy who
• 8:28
  Speaker 1: was controlling them, who was the man on top of
• 8:31
  Speaker 1: the mountain. You know, Hassana Saba and you caught something
• 8:36
  Speaker 1: pretty deep with Catcher and the ride. But before we
• 8:41
  Speaker 1: get into that, if paranoid or you have any other
• 8:45
  Speaker 1: stuff on the mountain all through.
• 8:47
  Speaker 2: On that same man in the mountain aspect, Plato's cave,
• 8:50
  Speaker 2: I think would technically qualify as a theater built in
• 8:54
  Speaker 2: side of a mountain.
• 8:55
  Speaker 1: Do right right end of volcano thing?
• 8:59
  Speaker 4: Is he too?
• 9:01
  Speaker 1: The volcano cults like it's a pyramid as well.
• 9:05
  Speaker 3: But yeah, there's supposedly a mountain in Colorado to that's
• 9:12
  Speaker 3: called Monarch Mountain, and that's what people say that the
• 9:17
  Speaker 3: Monarch poster in in behind the Twins when Danny first
• 9:21
  Speaker 3: sees the Twins inside of the Overlook Hotel within the
• 9:23
  Speaker 3: Shining there's a poster on the back wall that says Monarch,
• 9:27
  Speaker 3: and people have referred to that. Stanley Kubrick was trying
• 9:30
  Speaker 3: to say that it was about Monarch Mountain in Colorado
• 9:32
  Speaker 3: or Monarch Ski Resort or whatever it was, and people have,
• 9:37
  Speaker 3: you know, tried to relate that to the minotaur aspect.
• 9:43
  Speaker 3: They some say that it's not like a ski person
• 9:45
  Speaker 3: on the actual poster that is like a minotar symbolism,
• 9:48
  Speaker 3: which Kubrick does do a lot of mintar symbolism within
• 9:51
  Speaker 3: his movies. He has you know, Jack Nicholson, you know,
• 9:55
  Speaker 3: being like the Kubrick stare is what they call it.
• 9:59
  Speaker 3: But I have a different interpretation, as you know, since
• 10:03
  Speaker 3: you watched the film of what Monarch means.
• 10:07
  Speaker 1: And it's interesting that they do that scene with Jack
• 10:12
  Speaker 1: Nicholson in the beginning where he was recommended from his
• 10:16
  Speaker 1: friends in Colorado and Denver, Colorado, so a lot of
• 10:19
  Speaker 1: things are pointing to Colorado, and I did put the
• 10:24
  Speaker 1: Monarch butterfly in there as well.
• 10:27
  Speaker 3: Yeah, the the symbolism within that, and because as we
• 10:33
  Speaker 3: show in our movie, you Clark, We're Shining, the people
• 10:36
  Speaker 3: in Denver are mentioned several times in this interaction between
• 10:40
  Speaker 3: Almond and Jack. The first ten minutes of the movie
• 10:43
  Speaker 3: are really astounding to a lot of people, and some
• 10:46
  Speaker 3: people think that that's some of the most boring parts
• 10:49
  Speaker 3: of the entire movie, but it's really not, because that
• 10:52
  Speaker 3: first ten minutes of the Shining really gives away the
• 10:55
  Speaker 3: entire movie. Like Olman tells him everything that's going to
• 10:59
  Speaker 3: happen to him in the to the movie by saying
• 11:01
  Speaker 3: that it's not a physically demanding job. It's more of
• 11:03
  Speaker 3: a psychological job because of the isolation and because it
• 11:06
  Speaker 3: snows up there and it's very difficult to get off
• 11:08
  Speaker 3: the mountain during the wintertime. And then he goes on
• 11:11
  Speaker 3: to tell jackal well, you know, tells him about Grady.
• 11:14
  Speaker 3: Which is another interesting aspect that I didn't even think
• 11:19
  Speaker 3: about until I had already finished the movie, is that
• 11:22
  Speaker 3: Oman tells Jack that the previous caretaker within at the
• 11:28
  Speaker 3: hotel was Charles Grady. But then later whenever Jack meets
• 11:34
  Speaker 3: up with Grady, Grady refers to himself as Delbert Grady,
• 11:40
  Speaker 3: so there's two different names. There's even inconsistencies between the
• 11:44
  Speaker 3: dialogue of the characters within this movie. Not only with
• 11:48
  Speaker 3: the continuity errors with things disappearing and reappearing and you know,
• 11:54
  Speaker 3: carpet changing patterns, chairs disappearing in the background and then reappearing,
• 11:58
  Speaker 3: stickers on walls disappear, and life switches disappearing and reappearing.
• 12:02
  Speaker 3: There's also connuity errors between the actual dialogue between the characters,
• 12:09
  Speaker 3: which is like so fascinating with a you know, such
• 12:12
  Speaker 3: a pristine filmmaker as Stanley Kubrick, Like there's like why
• 12:18
  Speaker 3: are all these connuity errors in this movie? And no
• 12:21
  Speaker 3: one has ever really been able to explain that until
• 12:23
  Speaker 3: our movie came out.
• 12:26
  Speaker 1: Yeah, you did a really good job on showing I
• 12:30
  Speaker 1: don't know if I'm going to spoil it, but showing
• 12:33
  Speaker 1: like the footprints at the end, and these different memories
• 12:39
  Speaker 1: through MK ultra implantations, especially today's time with the music industry.
• 12:47
  Speaker 1: We were connecting it to Laurel Canyon, that that mountain
• 12:51
  Speaker 1: where this Navy intelligence program built the hippie movement. Yeah,
• 12:56
  Speaker 1: you know, built the Sharon Tay and the Charles Manson's,
• 13:01
  Speaker 1: and I'm pretty sure that's what's going on with the
• 13:04
  Speaker 1: Russell brands as well. In Doja, Cat had a scene
• 13:10
  Speaker 1: in her newest music videos of the room to thirty seven.
• 13:17
  Speaker 3: Times shining bathroom.
• 13:19
  Speaker 1: Yeah, bathroom.
• 13:20
  Speaker 3: I didn't know about that. I didn't see that.
• 13:23
  Speaker 1: Yeah. So she's been doing a bunch of stuff. Even
• 13:25
  Speaker 1: you could see a six six six looking thing right here,
• 13:29
  Speaker 1: crazy music video. But is this stuff really going on?
• 13:34
  Speaker 1: I liked how Weiner was connecting this maze to the
• 13:40
  Speaker 1: you know, like the mind, and I look at these
• 13:42
  Speaker 1: symbols and I know it's all connected. Like this is
• 13:48
  Speaker 1: like the eight pointed star of Venus and Lucifer that
• 13:51
  Speaker 1: was brought up in the film also connected to ishtar
• 13:55
  Speaker 1: in these gateway portals that you'll see this maybe out
• 13:58
  Speaker 1: the Vatican from an aerial view, and on top of
• 14:01
  Speaker 1: it will be an eight point at star, or even
• 14:03
  Speaker 1: on these ancient tablets you'll see this key symbolism and
• 14:07
  Speaker 1: a star. It even has been connected. I think this
• 14:14
  Speaker 1: film came out before which goes into LSD mind control,
• 14:20
  Speaker 1: and there's the lock right, and then the lock and
• 14:24
  Speaker 1: the key kind of symbolism. I'm sure there is something there.
• 14:29
  Speaker 1: Looking at all the symbols, because even at this scene,
• 14:33
  Speaker 1: I'm not sure how true this is. I just saw
• 14:35
  Speaker 1: it on YouTube, so I grabbed it. But it's like
• 14:38
  Speaker 1: room two thirty seven. I got the got the room
• 14:42
  Speaker 1: to thirty seven. I can go in there at any time,
• 14:46
  Speaker 1: but it's connected to this one thirty seven, two thirty seven,
• 14:50
  Speaker 1: like one thirty these numbers on this shot right here.
• 14:54
  Speaker 1: So I went to a cult decode to see what's
• 14:58
  Speaker 1: connected to two thirty seven and the word conspiracy theorist
• 15:03
  Speaker 1: equal to thirty seven. Kind of funny, and I even
• 15:08
  Speaker 1: went a little more skitz on a little deeper, and
• 15:11
  Speaker 1: I was writing in all work and no play makes
• 15:14
  Speaker 1: Jack a dull boy, but he writes it differently, like
• 15:17
  Speaker 1: this one says the all work and no play, my
• 15:21
  Speaker 1: s Jack adull boy. So I was writing in all
• 15:24
  Speaker 1: these and that one is like three seven one, which
• 15:29
  Speaker 1: is almost two three seven, and it seems like maybe
• 15:33
  Speaker 1: And then overlook hotel is one seven three like three
• 15:37
  Speaker 1: seven one.
• 15:39
  Speaker 3: Well three seventeen, Uh well, two seventeen is the original
• 15:46
  Speaker 3: hotel number from Stephen King's book.
• 15:48
  Speaker 1: Oh really two.
• 15:49
  Speaker 3: Seventeen, not three seventeen, but it's kind of.
• 15:53
  Speaker 1: So this is based off of Stephen King's book. Yes,
• 15:58
  Speaker 1: I was just getting a little skit so for the audience.
• 16:00
  Speaker 1: I thought it was fun. I feel like that the
• 16:02
  Speaker 1: riding and how smart the guy is is like he's
• 16:06
  Speaker 1: trying to get that number down, but he just can't
• 16:08
  Speaker 1: get it, get it the equal out of jamatrias he
• 16:11
  Speaker 1: keeps on riding it, like how am I going to
• 16:13
  Speaker 1: get this here?
• 16:14
  Speaker 3: Yeah? And as you watched the movie, we you know,
• 16:17
  Speaker 3: disclose the reason why he keeps, you know, writing the
• 16:21
  Speaker 3: same phrase over and over and over again. It's a
• 16:23
  Speaker 3: psychic driving technique which everyone is familiar. I'm sure, well
• 16:28
  Speaker 3: not everyone, but I'm sure a few people. Definitely the
• 16:30
  Speaker 3: people that are listening and you Donut and paranoid American.
• 16:34
  Speaker 3: You know that psyche driving was basically invented by you
• 16:37
  Speaker 3: and Cameron. Well, it wasn't invented by you and Cameron.
• 16:41
  Speaker 3: It actually came over through the Nazi Germans that were
• 16:45
  Speaker 3: brought over through a Project paper Clip and he learned
• 16:47
  Speaker 3: all of these MK ultra techniques from them and I
• 16:51
  Speaker 3: started practicing it in Canada. But there's real life scenarios
• 16:58
  Speaker 3: surrounding this type of I Keep Driving, which relates to
• 17:01
  Speaker 3: Catcher and the Rye and the two assassinations that happened
• 17:05
  Speaker 3: within a year of the release of The Shining, which
• 17:08
  Speaker 3: was John Lennon and the attempted assassination on Ronald Reagan
• 17:13
  Speaker 3: and Catcher in the Rye was involved with both of
• 17:17
  Speaker 3: those assassinations and uh, well one being an attempt in
• 17:21
  Speaker 3: one actually really going through. But Catcher in the Rye
• 17:24
  Speaker 3: was on the scene of both of those assassinations, and
• 17:29
  Speaker 3: Qubrick had it in his movie a year before those happened.
• 17:35
  Speaker 1: And it was kind of connected. I don't know. I
• 17:38
  Speaker 1: don't want to give out too much information. Everybody. You
• 17:40
  Speaker 1: gotta I got the link down below for the film.
• 17:42
  Speaker 1: You're going to really really enjoy it, But can you
• 17:48
  Speaker 1: tell us a little bit of it or do you
• 17:50
  Speaker 1: want to save that for them to watch, because a
• 17:54
  Speaker 1: lot of people believe that that was a trigger word, right,
• 18:00
  Speaker 1: And I still think that there's a lot of truth
• 18:01
  Speaker 1: to that as well. But what you guys brought up
• 18:04
  Speaker 1: in the story of the Catcher and the Rye, it's
• 18:07
  Speaker 1: actually connected in a little insider like nudge of towards
• 18:13
  Speaker 1: the ending of the book.
• 18:16
  Speaker 3: Yeah. And then you also have like with Sir Hans
• 18:19
  Speaker 3: Sir Han that supposedly assassinated RFK in sixty eight. I
• 18:26
  Speaker 3: believe it was, and he was also doing a form
• 18:30
  Speaker 3: of psyche driving. In his notebooks that were recovered, it
• 18:33
  Speaker 3: says rf kmist i rf chemist I repeated over and
• 18:36
  Speaker 3: over and over and over again. And there's so many
• 18:38
  Speaker 3: correlations between Qubriak's work and like real life reality. It's
• 18:44
  Speaker 3: so strange. We bring up Lolita in our movie A
• 18:48
  Speaker 3: Clockwork Shining, which had real life repercussions on the star
• 18:52
  Speaker 3: of Lolita, which was Sue lyon which the movie is
• 18:56
  Speaker 3: about basically a man and sleeping with a very underage girl,
• 19:03
  Speaker 3: and that's pretty much exactly what's happening to her in
• 19:07
  Speaker 3: real life. She's basically having that exact same thing happened
• 19:11
  Speaker 3: to her by Kubrick's producer. And then you have all
• 19:14
  Speaker 3: the strange things with The Clockwork Orange as well, like
• 19:17
  Speaker 3: it was banned in several countries. Kubrick pulled it from
• 19:21
  Speaker 3: being shown in several countries because there was a crime
• 19:25
  Speaker 3: with skyrocketing after a Clockwork Orange came out and there
• 19:30
  Speaker 3: was like literally clockwork Orange murders that was going on,
• 19:34
  Speaker 3: so Kubrick pulled the film. And then you have The
• 19:36
  Speaker 3: Shining with Shelley Duvall and the things that Shelley Duvall
• 19:40
  Speaker 3: went through within the making of The Shining. It basically
• 19:43
  Speaker 3: ruined Shelley Duvall's career, so ruined Shoe Lion's career back
• 19:47
  Speaker 3: whenever he was making Lolita, and then ruined Shelley Duvall's
• 19:50
  Speaker 3: career back whenever he was making The Shining. And it's
• 19:54
  Speaker 3: just like there's so many real life coincidences when it
• 19:57
  Speaker 3: comes to Cubic and his movies and reality imitating art,
• 20:02
  Speaker 3: and it's just it's way interesting. And then when you
• 20:07
  Speaker 3: get in the Sirhan, Sirhan, and you know him basically
• 20:11
  Speaker 3: repeating that phrase over and over and over again. And
• 20:14
  Speaker 3: then Jack is basically repeating the exact same phrase over
• 20:18
  Speaker 3: and over again. It's just a different version. All working
• 20:21
  Speaker 3: no play makes Jack a dull boy. And then when
• 20:23
  Speaker 3: Windy comes in to you know, see him and realize
• 20:27
  Speaker 3: that he's not actually writing a novel the whole time,
• 20:30
  Speaker 3: he's just writing the same phrase what you got up
• 20:32
  Speaker 3: on the screen there, and he becomes triggered.
• 20:37
  Speaker 1: Yeah, yeah, that's wild, the repetition. And I didn't know RFK.
• 20:42
  Speaker 1: So you learn a lot about a lot of different
• 20:45
  Speaker 1: topics in this film on the MK Ultra. So yeah,
• 20:51
  Speaker 1: it was really good. I didn't know that.
• 20:53
  Speaker 3: Yeah, it's not only a film about the Shining and
• 20:55
  Speaker 3: Stanley Kubrick. It's like it's it's using Stanley Kubrick and
• 21:01
  Speaker 3: the Shining to relay a lot of other information. Like
• 21:05
  Speaker 3: we also have Mark Dovlin in our film. We have
• 21:08
  Speaker 3: Joe Attwell in our film.
• 21:09
  Speaker 1: We have.
• 21:11
  Speaker 3: MK Ultra survivor Kathy O'Brien in our film. We have
• 21:14
  Speaker 3: Afosi Air Force special agent Walter Bosley in our film,
• 21:18
  Speaker 3: along with me and Jay wider as well. So it's
• 21:22
  Speaker 3: not only a film about Stanley Kubrick and the Shining
• 21:24
  Speaker 3: and the Clockwork Orange, but it's a film about the
• 21:27
  Speaker 3: music industry in the sixties, which is a really big
• 21:32
  Speaker 3: eye opener that happened to me. I didn't even when
• 21:34
  Speaker 3: I was making the movie. I was kind of like, Wow,
• 21:37
  Speaker 3: this is shocking to me, because I always knew that,
• 21:40
  Speaker 3: you know, the music industry was kind of, you know,
• 21:43
  Speaker 3: rigged in like a certain way, and if you didn't
• 21:45
  Speaker 3: have the backing, then it didn't matter how good of
• 21:47
  Speaker 3: a person you are at any given instrument. It doesn't
• 21:50
  Speaker 3: matter how good of a guitar player you are, how
• 21:53
  Speaker 3: good of a singer you are. If you don't have
• 21:55
  Speaker 3: the right connections, you're not going to get anywhere with it.
• 21:57
  Speaker 3: And that was a really big revelation to me as
• 22:01
  Speaker 3: I was making the movie, and I was like, holy crap,
• 22:03
  Speaker 3: this is how this is why. You can be as
• 22:06
  Speaker 3: good as you can possibly be at any given thing,
• 22:09
  Speaker 3: but if you don't have the right family behind you,
• 22:12
  Speaker 3: then you don't you're not gonna make it. And that's
• 22:15
  Speaker 3: the case with all of these bands that come up
• 22:17
  Speaker 3: that came up in the sixties, they all had military
• 22:20
  Speaker 3: intelligence backgrounds. They all had military fathers or somebody. It
• 22:24
  Speaker 3: was a part of their family. There was a high
• 22:26
  Speaker 3: ranking military officer like Jim Morrison of The Doors. His
• 22:31
  Speaker 3: dad was basically responsible for starting the Vietnam War and
• 22:35
  Speaker 3: the false flag Gulf of Tonkin incident that got us
• 22:37
  Speaker 3: into the Vietnam War that killed thousands of people. He
• 22:41
  Speaker 3: was a high ranking military general and an naval general,
• 22:46
  Speaker 3: and that makes a lot of sense aus to you know,
• 22:50
  Speaker 3: Jim Morrison's behavior within you know, The Doors, he was
• 22:54
  Speaker 3: just kind of wild and crazy and would just do
• 22:56
  Speaker 3: whatever he would want it he wanted to do. He'd
• 22:58
  Speaker 3: be undressing on stine age, performing drunk, you know, getting
• 23:02
  Speaker 3: into fights, just basically wreaking havoc. And it makes sense
• 23:07
  Speaker 3: because every time that he would be thrown in jail,
• 23:09
  Speaker 3: he would immediately be out. So it's like he knew
• 23:12
  Speaker 3: that there wasn't going to be any consequences for his
• 23:14
  Speaker 3: actions because his dad was this high ranking military officer.
• 23:19
  Speaker 3: And you find that throughout the sixties with all of
• 23:22
  Speaker 3: these musicians that are in big time bands, and Mark
• 23:25
  Speaker 3: Devlin lays us out beautifully in our documentary and how
• 23:28
  Speaker 3: they all have some sort of military intelligence background, and
• 23:33
  Speaker 3: same way with Sharon Tates dads. Sharon Tates dads the
• 23:36
  Speaker 3: exact same way. He was also a high ranking military general.
• 23:40
  Speaker 3: Bob Marley's dad was a British naval commander. You know.
• 23:45
  Speaker 3: So all these people and all these musicians that you know,
• 23:49
  Speaker 3: people have looked up to for a really long time
• 23:51
  Speaker 3: were essentially put there for a reason. And the whole
• 23:55
  Speaker 3: hippie movement was there as you know, to stomp out
• 23:58
  Speaker 3: the anti war movement. Then they were kind of like, oh, well,
• 24:02
  Speaker 3: how do we get rid of this monster that we created?
• 24:05
  Speaker 3: And then they're like, okay, well we'll just insert you know,
• 24:09
  Speaker 3: serial killers and murder and all this stuff into the
• 24:13
  Speaker 3: entire scene. And then that I'll get people to you know,
• 24:15
  Speaker 3: questioning if they actually want to be a part of
• 24:17
  Speaker 3: this movement, if this movement is really the best thing
• 24:21
  Speaker 3: to be a part of. And that's really how they
• 24:22
  Speaker 3: did it. And after the Sharon Tate Manson murders, the
• 24:26
  Speaker 3: hippie movement was basically over. That was a nail in
• 24:28
  Speaker 3: the coffin of the entire movement.
• 24:31
  Speaker 1: Yeah, you got Charles Manson and this is happening today
• 24:35
  Speaker 1: with Russell brand and Tasarian really pointed out so many
• 24:41
  Speaker 1: things on the MK ultra and connections in one of
• 24:46
  Speaker 1: his films that he released. That's where I learned a
• 24:49
  Speaker 1: lot of my information on these trigger words and all that.
• 24:54
  Speaker 1: And also with Sharon Tate and The Doors right the Doors,
• 24:59
  Speaker 1: the Doors perception goes into LSD, goes into August Huxley,
• 25:04
  Speaker 1: Here's Sharon Tate, everyone connected to the military. And also
• 25:09
  Speaker 1: it's weird that there's an Andrew Tait as well, who's
• 25:11
  Speaker 1: also his dad's connecting. He was part of the Navy
• 25:14
  Speaker 1: program as a kid. I gotta point out.
• 25:17
  Speaker 2: Something too that I've that's been blowing my mind. So
• 25:19
  Speaker 2: I've been doing the a Cult Disney podcast for two
• 25:22
  Speaker 2: years now, and one of the weirdest themes that kept
• 25:26
  Speaker 2: popping up is that all of these famous children's authors
• 25:30
  Speaker 2: all have backgrounds in military intelligence too.
• 25:34
  Speaker 4: Uh. There's like there's a long long line of them.
• 25:36
  Speaker 2: The most of the Disney movies that didn't come directly
• 25:38
  Speaker 2: from Grim's fairy Tales or some other like very ancient stories.
• 25:43
  Speaker 4: Roald Dahl. Roald Dahl's really.
• 25:45
  Speaker 2: Good example, James and the Giant Peach, the people that
• 25:49
  Speaker 2: the Last Beacons last of the Mohiggans.
• 25:52
  Speaker 4: But but a whole bunch of the media that we.
• 25:55
  Speaker 2: Consume as kids just growing up is coming directly from
• 25:59
  Speaker 2: the military.
• 26:00
  Speaker 4: Think about it.
• 26:00
  Speaker 2: If the music it has, if you're thinking like sixties
• 26:03
  Speaker 2: seventies music is coming from military intelligence.
• 26:06
  Speaker 4: Families.
• 26:07
  Speaker 2: All of the children's books that those parents read growing
• 26:11
  Speaker 2: up and read their kids are growing up military intelligence
• 26:15
  Speaker 2: in the eighties and nineties. All the video games the
• 26:17
  Speaker 2: kids are playing growing up is all military intelligence. So
• 26:20
  Speaker 2: there's this very consistent theme that the military almost has
• 26:24
  Speaker 2: like a direct pipeline to media that's consumed by children.
• 26:28
  Speaker 3: Absolutely. Then you look at Ketcher in the Rise as well.
• 26:31
  Speaker 3: I mean that was written by an intelligence officer, and
• 26:33
  Speaker 3: that was like required reading for many people whenever they
• 26:38
  Speaker 3: were in public school.
• 26:39
  Speaker 1: Yeah. I had to read it in elementary school.
• 26:42
  Speaker 3: Yeah.
• 26:43
  Speaker 2: We had a talk a little bit earlier today with
• 26:47
  Speaker 2: Chris Knowles, and he made such a great point that
• 26:50
  Speaker 2: one of the ways that the state tries to have
• 26:53
  Speaker 2: full manipulation over a generation is by basically controlling the
• 26:59
  Speaker 2: sexual app tight of the up and coming generation itself.
• 27:04
  Speaker 4: And Catcher in the Rye is one of these examples.
• 27:06
  Speaker 2: Where reading it like you go through like a cathartic
• 27:10
  Speaker 2: experience where this proxy of the character in the book
• 27:15
  Speaker 2: is doing all these coming of age sort of experiences.
• 27:18
  Speaker 2: But it almost removes that potential for the reader to
• 27:22
  Speaker 2: go through all these like it could almost stunt growth
• 27:25
  Speaker 2: in a very intentional way, and then reading it back
• 27:29
  Speaker 2: or having it next to you is kind of like
• 27:31
  Speaker 2: a trigger. It's almost like a cross between I forgot
• 27:34
  Speaker 2: all the different levels. I think like Delta's like the assassination,
• 27:37
  Speaker 2: and like the beta is like the sex can It
• 27:39
  Speaker 2: almost just combines all of the alpha, beta Charlie Delta's
• 27:43
  Speaker 2: together into one single trigger.
• 27:47
  Speaker 3: Yeah, I would agree with that absolutely. And then you know,
• 27:53
  Speaker 3: why was the book on the scene of these two
• 27:56
  Speaker 3: assassinations of you know, John Lennon by Mark David Chapman.
• 27:59
  Speaker 3: I mean, that was a really weird one. Whenever he
• 28:02
  Speaker 3: killed John Lennon, he sat down on the curb and
• 28:05
  Speaker 3: just started reading Catcher in the Rye And when the
• 28:09
  Speaker 3: police showed up, and then whenever he was in court
• 28:12
  Speaker 3: being prosecuted for the murder of John Lennon, he stood
• 28:15
  Speaker 3: up in court and said, if you want my defense,
• 28:17
  Speaker 3: all you got to do is Recatcher in the Rye.
• 28:19
  Speaker 3: And then later on a psychiatrist went to visit him
• 28:21
  Speaker 3: in prison a couple of years later, and he's sitting
• 28:24
  Speaker 3: in his prison style and he's still reading Catcher in
• 28:27
  Speaker 3: the Rye and it's like, what is that? What is
• 28:31
  Speaker 3: actually going on here? Like what is the deal with
• 28:34
  Speaker 3: this book? And why are so many people required to
• 28:38
  Speaker 3: read this? And I'm right there with you, paranord American.
• 28:41
  Speaker 3: I think that it is a way to debase us
• 28:45
  Speaker 3: in a way, to you know, take our youth and
• 28:49
  Speaker 3: our innocence away without actually having to go through anything,
• 28:53
  Speaker 3: just by like reading something, because we know that reading
• 28:56
  Speaker 3: is really effective. And that was like the way that
• 28:59
  Speaker 3: you know, we got you know, certain propaganda.
• 29:01
  Speaker 5: You know.
• 29:02
  Speaker 3: That's how it really started was with books, and then
• 29:05
  Speaker 3: it went into radio and then into TV. Music is
• 29:08
  Speaker 3: somewhere in there as well, in between all those. So
• 29:11
  Speaker 3: now we have this device in our pockets, you know.
• 29:14
  Speaker 1: And also like the medium sort of changed from the
• 29:18
  Speaker 1: radio star and then the radio star John Lennon was
• 29:23
  Speaker 1: killed and then a year later MTV was released and
• 29:28
  Speaker 1: the song that they played was video killed the radio Star.
• 29:30
  Speaker 1: And then the new medium of the television really came
• 29:35
  Speaker 1: in through the programming of music in a weird little way,
• 29:40
  Speaker 1: you know, Could that be intentional going into this new platform,
• 29:48
  Speaker 1: just like we are all locked down, for example, and
• 29:52
  Speaker 1: then once we left the lockdown, we were introduced to
• 29:57
  Speaker 1: the new technologies of chat ept, introduced to a lot
• 30:01
  Speaker 1: of new blockchain technologies and ideas. And everybody is pushing
• 30:08
  Speaker 1: the psychedelics, the MK ultra drugs. You got the most
• 30:11
  Speaker 1: mainstream podcasts telling everybody like Life magazine did, to take
• 30:17
  Speaker 1: these psychedelics on a mass scale. I mean, every time
• 30:23
  Speaker 1: President Trump gets interviewed either by these big podcasts, they're
• 30:29
  Speaker 1: always telling him that he needs to get all of
• 30:31
  Speaker 1: Congress to take ayahuasca and magic mushrooms. And it just
• 30:36
  Speaker 1: goes into the whole MK ultra same things that they
• 30:42
  Speaker 1: did with this. Maybe the milk scene was something with drugs.
• 30:47
  Speaker 1: I don't know. Oh another thing is something to add
• 30:51
  Speaker 1: to what Jay was talking about. I want to talk
• 30:53
  Speaker 1: too much about it, but you guys were showing some
• 30:56
  Speaker 1: symbolism of the fact symbolism and it's even in the
• 31:02
  Speaker 1: clockwork orange right, the nose is very phallicky that he'd
• 31:08
  Speaker 1: be put in, Kubrick be put in like little symbolic phallics,
• 31:14
  Speaker 1: uh in there, you know what I mean?
• 31:16
  Speaker 3: So, well, yeah, if you screaf, you go back to
• 31:18
  Speaker 3: that picture to the the wristwatch that right there on
• 31:22
  Speaker 3: his that's the third eye. That's the third eye of symbolism, right.
• 31:26
  Speaker 1: There, aball that's right illuminat. Ah.
• 31:31
  Speaker 3: Yeah, on top of the pyramid like that center triangle,
• 31:34
  Speaker 3: like right there in the middle with the lady Like
• 31:37
  Speaker 3: it's on top of the center triangles, the eye of
• 31:40
  Speaker 3: the pyramid.
• 31:41
  Speaker 2: So one of my favorite questions to ask when all
• 31:44
  Speaker 2: this Kubrick symbolism comes up is that is this Kubrick
• 31:50
  Speaker 2: playing with us? Is he taunting us because he's got
• 31:52
  Speaker 2: this knowledge. Is he trying to send a message as
• 31:56
  Speaker 2: like a white hat or is this just.
• 31:59
  Speaker 4: Like stroking an ego?
• 32:00
  Speaker 2: Like, what's the actual intent if we assume everything that
• 32:06
  Speaker 2: people usually claim about his movies and like all of
• 32:09
  Speaker 2: the the sort of premise of your documentary, if we
• 32:12
  Speaker 2: just accept that absolutely as fact, what's the actual intent
• 32:15
  Speaker 2: of Kubrick to do all of this?
• 32:18
  Speaker 3: Well, that's a really good question. And I think the
• 32:21
  Speaker 3: symbolism is one thing, and then like the continuity or
• 32:24
  Speaker 3: stuff is a completely other thing. And he's a very
• 32:28
  Speaker 3: symbolic person. You wanted everything to be perfect, every shot
• 32:32
  Speaker 3: to be lined up. He wanted everything to be super realistic.
• 32:36
  Speaker 3: And I think that a lot of it could be
• 32:39
  Speaker 3: him playing with us within the symbolism. But he has
• 32:43
  Speaker 3: symbolism literally everywhere, Like within the Shining. One of the
• 32:47
  Speaker 3: first scenes in the first ten minutes, whenever the doctor
• 32:50
  Speaker 3: comes to visit Danny after he gets his psychic visions
• 32:53
  Speaker 3: and she comes to, you know, basically analyze him on
• 32:57
  Speaker 3: the bed, and whenever he's laying back, there's a teddy
• 33:00
  Speaker 3: bear that's behind him, a brown teddy bear that looks
• 33:05
  Speaker 3: almost identical to the bear that's in the scene whenever
• 33:10
  Speaker 3: Wendy is running around the hotel after she had been traumatized,
• 33:14
  Speaker 3: and she goes upstairs and that brother went right there.
• 33:17
  Speaker 3: That's it. That's the one. So that's like a four.
• 33:21
  Speaker 3: That's a major foreshadowing, Like that takes what movie? A
• 33:24
  Speaker 3: lot of time and effort?
• 33:26
  Speaker 1: Huh what movie was that? Again?
• 33:28
  Speaker 2: At the bottom, this was a scene that was originally
• 33:34
  Speaker 2: in the book that Kubrick also had tweaked quite a bit.
• 33:39
  Speaker 1: It's freaking weird. It's like, what do you think it is?
• 33:43
  Speaker 2: Well, it's it's they're having a hanky panky fetish session.
• 33:48
  Speaker 2: That's a furry and I mean, yeah, they they're pretty
• 33:51
  Speaker 2: explicit about what's happening in this particular scene in the movie,
• 33:54
  Speaker 2: and it was similar in the book, although the book,
• 33:57
  Speaker 2: I think someone was dressed up like a wolf and
• 33:59
  Speaker 2: it was like a guy and a girl or I
• 34:02
  Speaker 2: remember this being a very specific thing that Kubrick didn't
• 34:06
  Speaker 2: didn't omit. He just changed it entirely and then just
• 34:09
  Speaker 2: stuck it in almost as like a non sequitur. But
• 34:12
  Speaker 2: I've never actually put the connection together between the stuffed
• 34:16
  Speaker 2: bear and the bear scene.
• 34:18
  Speaker 4: So that's actually a really genius take.
• 34:21
  Speaker 3: Yeah, and when you watch the movie, you'll you'll be
• 34:24
  Speaker 3: able to put you and two together and understanding actually
• 34:28
  Speaker 3: what's going on with this scene and why this scene
• 34:32
  Speaker 3: is even in there. It really explains any holes that
• 34:39
  Speaker 3: people had within the Shining, like things that didn't make
• 34:43
  Speaker 3: sense to them really makes sense. When you watch our movie,
• 34:48
  Speaker 3: watch our documentary o'clock We're Shining, it all starts to
• 34:51
  Speaker 3: really come together and it's really difficult to argue with it.
• 34:56
  Speaker 3: Haven't had anybody, you know, come out and be like
• 34:59
  Speaker 3: you're wrong and give me reasons why I'm wrong, because
• 35:04
  Speaker 3: I mean, this is my theory of what's going on.
• 35:07
  Speaker 3: I think it makes the most sense out of all
• 35:10
  Speaker 3: of them, because when you put all these things together,
• 35:12
  Speaker 3: you put together the Catcher in the Rye, the Windy's
• 35:16
  Speaker 3: reading the first time you meet him. We just showed
• 35:18
  Speaker 3: the picture of Wendy's reading Catcher in the Rye a
• 35:21
  Speaker 3: year before both assassination attempts where Catcher and the Rye
• 35:24
  Speaker 3: was on the scene. Then you put in the psyche
• 35:26
  Speaker 3: driving aspect of Jack's character, you know, writing the same
• 35:31
  Speaker 3: sentence over and over and over again. And then you
• 35:33
  Speaker 3: have the you know, the real life scenario of that
• 35:36
  Speaker 3: with sir Han Sirhan and RFK assassination. And then you
• 35:41
  Speaker 3: look at the Monarch poster in the background. The first
• 35:44
  Speaker 3: time the Danny sees anything strange in the hotel, there
• 35:47
  Speaker 3: just happens to be a poster in the background that
• 35:51
  Speaker 3: says Monarch.
• 35:53
  Speaker 1: You know.
• 35:53
  Speaker 3: So once you put all these things together, you're like,
• 35:56
  Speaker 3: holy shit, what's happening here? And then we get in
• 35:58
  Speaker 3: also into room two thirty seven as well, and what
• 36:01
  Speaker 3: we actually think is going on there because there's real
• 36:03
  Speaker 3: life instances to explain exactly what happened whenever Jack walked
• 36:09
  Speaker 3: in the room to thirty seven. So the first time
• 36:11
  Speaker 3: that Jack experiences anything strange is not until after he
• 36:15
  Speaker 3: takes the alcoholic drink from Lloyd the bartender, and then
• 36:20
  Speaker 3: Windy comes down and Wendy is like, hey, Danny was
• 36:24
  Speaker 3: attacked by a lady upstairs. So Jack is like, okay, well,
• 36:28
  Speaker 3: what room was it? Then he goes upstairs to look
• 36:33
  Speaker 3: for the lady that was supposedly there that Wendy told
• 36:35
  Speaker 3: him about. So then he walks in the room to
• 36:37
  Speaker 3: thirty seven, and room two thirty seven looks really psychedelic.
• 36:41
  Speaker 3: It's unlike anything else in the entire movie. The carpeting
• 36:46
  Speaker 3: is different, the blinds and the shades, the couch is
• 36:50
  Speaker 3: very vibrant. It's got greens and purples, and it seems
• 36:55
  Speaker 3: really psychedelic. So then when he walks in, he sees
• 36:57
  Speaker 3: the lady in the bathtub, which is a very attractive
• 37:00
  Speaker 3: naked woman that turns into an elderly lady. And then
• 37:03
  Speaker 3: he walks out of there, and then he goes back
• 37:05
  Speaker 3: up to the apartment where Wendy's at and then Wendy
• 37:08
  Speaker 3: asked him, did you see anything up there? And he said,
• 37:10
  Speaker 3: I didn't see anything. I didn't see nothing. So we
• 37:14
  Speaker 3: relate that to real life experiments that have happened to
• 37:21
  Speaker 3: people in real life scenarios of like Frank Olsen, which
• 37:27
  Speaker 3: was drugged by Sydney Gottlieb and then jumped out of
• 37:31
  Speaker 3: a hotel and killed himself. And also a lot of
• 37:38
  Speaker 3: the first Army personnel that were involved in this also
• 37:42
  Speaker 3: how the exact same thing happened to them. Some of
• 37:44
  Speaker 3: the first MK ultra experiments were done on army personnel.
• 37:48
  Speaker 3: There were Army volunteer personnel, and they were never told what,
• 37:54
  Speaker 3: you know, experiments that were going to be ran on them.
• 37:56
  Speaker 3: But whenever they got there to get into the experiments,
• 37:59
  Speaker 3: they were kind of told, hey, you just you know,
• 38:02
  Speaker 3: inhale this substance and then they would be out of
• 38:05
  Speaker 3: their minds for two weeks at a time because they
• 38:09
  Speaker 3: were using a one hundred times more powerful agent than LSD,
• 38:13
  Speaker 3: which was called BZ bz's like one hundred times more
• 38:16
  Speaker 3: powerful than LSD. And a lot of those people ended.
• 38:21
  Speaker 1: Up where can I get some of that?
• 38:24
  Speaker 3: I don't think you want it, dude, I don't think
• 38:26
  Speaker 3: you want it. The stories that these people are have
• 38:31
  Speaker 3: told YEA, yeah, it's wild, and when you look at
• 38:35
  Speaker 3: those real life instances, it really makes sense that it's
• 38:38
  Speaker 3: a high possibility that Lloyd spiked Jack's drink with some
• 38:45
  Speaker 3: sort of hallucinogenic drag. And then that's whenever he walks
• 38:49
  Speaker 3: into the room to thirty seven and he has all
• 38:51
  Speaker 3: the he experiences the woman in there because he's tripping balls.
• 38:57
  Speaker 1: And so when they go into this room to thirty
• 38:59
  Speaker 1: seven and they're like on these hallucinogens, they see the stuff.
• 39:05
  Speaker 1: It is a great film, and we crashed through over
• 39:08
  Speaker 1: a thousand people tuning in. We're streaming all over the place.
• 39:11
  Speaker 1: I like to remind everybody when we passed through the
• 39:14
  Speaker 1: thousand mark to like the video, share it out. We're
• 39:18
  Speaker 1: joined by filmmaker Rider Lee. His new film is out
• 39:22
  Speaker 1: now on Amazon. I got that link down below, so
• 39:25
  Speaker 1: make sure to click that link down below brings you
• 39:27
  Speaker 1: right to the movie. I just finished it. It's absolutely incredible,
• 39:31
  Speaker 1: really fun. One of my favorite topics of a lot
• 39:34
  Speaker 1: of the topics I talk about here on the channel
• 39:37
  Speaker 1: of the Hashashian Order, in my opinion, like going back
• 39:40
  Speaker 1: to the different cults that make people brainwash to carry
• 39:46
  Speaker 1: out missions you know, this is ancient stuff and we're
• 39:50
  Speaker 1: seeing it happen today with celebrities with the fake alien agenda,
• 39:56
  Speaker 1: with all that, and we are also doing these live
• 40:00
  Speaker 1: streams Paranoid American and I'm for the Illuminati Comic and
• 40:04
  Speaker 1: I want to say thank you to everybody that y'all
• 40:08
  Speaker 1: got us pass the big, big stretch goal of the
• 40:12
  Speaker 1: thirty thousand last night. Look at that, four hundred and
• 40:16
  Speaker 1: six to nine subscribers. Thank you, thank you so much,
• 40:20
  Speaker 1: and let's get it passed tonight. We got the next
• 40:24
  Speaker 1: stretch goal. Look at this. We bam fully funded first
• 40:28
  Speaker 1: three minutes, twenty five hundred thousand. Boom, boom boom. And
• 40:32
  Speaker 1: every time we get through these stretch goals, we everybody
• 40:36
  Speaker 1: gets extra stuff. So our next stretch goal is the
• 40:40
  Speaker 1: thirty three thousand. Let's try easy.
• 40:43
  Speaker 4: We'll definitely hit that. Not even the problem.
• 40:46
  Speaker 1: We hit this. Sign up, we'll feed the cat my
• 40:50
  Speaker 1: cat chan, We'll give you a shout out and all that.
• 40:55
  Speaker 1: Make sure to go to the Illuminati Comic and go
• 40:58
  Speaker 1: check out the new film by Rider Lee, all the
• 41:04
  Speaker 1: stuff we're talking about now, Clockwork, Shining, Paranoid. You got
• 41:09
  Speaker 1: anything on the Illuminati comic. I know, we got some
• 41:13
  Speaker 1: new fan art from the Netherlands, Masha I think their
• 41:17
  Speaker 1: name is Masha. Thank you so much love. This goes
• 41:20
  Speaker 1: into some mkay ultra with John C. Lilly and the
• 41:24
  Speaker 1: Dolphin you know what I'm saying, the Dolphin experiments, and
• 41:28
  Speaker 1: we also got more Dolphin. This is going to be
• 41:31
  Speaker 1: part of the cover of the VHS box. So the
• 41:34
  Speaker 1: VHS box is looking sick, so make sure this is
• 41:40
  Speaker 1: limited time only. You get it over here. Let's try
• 41:44
  Speaker 1: to get this past the thirty three thousand mark tonight.
• 41:48
  Speaker 1: We'll give you a shout out whenever you back it,
• 41:51
  Speaker 1: and we'll give you a shout out and we'll feed
• 41:53
  Speaker 1: the cat.
• 41:55
  Speaker 2: We could even do a preview of the Illuminati Yacht
• 41:59
  Speaker 2: Club U Schizo splash.
• 42:02
  Speaker 1: Oh do we have an updated version of it?
• 42:04
  Speaker 2: I mean I think we can just start just showing
• 42:06
  Speaker 2: off the damn thing. Yeah, let's be in here.
• 42:10
  Speaker 1: Let's yeah, let's do that. Let's do that righterly while
• 42:13
  Speaker 1: I look for that. Tell us about where people can
• 42:16
  Speaker 1: find you as well, and the film. I got them
• 42:19
  Speaker 1: links down below.
• 42:22
  Speaker 3: Oh you're muted, my bad raised by giants on YouTube
• 42:27
  Speaker 3: and then you know all podcast platforms, and please watch
• 42:31
  Speaker 3: my movie and support independent filmmakers. You know, Hollywood is wrecked,
• 42:36
  Speaker 3: Hollywood is over, and this is really what we need
• 42:39
  Speaker 3: to be doing, is supporting people that are making content.
• 42:42
  Speaker 3: And buy the Illuminati comic too. I love that trailer,
• 42:46
  Speaker 3: the trailers booming. Uh, and you're doing a VCR tape
• 42:50
  Speaker 3: of it too, dude. The VHS bro co Well, it's.
• 42:53
  Speaker 2: A VHS box, yeah, I got you know, we got
• 42:56
  Speaker 2: them on hand. That's it just has like a it's
• 43:00
  Speaker 2: going to be filled with stickers and buttons and comics
• 43:03
  Speaker 2: and all kinds of goodie everything. But a VHS cassette tep.
• 43:09
  Speaker 3: Yeah, you need the VHS in there, bro kick an
• 43:11
  Speaker 3: old school dude, right, do you remember those? Do you
• 43:14
  Speaker 3: remember those old comics that you could get on the
• 43:16
  Speaker 3: DVD or whatever, Like there would be like bonus features
• 43:19
  Speaker 3: or whatever that you can just stick in and then
• 43:21
  Speaker 3: it would just automatically flip through.
• 43:24
  Speaker 4: Yeah motion.
• 43:25
  Speaker 3: Yeah, those were dope.
• 43:28
  Speaker 4: They never really caught on.
• 43:29
  Speaker 3: They didn't, but it was cool. It's like a little bonus.
• 43:35
  Speaker 1: Yeah, I'm looking for the schizo splash. So give me
• 43:38
  Speaker 1: a second guy, if you want, Oh yeah, sure please.
• 43:42
  Speaker 1: And what I do like about the filmmaking thing that
• 43:46
  Speaker 1: you're saying is I'm just like a huge filmmaking band.
• 43:50
  Speaker 1: So anybody who makes a film puts in the dedication.
• 43:55
  Speaker 1: It's super inspiring and I love it. So tell us
• 43:57
  Speaker 1: what is this?
• 43:58
  Speaker 3: Well?
• 43:58
  Speaker 2: I saw Kim k right, alright, Yeah, here's a quick,
• 44:03
  Speaker 2: little large scale preview. Look how huge this thing is.
• 44:06
  Speaker 2: I think it is massive. It's gonna be printed on
• 44:09
  Speaker 2: the back of the towel of a huge thirty by
• 44:13
  Speaker 2: sixty inch towel.
• 44:14
  Speaker 1: The Illuminati Yacht Club. Get a towel.
• 44:16
  Speaker 4: This is an Illuminati Yacht Club thing. This is also
• 44:19
  Speaker 4: gonna be printed.
• 44:20
  Speaker 2: This is the one of the art prints that everyone's
• 44:23
  Speaker 2: gonna get in their physical orders. So no matter what
• 44:26
  Speaker 2: tier you get, as long as you got a printed comic,
• 44:28
  Speaker 2: you're gonna get a print of one of these. And
• 44:32
  Speaker 2: it's essentially based after a Ware's Waldo.
• 44:34
  Speaker 4: Kind of theme.
• 44:35
  Speaker 2: So there's gonna be a list of all the different
• 44:38
  Speaker 2: characters and things that you're gonna want to find. For example,
• 44:41
  Speaker 2: we got Peanut, there's our homie Peanut right down here,
• 44:46
  Speaker 2: Nuts peanuts in there. We got the Illuminati Penguin, We
• 44:50
  Speaker 2: got Donut and Trump. Next to each other. Mag they
• 44:54
  Speaker 2: got me up in there. We got little kids playing
• 44:57
  Speaker 2: with a square and compass. There's so many different little
• 45:01
  Speaker 2: references in this thing. Well aliens, Yeah, that's it's it's
• 45:08
  Speaker 2: really cool. What what I wonder what the fish means
• 45:11
  Speaker 2: underneath the eye of set? That's the eye of set.
• 45:16
  Speaker 2: You're gonna have to You're gonna have to find out
• 45:17
  Speaker 2: by grabbing yourself a copy.
• 45:19
  Speaker 1: That's so cool.
• 45:20
  Speaker 4: I think you might you might have a copy.
• 45:23
  Speaker 2: Here's the raccoon I forgot, what's the name of Fred?
• 45:26
  Speaker 2: Maybe you know a little checkerboard patterns you've got. There's
• 45:30
  Speaker 2: so many things that you're gonna be finding in this thing.
• 45:33
  Speaker 2: It's and I don't even want to give too much away,
• 45:37
  Speaker 2: but this will be a fun little thing to animate too,
• 45:39
  Speaker 2: like a cool little ambient animation background.
• 45:41
  Speaker 4: So this will be Yeah, that's what we want.
• 45:44
  Speaker 2: Even if you get the Digital Deluxe, you'll get a
• 45:48
  Speaker 2: copy of this as a wallpaper to use.
• 45:50
  Speaker 4: For whatever you want.
• 45:52
  Speaker 1: And that's what I mean. I really would like to
• 45:55
  Speaker 1: turn this into a film writer Lee the Illuminati comic
• 46:00
  Speaker 1: into a film like like you put out you know
• 46:05
  Speaker 1: what I mean.
• 46:07
  Speaker 3: I'd be down helping whatever way that I can possibly
• 46:11
  Speaker 3: help you guys out. For sure. I love doing it.
• 46:14
  Speaker 3: I mean, editing is one of my favorite things to do.
• 46:16
  Speaker 3: It's it's so much fun. It's just gets so tedious,
• 46:19
  Speaker 3: and during the making of this movie, I just want,
• 46:22
  Speaker 3: oh my god, there's times I want to do but
• 46:24
  Speaker 3: is this the way that it is with like editing
• 46:27
  Speaker 3: and you know, watching the movie over and over and
• 46:30
  Speaker 3: over again, and this movie is almost a two hour
• 46:32
  Speaker 3: long movie, so it's like I watched it so many
• 46:35
  Speaker 3: times over and over and over again. So it was
• 46:38
  Speaker 3: but it was still a lot of fun. I really
• 46:39
  Speaker 3: enjoy it. Some of my favorite things to do. So yeah,
• 46:43
  Speaker 3: whatever I can do to help you guys, I'm definitely
• 46:46
  Speaker 3: willing to do that.
• 46:48
  Speaker 1: Yeah. Yeah, and your film will play the trailer at
• 46:53
  Speaker 1: the end of the show. I really enjoyed it. It
• 46:57
  Speaker 1: was so dope. It was like it was such a
• 47:01
  Speaker 1: good movie. Like I don't know if you got to
• 47:03
  Speaker 1: watch Michael Tassarian's film as well. Uh, he made it
• 47:07
  Speaker 1: a long time ago, like I think ten years ago,
• 47:10
  Speaker 1: but he went over all the different events that were
• 47:15
  Speaker 1: happening at these schools. I'm not evenna get too deep
• 47:18
  Speaker 1: into putting words together. But all these events happening at
• 47:22
  Speaker 1: schools like Colinbine and whatnot. And this is what's interesting
• 47:29
  Speaker 1: is that which is connected to everything Alex who likes
• 47:32
  Speaker 1: a little bit of that ultra violence Alex Malcolm McDonald
• 47:37
  Speaker 1: was in a film. I'm not sure if you know
• 47:39
  Speaker 1: about this, but it was called IF. Shout out to
• 47:43
  Speaker 1: Mark Steves that my family thinks I'm crazy. Who actually
• 47:46
  Speaker 1: introduced you and I writer together?
• 47:50
  Speaker 3: Yeah, good dude, love Mark Steves.
• 47:52
  Speaker 1: He showed me this film If, which has got the
• 47:57
  Speaker 1: same guy.
• 47:59
  Speaker 4: Uh.
• 47:59
  Speaker 1: And Stanley Kubrick got him to play in Clockwork Orange
• 48:04
  Speaker 1: because of this film. And this film is about one
• 48:08
  Speaker 1: of the first school events that went down.
• 48:15
  Speaker 3: I have not seen it, but I've heard people bring
• 48:17
  Speaker 3: it up. I'm pretty sure Mark actually brought it up
• 48:20
  Speaker 3: to me as well. But Stanley Kubrick, the actor that
• 48:25
  Speaker 3: plays Alex and a Clockwork Orange, he basically like had
• 48:31
  Speaker 3: like a little falling out with him. Like it's so
• 48:34
  Speaker 3: weird between like Stanley Kubrick and these actors, like he
• 48:37
  Speaker 3: either like completely wrecks and destroys them, or he turns
• 48:42
  Speaker 3: them in the Superstars, or he just completely stops talking
• 48:46
  Speaker 3: to them and that's what he did with the actor
• 48:48
  Speaker 3: of that plays Alex there. But I'll definitely have to
• 48:50
  Speaker 3: check out if I haven't been able to watch too
• 48:54
  Speaker 3: much stuff because I've just been trying to promote this
• 48:57
  Speaker 3: film a lot. But I'm it's it's what is it
• 49:00
  Speaker 3: about mind control? As well?
• 49:02
  Speaker 1: Like some weird stuff, but it's just more so of
• 49:10
  Speaker 1: it's weird, it's strange. You kind of got to see it.
• 49:15
  Speaker 1: It's not really much mind control, but I'm sure there's
• 49:18
  Speaker 1: some elements to it, but it has a lot of
• 49:22
  Speaker 1: the same elements though in filming techniques that Stanley Coop
• 49:26
  Speaker 1: break modeled Clockwork Orange off of, especially the driving scene,
• 49:33
  Speaker 1: which was incredible. I just absolutely love Clockwork Orange and
• 49:38
  Speaker 1: The Shining two of my favorite films. Watch Clockwork Orange
• 49:42
  Speaker 1: when I had my first hangover when I was around
• 49:45
  Speaker 1: ten years old, and it just never could get a
• 49:51
  Speaker 1: lot of the imagery out of my head, from the
• 49:55
  Speaker 1: ultra violence of the Homeless Guy which was traumatizing, to
• 49:59
  Speaker 1: the raaken scenes like and I had Cynthia chang On,
• 50:04
  Speaker 1: absolutely incredible author researcher, and she was breaking down how
• 50:10
  Speaker 1: they use certain music elements and a lot of these
• 50:14
  Speaker 1: films connected the classical something beautiful, some beautiful music, but
• 50:19
  Speaker 1: they mix it in with the little ultra violence to
• 50:23
  Speaker 1: make people not want to listen to classical. Like Beethoven
• 50:27
  Speaker 1: who was trained by the Illuminati. We go over that
• 50:31
  Speaker 1: in the Illuminati comic. But his ode to Joy, you know,
• 50:37
  Speaker 1: a beautiful crazy Yeah.
• 50:40
  Speaker 2: So now that man that puts a whole different spin
• 50:42
  Speaker 2: that I don't even consider. But that in Clockwork Orange,
• 50:44
  Speaker 2: the music that Alex loves and is essentially being used
• 50:47
  Speaker 2: to program him or arguably deprogram him, is literally Illuminati music.
• 50:56
  Speaker 1: Yeah. And also like the.
• 50:57
  Speaker 3: Two too, the imagery is just like being pounded into
• 51:01
  Speaker 3: his head. I think that it's said that a lot
• 51:04
  Speaker 3: of psychopaths and serial killers you can't I don't know
• 51:09
  Speaker 3: if you can, if it's one true or not, but
• 51:12
  Speaker 3: it's said that they mostly listen to classical music. Like
• 51:17
  Speaker 3: that's that's like their get down, that's like their jam
• 51:20
  Speaker 3: is like your classical music. And uh, within The Shining too,
• 51:24
  Speaker 3: there's something within that movie, like the sound design within
• 51:28
  Speaker 3: the Shining mix with the imagery like what you're mentioning, Donut.
• 51:32
  Speaker 3: It has a profound effect on the subconscious mind several
• 51:37
  Speaker 3: people that has brought me on to talk and talk
• 51:42
  Speaker 3: about this documentary has had very strange dreams after they've
• 51:48
  Speaker 3: watched it. There's been five watch my movie five, But
• 51:55
  Speaker 3: but that's because of the Shining imagery that is within
• 51:59
  Speaker 3: the movie. I had this exact same thing happened to me.
• 52:02
  Speaker 3: When I would watch The Shining really late at night.
• 52:06
  Speaker 3: I would have some of the most screwed up dreams
• 52:08
  Speaker 3: that I've ever had. And it's because of the Shining
• 52:12
  Speaker 3: and something to do with the imagery and the sound
• 52:15
  Speaker 3: within that. And the first handful of people that I
• 52:18
  Speaker 3: sent it to to watch the screener, like I sent
• 52:21
  Speaker 3: to you donut that night, they would go to they
• 52:25
  Speaker 3: went to sleep and had crazy, wild dreams and they
• 52:27
  Speaker 3: would call me the next day and they'd be like, Bro,
• 52:29
  Speaker 3: what did you put in your movie, dude? And I
• 52:31
  Speaker 3: was like, I didn't. I didn't put anything in my movie, dude,
• 52:33
  Speaker 3: like that, it's all standard music, it's all you know,
• 52:41
  Speaker 3: standard sound effects and imagery from the Shining, and I
• 52:44
  Speaker 3: was like, it's it's one hundred percent the Shining. I've
• 52:47
  Speaker 3: had that happen several times. My girlfriend actually loves watching
• 52:52
  Speaker 3: The Shining. She watches it, used to watch it all
• 52:55
  Speaker 3: the time before she went to sleep, and I was like, Hey,
• 52:58
  Speaker 3: we can't be watching this movie. We're going to sleep.
• 53:00
  Speaker 3: I'm having these wild and crazy dreams. So let me
• 53:02
  Speaker 3: know if you have a wild and crazy dreams tonight.
• 53:04
  Speaker 3: Donut let me.
• 53:06
  Speaker 1: Crazy dreams or not. Like it's like ever since a kid,
• 53:12
  Speaker 1: I think I've had three good dreams in my entire life.
• 53:17
  Speaker 3: I feel that I'm right there with you. And but
• 53:19
  Speaker 3: that's just another weird thing of like what what Qubic
• 53:23
  Speaker 3: is like doing, like with the imagery in the in
• 53:27
  Speaker 3: the sound design of his films, Like that's what it's
• 53:32
  Speaker 3: just so you.
• 53:33
  Speaker 1: Have two lowercase eyes.
• 53:35
  Speaker 3: I don't know.
• 53:36
  Speaker 1: I was trying to look up if there's any symbolic
• 53:39
  Speaker 1: meaning to that. I mean, you got eyes wide shut,
• 53:42
  Speaker 1: you got this new movie Blink twice, like the two
• 53:46
  Speaker 1: eyes lowercase. Maybe it's just an aesthetic.
• 53:50
  Speaker 4: For I always figured it was the twins.
• 53:53
  Speaker 1: Oh it is the twins. Yeah, it's the two little twins.
• 53:57
  Speaker 2: Right, and yeah, I mean the the state the obvious,
• 54:02
  Speaker 2: but yeah, the little dot would be the head and
• 54:03
  Speaker 2: a little eye would be the body.
• 54:06
  Speaker 1: That's exactly what it is. Yeah, that goes into that MLP, right,
• 54:11
  Speaker 1: there neural linguistic programming.
• 54:15
  Speaker 3: Baby. Yeah, there's a lot of stuff just within as
• 54:20
  Speaker 3: White Shut as well that we kind of touch on
• 54:22
  Speaker 3: within our movie. And then we bring on Joe Atwell,
• 54:25
  Speaker 3: which he's like a really expert in Catcher in the
• 54:30
  Speaker 3: Rye and he's written several books. He wrote Caesar's Messiah,
• 54:34
  Speaker 3: the Roman Conspiracy to Create Jesus, and he really dives
• 54:40
  Speaker 3: deep into the Catcher in the Rye book and what
• 54:43
  Speaker 3: it actually means. And his ultimate conclusion is that it's
• 54:48
  Speaker 3: a book about the Freemasonic trajectory of a member going
• 54:55
  Speaker 3: through all the levels of the lodge. But I don't
• 54:58
  Speaker 3: want to give that too much way because that's all
• 55:01
  Speaker 3: him in the documentary and uh watch it and uh
• 55:07
  Speaker 3: and and figure that out. All yeah. And I use
• 55:09
  Speaker 3: Hotel California at the end of the trailers in and
• 55:12
  Speaker 3: the documentary, Kid, that was the original music that I
• 55:15
  Speaker 3: wanted to use in the actual documentary. But the lead
• 55:21
  Speaker 3: singer of the Eagles just they he takes down everybody
• 55:25
  Speaker 3: that even uses any kind of clips of his music,
• 55:31
  Speaker 3: like the actual melody, Like he'll literally like copyright strike
• 55:35
  Speaker 3: people for just doing covers of Hotel California.
• 55:40
  Speaker 1: A reason or you just like the song or is
• 55:43
  Speaker 1: there an occult reason?
• 55:45
  Speaker 3: I really I that was just the first thing that
• 55:48
  Speaker 3: popped into my mind in the opening credits for the movie, Like,
• 55:51
  Speaker 3: I just wanted to use that song because I felt
• 55:53
  Speaker 3: like that it felt really uh fit really well. And
• 55:59
  Speaker 3: the way the things that are talked about within Hotel California,
• 56:02
  Speaker 3: you know, like you.
• 56:04
  Speaker 4: Can almost feels like psychic driving at some level.
• 56:08
  Speaker 3: Yeah, so that's kind of it was just it was
• 56:12
  Speaker 3: just natural for me to want to put a Hotel
• 56:15
  Speaker 3: California in it. But I got the vocals in there
• 56:19
  Speaker 3: at the end of the trailer and also in the
• 56:22
  Speaker 3: documentary as well, So I think it fit really good
• 56:25
  Speaker 3: because it's kind of the same thing that's being talked
• 56:27
  Speaker 3: about within the song. It is kind of about, you know,
• 56:31
  Speaker 3: our theory of what we propose in a clockwork shining.
• 56:35
  Speaker 1: And this was released on to to too, very occult
• 56:39
  Speaker 1: day to to two just the numbers right there, and
• 56:45
  Speaker 1: also the album was released on one to eight, which
• 56:49
  Speaker 1: is this code I've been breaking down December eighth. I
• 56:53
  Speaker 1: Just Want to Leave the World Behind was released one
• 56:56
  Speaker 1: to eight code same birthday as Jim Moore in one
• 57:00
  Speaker 1: two eight so, uh, I bet you there's something organic
• 57:06
  Speaker 1: with that you slides, because I was looking like you
• 57:11
  Speaker 1: were showing this at the end of the film and
• 57:14
  Speaker 1: I'm like, damn, he's doing the Baffo met right there
• 57:17
  Speaker 1: with the hand up and the hand down, and it looks.
• 57:20
  Speaker 3: Like, oh, yeah he is. I didn't even recognize that
• 57:23
  Speaker 3: he had his hand up in there.
• 57:25
  Speaker 1: Yeah, he's not totally doing with the little it's pretty similar.
• 57:29
  Speaker 1: It's very similar though.
• 57:31
  Speaker 6: Yeah.
• 57:32
  Speaker 3: I was like, dubuh, yeah, I got some slides here
• 57:35
  Speaker 3: I can bring up because I have a lot of
• 57:37
  Speaker 3: the continuity are is not a lot of people even
• 57:44
  Speaker 3: really know about within the Shining that I think need
• 57:46
  Speaker 3: to be brought to the attention of people before. So
• 57:51
  Speaker 3: when I was watching The Shining, I was, you know,
• 57:53
  Speaker 3: looking at things and trying to figure out because I
• 57:58
  Speaker 3: had seen the things that made me believe that our
• 58:01
  Speaker 3: theory of what the Shining is really about is the
• 58:03
  Speaker 3: correct theory. And as I'm going through it, I'm finding
• 58:06
  Speaker 3: other things that relate to our theory being also correct.
• 58:11
  Speaker 3: And one of the first things that I noticed is
• 58:16
  Speaker 3: whenever Jack is at the bar the second time in
• 58:20
  Speaker 3: the gold Room, whenever the party is going on There's
• 58:22
  Speaker 3: a lady that stands up and she walks right in
• 58:26
  Speaker 3: behind Jack right here, and she's actually the one that
• 58:29
  Speaker 3: bumps into Grady to make him spill the alcohol on Jack.
• 58:35
  Speaker 3: And I was looking at that scene over and over again.
• 58:37
  Speaker 3: I was like looking at him. I was like, that
• 58:38
  Speaker 3: looks like a bloody handprint like on her ass, like
• 58:44
  Speaker 3: on the bottom of her dress. And then I was like, Okay, well,
• 58:49
  Speaker 3: you know what else, how's this type of handprint? Now
• 58:51
  Speaker 3: this is a few people have disputed this and said
• 58:54
  Speaker 3: that it's not an actual bloody handprint, that it's like
• 58:58
  Speaker 3: built into the dress. But regardless, it's in the shape
• 59:00
  Speaker 3: of a bloody handprint. Regardless if it was actually a
• 59:04
  Speaker 3: person that had some kind of red paint or blood
• 59:07
  Speaker 3: on their hand and like put it on her dress,
• 59:09
  Speaker 3: is still the shape of the dress and still in
• 59:11
  Speaker 3: the shape of a handprint. And we see that with
• 59:16
  Speaker 3: this iconic Tom Hanks movie with Wilson has that same
• 59:24
  Speaker 3: type of bloody handprint on the volleyball.
• 59:31
  Speaker 1: There's a mind. I shared that on my Twitter.
• 59:35
  Speaker 3: Yeah, thank you, thank you. I appreciate that. Give me
• 59:39
  Speaker 3: that repost there. But that's one of the main things
• 59:44
  Speaker 3: that I first saw before I saw the thing that
• 59:48
  Speaker 3: brought it all together that this is. I'm the first
• 59:50
  Speaker 3: person that's ever seen this. I was the one that
• 59:53
  Speaker 3: brought this to everyone's attention. So if anybody said that
• 59:56
  Speaker 3: they had already seen it before, they're lying. They got
• 59:59
  Speaker 3: it from me. That was all me. But there's other
• 1:00:02
  Speaker 3: ones like this. The very first connuity are in the
• 1:00:06
  Speaker 3: entire movie is the missing hedge mets. So when the
• 1:00:10
  Speaker 3: first establishing shot of The Shining, you don't see a
• 1:00:14
  Speaker 3: hedge mes behind the hotel, which is very important part
• 1:00:19
  Speaker 3: of the movie. Is the hedge means this is the
• 1:00:24
  Speaker 3: cool aid on top of the fridge in Wendy and
• 1:00:28
  Speaker 3: Jack's apartment, which the Jim Jones massacre happened two years
• 1:00:34
  Speaker 3: before the release of This Shining. Some other people have
• 1:00:37
  Speaker 3: found that one. This one is another one that other
• 1:00:40
  Speaker 3: people have seen, which is dopey. The drawerf from the
• 1:00:44
  Speaker 3: Seven Dwarfs is missing off of Danny's bathroom door there,
• 1:00:50
  Speaker 3: while the door that's leading into the hallway into Danny's door.
• 1:00:53
  Speaker 3: So whenever the doctor comes and meets with Danny and
• 1:00:56
  Speaker 3: they're getting ready to walk out, you see a shot
• 1:00:58
  Speaker 3: there at the bottom here where this arrow is pointing
• 1:01:01
  Speaker 3: in Dopey. The dwarf is missing from the shot, which
• 1:01:05
  Speaker 3: is something that is done over and over again throughout
• 1:01:09
  Speaker 3: the movie. There's things that are constantly disappearing, things that
• 1:01:12
  Speaker 3: are reappearing like this one. The light switches are disappearing.
• 1:01:16
  Speaker 3: Whenever Hollerin is giving Windy and Daniel tour of the
• 1:01:19
  Speaker 3: kitchen area right before they go into the storage room,
• 1:01:24
  Speaker 3: which we talk about in our documentary, it doesn't sound
• 1:01:26
  Speaker 3: like he says storage room. It sounds like he says
• 1:01:29
  Speaker 3: the story room room. He definitely says the story room.
• 1:01:34
  Speaker 3: And that's the most interesting part of it, because the
• 1:01:36
  Speaker 3: story room is whenever the entire thing starts to really
• 1:01:39
  Speaker 3: pick up and the story really evolves and we start
• 1:01:42
  Speaker 3: getting heavy into the actual plot. But later on, whenever
• 1:01:45
  Speaker 3: Wendy is dragging Jack's body into the story room, the
• 1:01:50
  Speaker 3: light switch is missing. There's another one of light switching,
• 1:01:54
  Speaker 3: lycewitch is missing. Whenever Jack is going to walk into
• 1:01:58
  Speaker 3: Meat Almond for the first time for the interview you
• 1:02:00
  Speaker 3: there's not a light switch below the picture to his office.
• 1:02:03
  Speaker 3: And then later on when he's going in to destroy
• 1:02:06
  Speaker 3: the radio to prevent Wendy and Danny from leaving the hotel,
• 1:02:10
  Speaker 3: there magically appears a light switch. This one was really interesting.
• 1:02:18
  Speaker 3: It's not really it's a continuity are but it's a
• 1:02:20
  Speaker 3: continuity or within the dialogue of the characters. So whenever
• 1:02:25
  Speaker 3: the doctor comes to visit Danny and Wendy at their
• 1:02:28
  Speaker 3: apartment in Boulder, the doctor asked, Wendy, when did you
• 1:02:33
  Speaker 3: know Danny start to have these types of psychic abilities,
• 1:02:37
  Speaker 3: and she says, well, it was right around the time
• 1:02:40
  Speaker 3: of Danny's accident, and then she explains to the doctor
• 1:02:44
  Speaker 3: that Jack had came in late one night, super drunk,
• 1:02:49
  Speaker 3: and Danny has spread Jack's papers all throughout the house
• 1:02:53
  Speaker 3: and Jack pulled him up by his arm and injured
• 1:02:56
  Speaker 3: his arm. And then she goes on to say that
• 1:02:59
  Speaker 3: from that point forward he had quit drinking, so he
• 1:03:05
  Speaker 3: had been sober for five months. Right. So Jack later
• 1:03:10
  Speaker 3: admits this to Lloyd the bartender, but he says that
• 1:03:13
  Speaker 3: it was three years ago. So there's even continuity errors
• 1:03:18
  Speaker 3: within the dialogue of the characters within the shraining not
• 1:03:21
  Speaker 3: only objects disappearing and reappearing, but they're also between the dialogue,
• 1:03:27
  Speaker 3: which is another really interesting fact of this whole thing,
• 1:03:29
  Speaker 3: because Stanley Kubrick is basically rewriting the entire movie as
• 1:03:33
  Speaker 3: is being shot, and that's something that no director would
• 1:03:37
  Speaker 3: ever do. You would never be rewriting a movie or
• 1:03:40
  Speaker 3: even writing a movie during the filming phase of making
• 1:03:43
  Speaker 3: the movie. This is another really standard one that other
• 1:03:47
  Speaker 3: people have pointed out before, which is the chair missing
• 1:03:51
  Speaker 3: behind Jack whenever Wendy comes in and they have their
• 1:03:55
  Speaker 3: little confrontation there and he's like, oh, well, when I'm
• 1:03:58
  Speaker 3: sitting in this room, you know that I'm working and
• 1:04:00
  Speaker 3: you don't bother me. And the chair is behind him
• 1:04:03
  Speaker 3: in one shot, the next shot it's gone, and then
• 1:04:05
  Speaker 3: the next shot it appears again. This is another really
• 1:04:09
  Speaker 3: interesting one. Whenever Olmen is talking to Jack, they this
• 1:04:14
  Speaker 3: isn't an actual conuity though. There are a lot of
• 1:04:16
  Speaker 3: connuity airs in between this. In between these shots, there's
• 1:04:20
  Speaker 3: a pin that's on olmends dust that keeps jumping around
• 1:04:23
  Speaker 3: the table. There's a cigarette ash tray with a cigarette
• 1:04:28
  Speaker 3: butt in it that keeps moving and changing all through
• 1:04:32
  Speaker 3: the table throughout their ten minute long conversation. Approximately ten
• 1:04:37
  Speaker 3: minute long. But whenever Olemen is talking to Jack here
• 1:04:42
  Speaker 3: and it's like the the hotel is open from such
• 1:04:48
  Speaker 3: and such date to another date. They it's not the
• 1:04:52
  Speaker 3: right amount of time that Jack says that he needs.
• 1:04:55
  Speaker 3: It should be seven months. That he says that that's
• 1:04:58
  Speaker 3: just enough time. Months of peace is just what I need.
• 1:05:02
  Speaker 3: But instead he says five months, when it would really
• 1:05:04
  Speaker 3: be seven months because the hotel is shut down seven
• 1:05:07
  Speaker 3: months out of the year. This is another one that's
• 1:05:10
  Speaker 3: really interesting that Jay Wiiner has brought up that's in
• 1:05:13
  Speaker 3: our film, which is there's a lot of sexual window
• 1:05:16
  Speaker 3: within the shining and whatever. Jack goes in the meat
• 1:05:20
  Speaker 3: almond and shake his hand. The paper tray on the
• 1:05:23
  Speaker 3: desk makes it look like almond is, you know, getting
• 1:05:28
  Speaker 3: a bonus one along. And then there's another one that's
• 1:05:34
  Speaker 3: back here whenever Windy and Bani are talking, which is
• 1:05:38
  Speaker 3: the Teddy Bear with the fire truck ladder sticking up
• 1:05:42
  Speaker 3: protruding from it that's giving the appearance that the Teddy
• 1:05:47
  Speaker 3: Bear is also getting a point. And back here too
• 1:05:52
  Speaker 3: is where Windy picks up the baseball bat, which is
• 1:05:56
  Speaker 3: another really interesting aspect of this that I didn't even
• 1:06:01
  Speaker 3: see until later on, right by the Teddy Bear, where
• 1:06:07
  Speaker 3: the fire truck ladder is sticking up from the Teddy
• 1:06:09
  Speaker 3: Bears where she grabs the baseball bat that she later
• 1:06:13
  Speaker 3: strikes Jack in the head with. This is the other
• 1:06:19
  Speaker 3: one that we'd already brought up with the Teddy Bear
• 1:06:21
  Speaker 3: in the foreshadowing of events later on in the Shining.
• 1:06:25
  Speaker 3: This one's really interesting. This is tang. This is another
• 1:06:28
  Speaker 3: one that people have already pointed out before what we know.
• 1:06:32
  Speaker 3: Tang was a really popularized by astronauts on the Apollo program.
• 1:06:39
  Speaker 3: That was their drink of choice, supposedly because something with
• 1:06:43
  Speaker 3: the water. They had to add some kind of additive
• 1:06:46
  Speaker 3: to the water to make the water taste good. This
• 1:06:49
  Speaker 3: one is which really feeds into the moon landing stuff.
• 1:06:56
  Speaker 3: This one is a connuity. Are whenever Danny first sees
• 1:06:59
  Speaker 3: Room two thirty seven, there's a door in the first
• 1:07:02
  Speaker 3: shot that is closed to the right of him, and
• 1:07:05
  Speaker 3: then in the next shot it's open. This one is
• 1:07:11
  Speaker 3: the carpet switching patterns. I think we already showed this one,
• 1:07:15
  Speaker 3: but in the first shot it's an open facing hexagon,
• 1:07:18
  Speaker 3: and then in the next shot it's a closed facing hexagon.
• 1:07:22
  Speaker 3: It's a possibility that he just had Danny switch positions
• 1:07:26
  Speaker 3: on the carpet, but it's still a continuity air. It's
• 1:07:28
  Speaker 3: still doesn't you know, run in a congruent fashion. You
• 1:07:33
  Speaker 3: can see how everything is basically set up the exact same,
• 1:07:37
  Speaker 3: It's just he's turned around on the carpet. This is
• 1:07:44
  Speaker 3: the Apollo eleven shirt that Danny's wearing. When he stands up,
• 1:07:48
  Speaker 3: he's wearing the Apollo eleven shirt. He goes into Room
• 1:07:51
  Speaker 3: two thirty seven, which at that time two hundred and
• 1:07:55
  Speaker 3: thirty seven thousand miles away from the Earth. The moon
• 1:07:59
  Speaker 3: was suppose ban we know that this is farther away now.
• 1:08:02
  Speaker 3: That's if you believe that the moon is even real.
• 1:08:04
  Speaker 3: I don't know who knows, but this is the toy
• 1:08:08
  Speaker 3: Story Shining reference. The TVs and appliances within the Shining
• 1:08:16
  Speaker 3: are not appeared to be plugged into anything, especially this
• 1:08:20
  Speaker 3: top TV here. So this really ties in with our
• 1:08:24
  Speaker 3: theory and also ties in with the moon landing theory
• 1:08:28
  Speaker 3: of Stanley Kubrick and what was going on with him,
• 1:08:31
  Speaker 3: because that was broadcast is supposedly live to everyone. So
• 1:08:36
  Speaker 3: if this this TV, which if the footage was actually
• 1:08:40
  Speaker 3: faked and it wasn't real, then they would basically be
• 1:08:43
  Speaker 3: watching a recording. So this is kind of what I
• 1:08:46
  Speaker 3: personally believe that Stanley Kubrick was trying to say within
• 1:08:51
  Speaker 3: these TVs and appliance is not actually being plugged into anything.
• 1:08:55
  Speaker 3: He's like, this is it's a fraud, right. This is
• 1:08:59
  Speaker 3: another dialogue continuity air that is between Olman Stuart Olman,
• 1:09:05
  Speaker 3: and which Stuart Olman looks a lot like JFK. A
• 1:09:08
  Speaker 3: lot of people have pointed that out, and we also
• 1:09:09
  Speaker 3: point that out in our film as well. Whenever Jack
• 1:09:13
  Speaker 3: is interviewing with Ollman to get the position at the overlook,
• 1:09:17
  Speaker 3: allmend says that Charles that the previous caretaker is named
• 1:09:22
  Speaker 3: Charles Grady. Now whenever Jack meets Grady in the bathroom,
• 1:09:28
  Speaker 3: whenever he spills the alcohol on him, he refers to
• 1:09:31
  Speaker 3: himself as Delbert Grady. This is the catcher in the
• 1:09:34
  Speaker 3: rye that we've already shown when we first see Wendy
• 1:09:38
  Speaker 3: within the Shining and she's reading a book by the
• 1:09:40
  Speaker 3: intelligence officer J. D. Salinger. This one's a really interesting
• 1:09:44
  Speaker 3: one that I don't think a lot of people have
• 1:09:47
  Speaker 3: actually caught. So whenever Jack is breaking down the door
• 1:09:52
  Speaker 3: to the bathroom that Wendy and Danny is in, he
• 1:09:55
  Speaker 3: only breaks down one quarter panel of the door. And
• 1:10:02
  Speaker 3: then whenever he hears Hollerin snowmobile showing up to the
• 1:10:05
  Speaker 3: hotel and he turns around, both panels of the door
• 1:10:10
  Speaker 3: have been destroyed. It's a little known one that not
• 1:10:16
  Speaker 3: a lot of people catch this one. Really, I have
• 1:10:20
  Speaker 3: never heard anyone see this or anyone ever talk about this.
• 1:10:24
  Speaker 3: This one's super interesting. It's so blatant and so in
• 1:10:27
  Speaker 3: your face. Like this one is like how you could
• 1:10:29
  Speaker 3: watch it one hundred times and not even notice it,
• 1:10:32
  Speaker 3: but it's so when you watch it, like now, you're
• 1:10:35
  Speaker 3: gonna definitely see it. So whenever Hollarin is giving Wendy
• 1:10:38
  Speaker 3: and Danny a tour of the hotel, this is the
• 1:10:41
  Speaker 3: freezer room that in this top photo that he is opening,
• 1:10:45
  Speaker 3: and the door handle is on the right side of
• 1:10:48
  Speaker 3: the door. The second photo is then exiting the freezer
• 1:10:55
  Speaker 3: room and the handle is on the left side of
• 1:10:59
  Speaker 3: the door, and the background is completely different. The top
• 1:11:03
  Speaker 3: photo before they entered into the freezer room looks like
• 1:11:07
  Speaker 3: a kitchen area behind them with the blackboard back here,
• 1:11:10
  Speaker 3: But whenever they exit, it's they got the two double
• 1:11:14
  Speaker 3: doors with fire alarms on the wall, and this what
• 1:11:17
  Speaker 3: looks like some kind of disposable trash can here on
• 1:11:21
  Speaker 3: the right and light switches here as well, so it's
• 1:11:24
  Speaker 3: a completely different set. So they had them walking into
• 1:11:28
  Speaker 3: the freezer room with one set in the background and
• 1:11:31
  Speaker 3: had them walking out with a completely different set in
• 1:11:34
  Speaker 3: the background. This was another interesting one. The light shade.
• 1:11:38
  Speaker 3: Whenever Windy is trying to escape from Danny coming into
• 1:11:41
  Speaker 3: the room, before she throws Danny through the window for
• 1:11:45
  Speaker 3: him to escape to later return back into the hotel,
• 1:11:49
  Speaker 3: there's a lamp that's on the on their desk beside
• 1:11:53
  Speaker 3: their bed, by their nightstand in its crooked and then
• 1:11:56
  Speaker 3: whenever Jack walks in it's straight. This one is the
• 1:12:02
  Speaker 3: monarch poster in the background of the game's room whenever
• 1:12:06
  Speaker 3: Danny first sees the twins, And this is one of
• 1:12:13
  Speaker 3: the things that people have previously pointed out. This isn't
• 1:12:19
  Speaker 3: something that I had seen, but it relates to our theory.
• 1:12:23
  Speaker 3: So at the end of the movie, whenever Jack is
• 1:12:30
  Speaker 3: outside and he appears that he has had been frozen
• 1:12:33
  Speaker 3: to death, the camera pans into the hotel and then
• 1:12:35
  Speaker 3: a zero is in on the wall. This has nineteen
• 1:12:38
  Speaker 3: twenty one, July fourth, nineteen twenty one. He's doing the
• 1:12:42
  Speaker 3: hand thing like you said, And whenever the picture fades
• 1:12:46
  Speaker 3: from the faraway shot which is the top photo, to
• 1:12:49
  Speaker 3: the bottom close up shot for a split second, you
• 1:12:53
  Speaker 3: can see this little mustache beginning to form on Jack's face,
• 1:12:59
  Speaker 3: which then relates to the final thing that I seen
• 1:13:05
  Speaker 3: within the Shining that puts all of this stuff together
• 1:13:10
  Speaker 3: and relates to this mustache being seen on Jack's face,
• 1:13:15
  Speaker 3: which is when they're walking through the Gold Room, when
• 1:13:17
  Speaker 3: they're getting the tour of the overlook. In the background
• 1:13:21
  Speaker 3: of the gold Room, on the wall, there's a Nazi
• 1:13:24
  Speaker 3: swastika on the background of the wall that no one
• 1:13:29
  Speaker 3: has ever seen before. And the only way that I
• 1:13:31
  Speaker 3: seen this is I seen The Shining in a really
• 1:13:34
  Speaker 3: big screen TV. They were reshowing the movie and I
• 1:13:39
  Speaker 3: got to see it on the big screen, So that's
• 1:13:43
  Speaker 3: the only way that I was able to see that
• 1:13:45
  Speaker 3: swastika in the background of the gold Room.
• 1:13:48
  Speaker 4: Nice.
• 1:13:49
  Speaker 1: Wow, that's incredible breakdown. Thank you for showing us that.
• 1:13:55
  Speaker 1: What's your thoughts on the finger it got anything on
• 1:13:58
  Speaker 1: that because I thought it was connected. Looked like some
• 1:14:00
  Speaker 1: et stuff. I bet you, just like some secret Hollywood thing.
• 1:14:04
  Speaker 3: Yeah, the what the doctor basically explains to Windy in
• 1:14:07
  Speaker 3: the beginning of the movie is that his abilities are
• 1:14:12
  Speaker 3: not only due to trauma that he induced, but also
• 1:14:16
  Speaker 3: a form of the direct words out of her mouth
• 1:14:20
  Speaker 3: is self hypnosis.
• 1:14:25
  Speaker 1: Hmmm, right, right, what ryder? Right? Do you you crushed
• 1:14:30
  Speaker 1: it tonight? That's everybody's saying up in the comments. I
• 1:14:34
  Speaker 1: appreciate you coming up on here. There's a lot.
• 1:14:39
  Speaker 3: Of other there's a we want to talk about the
• 1:14:41
  Speaker 3: ending of the movie, right, the part that cubric cut out.
• 1:14:45
  Speaker 3: I'm not going to explain the whole thing, but just
• 1:14:46
  Speaker 3: for an incentive for people to actually watch it, there's
• 1:14:49
  Speaker 3: an entire part of the movie that Kubrick filmed that
• 1:14:53
  Speaker 3: he cut out of the movie that was an entire
• 1:14:57
  Speaker 3: end scene to the movie that never made it in,
• 1:15:00
  Speaker 3: And so whenever he was doing his test screenings, he
• 1:15:02
  Speaker 3: had a different ending to the Shining than the one
• 1:15:05
  Speaker 3: that we're all used to that I just explained with
• 1:15:07
  Speaker 3: Jack outside where he's frozen to death and the zooms
• 1:15:10
  Speaker 3: in on the picture on the wall, there was a
• 1:15:11
  Speaker 3: completely separate ending to the movie that was originally in there,
• 1:15:16
  Speaker 3: but then he sent his editor to the theaters displice
• 1:15:19
  Speaker 3: out the reels of the footage to edit out that
• 1:15:23
  Speaker 3: original ending, and his excuse was that whenever he did
• 1:15:29
  Speaker 3: the test screenings, he noticed that the audience was just
• 1:15:33
  Speaker 3: getting up and leaving automatically. They weren't, you know, staying
• 1:15:36
  Speaker 3: around to chat with each other. It wasn't a you know,
• 1:15:41
  Speaker 3: a film that he thought that it was cut right,
• 1:15:45
  Speaker 3: So people were just getting up and automatically leaving. So
• 1:15:48
  Speaker 3: he sent his editor to go in and cut the film.
• 1:15:51
  Speaker 3: And that's the excuse, the official excuse that I think
• 1:15:54
  Speaker 3: that he uses. But we believe that he cut out
• 1:15:59
  Speaker 3: that original and mean to the movie because it reveals
• 1:16:03
  Speaker 3: the entire plot of the movie, which is our theory
• 1:16:07
  Speaker 3: and our theory of what the Shining is really about.
• 1:16:12
  Speaker 3: So I really hope people go and check it out.
• 1:16:14
  Speaker 3: And if you like it and you think it was good,
• 1:16:17
  Speaker 3: please leave a rating and a review on Amazon Prime,
• 1:16:21
  Speaker 3: and please please help us, help support us so we
• 1:16:26
  Speaker 3: can continue making good movies.
• 1:16:28
  Speaker 1: Yeah, I got that link down below. You can go
• 1:16:31
  Speaker 1: click it and go straight to his movie. Everybody, go
• 1:16:35
  Speaker 1: watch it. I really enjoyed it. Thank you for making it.
• 1:16:39
  Speaker 1: And Paranoid American and I got the Illuminati comic. Make
• 1:16:44
  Speaker 1: sure to go support Illuminati Comic. Go click them links
• 1:16:48
  Speaker 1: down below and access the secrets and Paranoid what you
• 1:16:54
  Speaker 1: got for us before we sign out.
• 1:16:57
  Speaker 2: I would just love to know writer, if you see
• 1:17:00
  Speaker 2: any connection between the Shining movie and the Doctor Sleep
• 1:17:05
  Speaker 2: movie or do these exist in completely different universes?
• 1:17:09
  Speaker 4: Since Kubrick didn't work on both.
• 1:17:11
  Speaker 3: Well, I think that Doctor Sleep was that, Yeah, they
• 1:17:15
  Speaker 3: don't really have anything to do with each other. There
• 1:17:20
  Speaker 3: were two separate, completely different movies. Stanley Kubrick didn't have
• 1:17:24
  Speaker 3: anything to do with Doctor Sleep. That was all Stephen King.
• 1:17:27
  Speaker 3: But the interesting point to the connection between Doctor Sleep
• 1:17:32
  Speaker 3: the movie and the Shining and Lookout Mountain Hotel is
• 1:17:39
  Speaker 3: that Lookout Mountain Hotel also burned to the ground and
• 1:17:43
  Speaker 3: looked very similar to the Overlook Hotel within the Shining
• 1:17:46
  Speaker 3: and then at the end of Doctor Sleep, the Overlook
• 1:17:51
  Speaker 3: Hotel burns to the ground because they go in their
• 1:17:54
  Speaker 3: spoiler for Doctor Sleep, which I like the film, but
• 1:17:58
  Speaker 3: it's not doesn't have any real symbolic type of meaning
• 1:18:05
  Speaker 3: that you know, Stanley Kubrick would put into his movies,
• 1:18:09
  Speaker 3: because that's not the way that Stephen King wrote things.
• 1:18:13
  Speaker 3: Stephen King was really straightforward, and Stanley Kubrick did not
• 1:18:17
  Speaker 3: like Stephen King's writing ability. I'm sure he was like, Okay, well, yeah,
• 1:18:24
  Speaker 3: you can maybe able to write good novels and good books,
• 1:18:27
  Speaker 3: but you can't write a movie. And that just reminds
• 1:18:30
  Speaker 3: me of another thing that I forgot to put in
• 1:18:32
  Speaker 3: the slide show was whenever Hollerin is driving up to
• 1:18:37
  Speaker 3: the Overlook Hotel, the accident on the left is a
• 1:18:42
  Speaker 3: red beetle that is crushed by a semi and in
• 1:18:47
  Speaker 3: the original novel, The Shining Jack drives a red beadle,
• 1:18:51
  Speaker 3: but Stanley Kubrick turned it into a yellow beetle, which
• 1:18:56
  Speaker 3: seems like a big middle finger to Steve King.
• 1:19:01
  Speaker 2: It couldn't have happened to a nicer guy. And I
• 1:19:04
  Speaker 2: do have one other question to kind of leave us
• 1:19:07
  Speaker 2: up on this. Do you have an opinion on who's
• 1:19:11
  Speaker 2: the closest thing to a living Stanley Kubrick that we've
• 1:19:14
  Speaker 2: got now like an existing director.
• 1:19:18
  Speaker 3: I do, but I can't think of his name right
• 1:19:20
  Speaker 3: off the bat. It's he directed this movie called The
• 1:19:24
  Speaker 3: Killing of a Sacred Deer. If you could look that
• 1:19:28
  Speaker 3: up really quickly, donut the Killing of a Sacred Deer
• 1:19:33
  Speaker 3: that director he's got like a foreign name. I can't
• 1:19:37
  Speaker 3: think of it right now, but that movie is probably
• 1:19:40
  Speaker 3: the closest thing that I had seen to a Kubrick
• 1:19:44
  Speaker 3: esque film in a really long time, really really interesting movie.
• 1:19:50
  Speaker 3: And also there's not really a director that carries that
• 1:19:56
  Speaker 3: style in every single kind of movie. Like there's movies
• 1:19:59
  Speaker 3: that are like Kubrick style, but they're kind of like
• 1:20:03
  Speaker 3: one off movies, sort of like Cadu Lake. I don't
• 1:20:06
  Speaker 3: know if you've guys watched Cawdo Lake or not, but
• 1:20:08
  Speaker 3: it's sort of like that. You have to put two
• 1:20:11
  Speaker 3: and two together on your own and figure it out
• 1:20:14
  Speaker 3: for yourselves within the imagery of the movie, and it's
• 1:20:18
  Speaker 3: not explained to you within the dialogue of the movie.
• 1:20:21
  Speaker 3: You have to really pay attention to exactly what's going on.
• 1:20:25
  Speaker 3: So I would say killing Up a Sacred Deer in
• 1:20:29
  Speaker 3: Cadu Lake, which Cado Lake is on HBO right now,
• 1:20:35
  Speaker 3: So there's not really a director because they don't keep
• 1:20:39
  Speaker 3: the same style through their entire filmography. It's sometimes it's
• 1:20:45
  Speaker 3: like one offs. But I've heard that Smile Too is
• 1:20:50
  Speaker 3: very kubrick esque as well. I haven't seen Smile Too yet,
• 1:20:55
  Speaker 3: but Jay Widener said that it's one of the best
• 1:20:58
  Speaker 3: movies that he've seen in a while.
• 1:21:01
  Speaker 4: Really, Okay, that's interesting.
• 1:21:03
  Speaker 1: Wow, yeah, because I thought it looked kind of like
• 1:21:06
  Speaker 1: the first one looked a little cheesy. But I'll go
• 1:21:09
  Speaker 1: check it out now if y'all like it. Smile too,
• 1:21:13
  Speaker 1: and there's something with them demon faces and the smile,
• 1:21:16
  Speaker 1: you know.
• 1:21:18
  Speaker 3: Yeah. And then also with the hamdprint on the back
• 1:21:21
  Speaker 3: of the lady's dress as well. I mean it's a
• 1:21:23
  Speaker 3: four it's a four fingered hamd print. And you know,
• 1:21:28
  Speaker 3: that's why a lot of some people equate to you know,
• 1:21:31
  Speaker 3: a demonic entity sometimes has four fingers, and and that's
• 1:21:39
  Speaker 3: why I related it to the you know, the Wilson,
• 1:21:43
  Speaker 3: the Wilson. What you could get into all kinds of
• 1:21:47
  Speaker 3: stuff with Tom Tom Hanks too. You know, that's a
• 1:21:51
  Speaker 3: whole other rabbit hole that you can go down with
• 1:21:55
  Speaker 3: all the information about Tom Hanks. And what maybe that
• 1:21:59
  Speaker 3: bloody handprint actually means.
• 1:22:02
  Speaker 6: Well side well signe.
• 1:22:06
  Speaker 1: No, that's what uh like all the people that are
• 1:22:12
  Speaker 1: upset Trump got in they do whatever? No, probably some
• 1:22:20
  Speaker 1: weird mk with too.
• 1:22:24
  Speaker 4: With the orange handprint.
• 1:22:26
  Speaker 3: Uh on everything?
• 1:22:34
  Speaker 1: What's your thoughts? Right? Up right? A ride out right?
• 1:22:37
  Speaker 1: I gotta get paid ride a rock Ride a roll
• 1:22:39
  Speaker 1: back Seat, the twelve Gage angel Us. That's Psychopathic Riders,
• 1:22:46
  Speaker 1: Psychopathic Riders, Dumpy Cycle, Pathic Riders, A right to ride
• 1:22:55
  Speaker 1: out right, I gotta get paid, right Yeah, that's a
• 1:22:59
  Speaker 1: cool name, right right right right out. There's a rap
• 1:23:05
  Speaker 1: group Psychopathic Radas, and it's like what I listened to
• 1:23:09
  Speaker 1: all like growing up.
• 1:23:11
  Speaker 3: Oh, I thought you were just coming out with that
• 1:23:13
  Speaker 3: off the rip. That's what.
• 1:23:18
  Speaker 1: We did an episode on the the the Fake Aliens
• 1:23:25
  Speaker 1: and it's connections to k Ultra mind Control over on
• 1:23:28
  Speaker 1: Patreon and never had a chance to release that. But
• 1:23:32
  Speaker 1: that's okay. This one was a good release, I think,
• 1:23:35
  Speaker 1: and I'll released out one in the future. But what's
• 1:23:40
  Speaker 1: your thoughts on Tucker Carlson gat these back massages by
• 1:23:43
  Speaker 1: demon entities.
• 1:23:46
  Speaker 3: I have no idea about that. Is that true? Yeah?
• 1:23:53
  Speaker 4: He said it's true, and like it was an interview
• 1:23:56
  Speaker 4: that he had.
• 1:23:56
  Speaker 2: I can't remember what interview he is on, but he
• 1:24:00
  Speaker 2: perly said that. So it wasn't like a wild story
• 1:24:03
  Speaker 2: that someone made up. It came from the mouth of
• 1:24:06
  Speaker 2: Tucker Carlson that.
• 1:24:07
  Speaker 3: He's getting massages by demonic entities.
• 1:24:11
  Speaker 1: Well they were scratching them. But when I heard like
• 1:24:14
  Speaker 1: someone scratching you. I think of a bag massage.
• 1:24:18
  Speaker 3: I don't think so either. I think that's a succubist
• 1:24:20
  Speaker 3: or whatever. That is it an incubus or a succubist
• 1:24:24
  Speaker 3: as a woman. I don't know. I get them confused,
• 1:24:26
  Speaker 3: but them succubists is dude, the cucubist is getting Tucker Carlson.
• 1:24:30
  Speaker 3: But when it comes to like MK ultra and the stuff,
• 1:24:32
  Speaker 3: I mean, we know that the I mean we talk
• 1:24:35
  Speaker 3: about it in our movie that the Air Force was
• 1:24:37
  Speaker 3: highly involved in mk ultra programs. Walter Bosley, the FOSI
• 1:24:42
  Speaker 3: Air Force special agent, talks about it and how his
• 1:24:45
  Speaker 3: dad went through the Air Force MK ultra program. So
• 1:24:49
  Speaker 3: why would the Air Force be interested in mk ultra?
• 1:24:55
  Speaker 3: I mean, what do we have in our skies? I mean,
• 1:24:57
  Speaker 3: what's the most one of the most popular things to
• 1:25:00
  Speaker 3: talk about now.
• 1:25:01
  Speaker 4: Well, not.
• 1:25:03
  Speaker 2: A lot of the research that we inherited from World
• 1:25:07
  Speaker 2: War Two had everything to do with high altitude research,
• 1:25:10
  Speaker 2: which were some of the most grotesque and horrific experiments
• 1:25:14
  Speaker 2: that they even did was all high altitude. But it
• 1:25:16
  Speaker 2: was because that also was a direct benefit to the
• 1:25:20
  Speaker 2: Air Force. The Air Force at that point and even
• 1:25:23
  Speaker 2: today is sort of the most technologically incorporate friendly out
• 1:25:27
  Speaker 2: of all the different branches.
• 1:25:29
  Speaker 4: So they kind of integrate.
• 1:25:30
  Speaker 2: Really well with all of that new tech and trying
• 1:25:34
  Speaker 2: out new things. And for writer or for anyone else,
• 1:25:38
  Speaker 2: you've been watching another thing too. When you were talking
• 1:25:40
  Speaker 2: about the original recruits when MK LTR had just started,
• 1:25:44
  Speaker 2: I think this was like Project Chatter was the Navy,
• 1:25:46
  Speaker 2: and then it got into Bluebird, and then it gets
• 1:25:49
  Speaker 2: an MK culture, which affects everybody across the board no
• 1:25:51
  Speaker 2: matter what.
• 1:25:52
  Speaker 4: You could just be a civilian, you'd still get affected
• 1:25:55
  Speaker 4: by it.
• 1:25:56
  Speaker 2: But one of the early groups that got these early
• 1:25:59
  Speaker 2: tests as these guys called Donovan's Dreamers, And this is
• 1:26:03
  Speaker 2: named after William Donovan, who was a high ranking officer
• 1:26:08
  Speaker 2: that was kind of in charge in the initial steps
• 1:26:10
  Speaker 2: before Mkulchra even existed, before the CIA even existed. He
• 1:26:14
  Speaker 2: was there for the transition between OSS and to the CIA.
• 1:26:18
  Speaker 2: And these guys called Donovan's Dreamers. They they had that
• 1:26:22
  Speaker 2: name because they were dosing them with so many different
• 1:26:25
  Speaker 2: substances and they were they would freak out.
• 1:26:28
  Speaker 4: On all different fronts.
• 1:26:30
  Speaker 2: And uh this also I think once they figured out, okay,
• 1:26:34
  Speaker 2: we can't just dose new recruits to our whim because
• 1:26:38
  Speaker 2: it has very unpredictable results. They start to refine this
• 1:26:42
  Speaker 2: a little bit. And then there's a place called Camp X,
• 1:26:45
  Speaker 2: which was a joint military training compound that both Donovan
• 1:26:49
  Speaker 2: sent people to but also Canada, I believe, and I
• 1:26:52
  Speaker 2: think that the Royal Air Force they all sort of
• 1:26:54
  Speaker 2: shared this place as a spot for them to like
• 1:26:59
  Speaker 2: learn about spycraft essentially. And I think a lot of
• 1:27:03
  Speaker 2: the claims were that they were dosed here too. But
• 1:27:07
  Speaker 2: this was not just to throw it at some random
• 1:27:09
  Speaker 2: recruit and see what happens. This one was more of like, Okay,
• 1:27:13
  Speaker 2: orient yourself. Here's like a new thing that might happen
• 1:27:16
  Speaker 2: to you. So here's what it feels like, here's how
• 1:27:19
  Speaker 2: to operate under it. So there was also and this
• 1:27:21
  Speaker 2: is a deep, deep rabbit hole. This Camp X and
• 1:27:24
  Speaker 2: the William Donovan rabbit holes are wild.
• 1:27:27
  Speaker 3: That is really wid I have to definitely look into that.
• 1:27:29
  Speaker 3: But when you think of like what you just mentioned there,
• 1:27:32
  Speaker 3: it's like, well, you know, what are the men in Black?
• 1:27:35
  Speaker 3: That's essentially like what the men in Black are?
• 1:27:37
  Speaker 4: Like?
• 1:27:38
  Speaker 3: There these agents to go out and then why are
• 1:27:41
  Speaker 3: they always around? Like UFO sightings and people that have
• 1:27:45
  Speaker 3: supposedly seen something strange in the sky and they're like
• 1:27:49
  Speaker 3: almost immediately there. I mean, there's been reports of men
• 1:27:52
  Speaker 3: in black showing up surrounding all kinds of different stuff.
• 1:27:55
  Speaker 3: So it makes sense that if it was some kind
• 1:27:58
  Speaker 3: of operation, it was some kind of experiment, that they
• 1:28:01
  Speaker 3: were just throwing something up in the sky that isn't
• 1:28:03
  Speaker 3: necessarily real. They're just making people believe that it's real.
• 1:28:07
  Speaker 3: You would want to go talk to the suspect that
• 1:28:10
  Speaker 3: potentially witnessed this event to find out what it is
• 1:28:14
  Speaker 3: that they've seen. Word, that's just the way that I
• 1:28:19
  Speaker 3: look at it. That's the way that you would run
• 1:28:21
  Speaker 3: an operation. And that's kind of what happens at the
• 1:28:24
  Speaker 3: end of the Shining as well, with the original cut
• 1:28:28
  Speaker 3: that used to be there. Olman mentions to Windy and
• 1:28:31
  Speaker 3: Danny that you know, why don't you come and stay
• 1:28:35
  Speaker 3: with me in my house in La Well, why would
• 1:28:39
  Speaker 3: you want to do that? Well, if this is some
• 1:28:41
  Speaker 3: kind of experiment that's happening up there, if it's an
• 1:28:46
  Speaker 3: experiment on not only the people that are watching it,
• 1:28:50
  Speaker 3: but an experiment within the film, and it's in a
• 1:28:52
  Speaker 3: film about an experiment, and Stanley Kubric is also running
• 1:28:55
  Speaker 3: an experiment on the actors in the film, the way
• 1:28:58
  Speaker 3: that he treated Shelley dou Vae and the way that
• 1:29:00
  Speaker 3: he's rewriting the movie as is being filmed. Then you
• 1:29:05
  Speaker 3: know om omen would want to watch Danny and Wendy
• 1:29:11
  Speaker 3: to see what kind of effects the experiment had on them.
• 1:29:17
  Speaker 3: And that's what I think the Men in Black do.
• 1:29:21
  Speaker 3: I think that's what what their operation entails, and that's
• 1:29:25
  Speaker 3: what they're supposed to do. They're supposed to go and
• 1:29:27
  Speaker 3: find out what it was that these supposed witnesses saw
• 1:29:31
  Speaker 3: so that they can collect that data. And then in
• 1:29:35
  Speaker 3: the meantime they tell the people, you know, shut up
• 1:29:37
  Speaker 3: about this, don't talk about it, don't say anything about
• 1:29:39
  Speaker 3: this to anybody, because it's an experiment.
• 1:29:46
  Speaker 1: Yeah, that was a good movie. And then you wrote
• 1:29:49
  Speaker 1: Riston p. Shelley Devau does she like pass Away this
• 1:29:52
  Speaker 1: year or something?
• 1:29:53
  Speaker 3: Yes?
• 1:29:54
  Speaker 1: Oh wow, I didn't know that. Yeah, there's a good
• 1:29:58
  Speaker 1: good movie, good movie, good work. Thanks, Yeah, I liked
• 1:30:05
  Speaker 1: it a lot.
• 1:30:06
  Speaker 3: I didn't know about that. Do doja kanto thing that
• 1:30:08
  Speaker 3: I don't pay attention to mainstream music, but is that
• 1:30:12
  Speaker 3: one of it? For one of her new songs the
• 1:30:16
  Speaker 3: Man and then.
• 1:30:20
  Speaker 2: It does the copyright Drake from Your Perfect Creation.
• 1:30:23
  Speaker 3: Here is humming and dude, you already hummed the writer song. Bro,
• 1:30:27
  Speaker 3: They're gonna hit you with that too. But there's another
• 1:30:30
  Speaker 3: one that's a reference to a clockwork, a clockwork orange,
• 1:30:34
  Speaker 3: which is in the movie. Well, it's in the series Legion.
• 1:30:38
  Speaker 3: Have you either one of you seen Legion.
• 1:30:41
  Speaker 4: Like the comic book or like the Superhero show, the
• 1:30:44
  Speaker 4: show that was on Fax is right, right, yeah, Superhero.
• 1:30:47
  Speaker 4: I think.
• 1:30:50
  Speaker 3: That's uh.
• 1:30:55
  Speaker 1: The Stanley Kubrick's first film was called Sparta Kiss, and
• 1:30:59
  Speaker 1: that is the Illuminati founder's name, Spartacus.
• 1:31:03
  Speaker 4: Oh good, good, call out man.
• 1:31:06
  Speaker 2: That was also one of the few movies that represent
• 1:31:09
  Speaker 2: I think there was only three actors that he ever
• 1:31:12
  Speaker 2: worked more than once with, and it was just two
• 1:31:15
  Speaker 2: for each of those, and that was Kirk Douglas. But
• 1:31:17
  Speaker 2: I think Kirk Douglas is actually the one that pulled
• 1:31:19
  Speaker 2: him on to Spartacus. It was like already in the
• 1:31:23
  Speaker 2: works and he was not happy with how it was
• 1:31:26
  Speaker 2: coming out, so he demanded Stanley Kubrick takeover.
• 1:31:30
  Speaker 4: I think that's I mean, I'm gonna be oversimplifying that.
• 1:31:34
  Speaker 1: Yeah, but that's like the main name. That's the Illuminati
• 1:31:38
  Speaker 1: founder name.
• 1:31:38
  Speaker 2: Yeah, that's Adam and and anyone that backed us. Tonight
• 1:31:42
  Speaker 2: or even in the last couple of nights, we will
• 1:31:44
  Speaker 2: be giving you all your Illuminati nicknames on upcoming show.
• 1:31:48
  Speaker 4: So don't feel like you missed out.
• 1:31:50
  Speaker 1: Oh yeah, Illuminati comic, Go get the Illuminati Comic dot com.
• 1:31:56
  Speaker 1: Go grab it. We almost at the unlocking Dozy grants.
• 1:32:01
  Speaker 1: Look those you can't right there ooheither.
• 1:32:08
  Speaker 2: There's not a lot of other Illuminati books or documentaries
• 1:32:13
  Speaker 2: or magazine articles or anything that embrace all of the
• 1:32:17
  Speaker 2: different aspects of this. Sometimes they'll take just a historical
• 1:32:20
  Speaker 2: route and you'll learn about the Bavarian Illuminati and Jesuits,
• 1:32:24
  Speaker 2: and then it'll end somewhere around like the early eighteen hundreds,
• 1:32:27
  Speaker 2: or you'll get someone talking about how JC and Beyonce
• 1:32:30
  Speaker 2: and Wu Tang and whoever else are in this like
• 1:32:33
  Speaker 2: hip hop Illuminati. But I do'm not familiar with a
• 1:32:37
  Speaker 2: lot of different works that bridge that gap, that say, okay,
• 1:32:39
  Speaker 2: well what happened between the eighteen hundreds and the two thousands,
• 1:32:43
  Speaker 2: what about those two hundred years? And this comic, this
• 1:32:46
  Speaker 2: Illuminati comic, it actually covers that gap. So I kind
• 1:32:50
  Speaker 2: of like that's kind of what writer was doing too,
• 1:32:52
  Speaker 2: is writer approaches the shining and says, Okay, where all
• 1:32:56
  Speaker 2: these holes that everyone else sort of glosses over in
• 1:33:00
  Speaker 2: all the previous interpretations of this, and like fills it
• 1:33:04
  Speaker 2: out chronologically and thoroughly.
• 1:33:06
  Speaker 4: So that's I like that style. I like the cut
• 1:33:09
  Speaker 4: of your jip there.
• 1:33:10
  Speaker 3: Thank you Paranoid American. Really appreciate that. And I love
• 1:33:13
  Speaker 3: you guys' work as well. Please go and support the Illuminati.
• 1:33:16
  Speaker 1: Comic and go support the new film Clockwork Shining. That's
• 1:33:25
  Speaker 1: a good title.
• 1:33:28
  Speaker 3: I originally wanted it to be called Hotel Monarch, but.
• 1:33:32
  Speaker 2: That this is better because it's more like you get
• 1:33:36
  Speaker 2: the idea right right away.
• 1:33:39
  Speaker 3: Yeah, you understand it just by the just by the title.
• 1:33:44
  Speaker 1: Yeah, I wanted to call the Illuminati comic Dolphins, cats
• 1:33:49
  Speaker 1: and Donuts.
• 1:33:51
  Speaker 7: And you know, another real life example of you know,
• 1:34:02
  Speaker 7: people getting dosed with LSD is also with.
• 1:34:10
  Speaker 3: Oswald and the Gentleman. This shot Oswald. Shoot, I'm blanket
• 1:34:15
  Speaker 3: on his name, Jack Ruby, Sorry, Jack Ruby. Yes, I
• 1:34:21
  Speaker 3: don't know, I don't know why. I just just rased
• 1:34:23
  Speaker 3: my mind. Sometimes I gotta make room for other things
• 1:34:27
  Speaker 3: in my mind, so I can remember, so I discard
• 1:34:29
  Speaker 3: some older things. But Jack Ruby was also supposedly unknowingly
• 1:34:36
  Speaker 3: dosed with LSD while he was in prison. Well you
• 1:34:42
  Speaker 3: got a visit from Jolly West.
• 1:34:44
  Speaker 2: Not only did he have a connection with Jolly West,
• 1:34:48
  Speaker 2: but Jack Ruby also had a run in with a
• 1:34:52
  Speaker 2: guy named George hunter White. George hunter White is the
• 1:34:55
  Speaker 2: one that ran Operation Midnight Climax, where they would dose
• 1:34:59
  Speaker 2: people behind a two way mirror and.
• 1:35:02
  Speaker 4: They would watch, you know, like whenever they were happening.
• 1:35:05
  Speaker 2: They were trying to get military personnel to give up
• 1:35:08
  Speaker 2: top secret information under the influence all these drugs.
• 1:35:11
  Speaker 4: But George hunter.
• 1:35:12
  Speaker 2: White actually helped bust Jack Ruby in some drug before
• 1:35:18
  Speaker 2: the FBI or the DEA existed.
• 1:35:19
  Speaker 4: It was the FBN, and.
• 1:35:21
  Speaker 2: He got busted. Jack Ruby personally got busted by George
• 1:35:24
  Speaker 2: hunter White.
• 1:35:25
  Speaker 4: So, and there's not a.
• 1:35:26
  Speaker 2: Lot of documentation about exactly what happened after that, but
• 1:35:29
  Speaker 2: Jack Ruby for his entire life essentially acted as this
• 1:35:33
  Speaker 2: middleman that could operate between like the mafias, black market.
• 1:35:38
  Speaker 4: He got the all sides.
• 1:35:39
  Speaker 2: Yeah, not just the regular two, but like the three
• 1:35:42
  Speaker 2: or the four of the five intelligence everything so there
• 1:35:45
  Speaker 2: are some Jack Ruby was a lynchpin in between MK
• 1:35:48
  Speaker 2: Ultra and JFK and so many other aspects.
• 1:35:52
  Speaker 3: Yeah, it was just so interesting because we talked about
• 1:35:55
  Speaker 3: it in our first documentary How You Know Jack Ruby.
• 1:35:59
  Speaker 3: They basically came out in a press conference and was like, Hey,
• 1:36:03
  Speaker 3: you'll never know the reason why I shot Oswald. These
• 1:36:06
  Speaker 3: are people in really high up places. And then before
• 1:36:10
  Speaker 3: you know it, he was pretty much saying that he's
• 1:36:13
  Speaker 3: the only person that knew about any of this stuff.
• 1:36:17
  Speaker 3: And before you knew it, he was in his prison cell.
• 1:36:21
  Speaker 3: He gets a visit from Jolly West and then he
• 1:36:23
  Speaker 3: starts rambling off about a bunch of wacky stuff like
• 1:36:27
  Speaker 3: fairies and like goblins made him do it and all that,
• 1:36:31
  Speaker 3: and he's just basically out of his mind. So there's
• 1:36:34
  Speaker 3: so many real life incidents of you know, people being dosed,
• 1:36:38
  Speaker 3: unknowingly dosed with LSD, because it's one thing to be
• 1:36:42
  Speaker 3: you know, knowingly take some sort of hallucinogenic, right, You're
• 1:36:47
  Speaker 3: going to be expecting to feel the effects of the hallucinogenic.
• 1:36:51
  Speaker 3: You're going to be expecting to feel that head change,
• 1:36:55
  Speaker 3: that body high that is associated with not only the
• 1:36:58
  Speaker 3: psychological aspect of it, but the body high as well.
• 1:37:02
  Speaker 3: But if you're unknowingly dosed with LSD, that's a completely
• 1:37:07
  Speaker 3: different story that could potentially just put you completely out
• 1:37:13
  Speaker 3: of your mind. Just like what they were doing to
• 1:37:14
  Speaker 3: the army personnel as well. They were just dosing them
• 1:37:18
  Speaker 3: up with high amounts of LSD, which was called BZ,
• 1:37:21
  Speaker 3: and they would do open air testing with these people.
• 1:37:23
  Speaker 3: They would simulate a battle operation and then they would
• 1:37:27
  Speaker 3: just put these big barrels of BZ out there on
• 1:37:31
  Speaker 3: the battlefield and it would just be like a fog
• 1:37:34
  Speaker 3: would come in over all these soldiers and then they
• 1:37:36
  Speaker 3: would go into this hallucinogenic state and they couldn't do anything.
• 1:37:41
  Speaker 3: And then the off of the people that didn't wasn't
• 1:37:44
  Speaker 3: out on the battlefield when the smoke rolled in, had
• 1:37:47
  Speaker 3: to go out there and get them, and then they
• 1:37:48
  Speaker 3: would take them into a facility and then they would
• 1:37:50
  Speaker 3: ask them a bunch of these questions and then like
• 1:37:53
  Speaker 3: run all these tests and experiments on them, like so
• 1:37:58
  Speaker 3: much screw up stuff that has been done to you know,
• 1:38:03
  Speaker 3: Just like you mentioned no Operation Midnight Climax, it's the
• 1:38:07
  Speaker 3: exact same type of situation. Like I couldn't imagine being
• 1:38:12
  Speaker 3: unknowingly dosed with a hallucinogenic drug, like I would literally
• 1:38:16
  Speaker 3: think that I probably think I was losing my mind.
• 1:38:20
  Speaker 2: Well, there's another layer on top of that too, because
• 1:38:22
  Speaker 2: not only was it unwittingly being dosed, but some of
• 1:38:26
  Speaker 2: these people were being dosed before it was even released
• 1:38:30
  Speaker 2: what these substances did or that they even existed. So now,
• 1:38:34
  Speaker 2: because I guess if someone like unknowingly dosed you, now
• 1:38:38
  Speaker 2: you' to leased at a certain point have the ability
• 1:38:40
  Speaker 2: to recognize, oh, maybe this is a hallucinogen. Maybe somehow
• 1:38:44
  Speaker 2: I you know, I was dosed with a psychedelic But
• 1:38:47
  Speaker 2: if this was happening too in the forties of the fifties,
• 1:38:51
  Speaker 2: you might not have the luxury to even have a
• 1:38:54
  Speaker 2: base of reference for what to even expect.
• 1:38:57
  Speaker 3: That's right, you would have no idea because you'd never
• 1:38:59
  Speaker 3: really experienced it before, so you would just and there's
• 1:39:04
  Speaker 3: also we talk about it in the documentary as well.
• 1:39:07
  Speaker 3: Walter Bosley brings it up that there was examples of
• 1:39:13
  Speaker 3: entire like an LSD aerosol being sprayed on groups of
• 1:39:20
  Speaker 3: unsuspecting people like the CIA would have like parties or whatever,
• 1:39:24
  Speaker 3: and then they would just spray LSD aerosol into the
• 1:39:27
  Speaker 3: entire house or the apartment or the room, and then
• 1:39:31
  Speaker 3: before you know what, all these people would be tripping out.
• 1:39:35
  Speaker 1: We called that a free lapse.
• 1:39:39
  Speaker 4: There's there was also an antidote.
• 1:39:42
  Speaker 2: This is a little known fact that I found in
• 1:39:45
  Speaker 2: my own research on something. But the CIA, around the
• 1:39:49
  Speaker 2: same time the Frank Olsen and the early MK days,
• 1:39:53
  Speaker 2: they had a top secret compound called Mr seventeen which
• 1:39:57
  Speaker 2: also had like a it was like frem cool or
• 1:39:59
  Speaker 2: something thing, and now it's known as as a cyclanol,
• 1:40:04
  Speaker 2: but it was it's essentially an antidote for psychedelics. So
• 1:40:07
  Speaker 2: if you unwittingly do get dosed, you and you are
• 1:40:10
  Speaker 2: able to recognize it, you can take this merse seventeen
• 1:40:14
  Speaker 2: and it would neutralize the effects within minutes. And this
• 1:40:19
  Speaker 2: you can find this the actual top secret, declassified video
• 1:40:23
  Speaker 2: where they're straight up talking about exactly what it's used
• 1:40:26
  Speaker 2: for and how it's it's for agents out in the field.
• 1:40:29
  Speaker 4: So it's really interesting all doing this to each other.
• 1:40:32
  Speaker 3: That's wild. I didn't know that there was an antidote
• 1:40:34
  Speaker 3: to listen to journy drugs. I thought when you took
• 1:40:37
  Speaker 3: them there was no going back, baby, and you're just
• 1:40:40
  Speaker 3: in it to the end. You were riding that wave
• 1:40:41
  Speaker 3: all the way through.
• 1:40:43
  Speaker 2: And I think that's why a lot of people don't
• 1:40:45
  Speaker 2: even realize this exists. If you just look for mer
• 1:40:48
  Speaker 2: Dash seventeen. There's a whole bunch of different commercial names
• 1:40:51
  Speaker 2: for it now that it's no longer top secret, but
• 1:40:54
  Speaker 2: that was the and right now I think they use
• 1:40:57
  Speaker 2: it for schizophrenic patients to avoid like a schizophrenic fit.
• 1:41:03
  Speaker 2: But it's it's just as valid as it was back then.
• 1:41:06
  Speaker 3: Well, there's also a drug that's called EA two two
• 1:41:09
  Speaker 3: three three that's a topical type of drug. We show
• 1:41:14
  Speaker 3: some of the scenes in our documentary where it's not
• 1:41:18
  Speaker 3: it's not LSD that's inhaled, it's not a hallucinogenic drug
• 1:41:23
  Speaker 3: that's inhaled. It's it's a topical it's like these little
• 1:41:26
  Speaker 3: dots that are like like put on your skin and
• 1:41:30
  Speaker 3: it absorbs like through the skin, and it's supposedly made
• 1:41:34
  Speaker 3: out of like some cannabinoids and like all it's like
• 1:41:37
  Speaker 3: a concoction, which a lot of people don't know that.
• 1:41:40
  Speaker 3: Sydney Gottlieb even had had a brother that was a
• 1:41:43
  Speaker 3: plant biologist, so I mean, you know, put two and
• 1:41:47
  Speaker 3: two together. There, who is concocting all these drugs for
• 1:41:50
  Speaker 3: the CIA to be using. I mean what it would
• 1:41:53
  Speaker 3: not possibly be the freaking head of the mk Ultra
• 1:41:56
  Speaker 3: program's brother. There was a freaking plant biologist that was
• 1:42:00
  Speaker 3: concocting and creating a lot of these different drugs to
• 1:42:04
  Speaker 3: use on people.
• 1:42:06
  Speaker 2: He was the botanist. And then Sidney Gottlieb was a
• 1:42:09
  Speaker 2: poison expert. That was how he even got his entry
• 1:42:12
  Speaker 2: into the CIA was from being like the world's creepiest
• 1:42:16
  Speaker 2: expert in poisonous substances.
• 1:42:21
  Speaker 3: And it wasn't just which We show a list of
• 1:42:24
  Speaker 3: all of the drugs that were used in the mk
• 1:42:26
  Speaker 3: Ultra programs during Kathy O'Brien's section of the documentary, and
• 1:42:32
  Speaker 3: there's like over one hundred of them. It ranges from
• 1:42:37
  Speaker 3: caffeine to nicotine, to amphetamine, to antidepressants to antipsychotics, math amphetamine,
• 1:42:48
  Speaker 3: Like it just keeps going and going and going and going.
• 1:42:51
  Speaker 3: And the common misconception, of course, you know people already
• 1:42:56
  Speaker 3: know by now that it wasn't just LSD. It was
• 1:43:00
  Speaker 3: they they were just using all they're doing all kinds
• 1:43:04
  Speaker 3: of different drugs, and that's where the Adderall and Riddling
• 1:43:07
  Speaker 3: came out of. That's where they came out of those
• 1:43:09
  Speaker 3: mk ulture programs. And then what do you know, later
• 1:43:11
  Speaker 3: on all of our children and all of our kids
• 1:43:14
  Speaker 3: are being put on Adderall and Riddling.
• 1:43:17
  Speaker 2: You can actually find those studies they go back to
• 1:43:20
  Speaker 2: like the nineteen twenties where they were literally giving kids
• 1:43:26
  Speaker 2: meth and alcohol to see how it would affect their
• 1:43:29
  Speaker 2: studies in school, and they were able to show that
• 1:43:33
  Speaker 2: giving kids meth was making them get better grades.
• 1:43:37
  Speaker 3: That's crazy, dude, it's crazy. And then that's all because
• 1:43:42
  Speaker 3: like a kid is being like unruly, or he's not
• 1:43:45
  Speaker 3: being able to set still, or that's just a kid
• 1:43:48
  Speaker 3: being a kid. Like a kid isn't meant to set
• 1:43:51
  Speaker 3: in a classroom for eight hours a day like every day.
• 1:43:54
  Speaker 3: That's not the human nature of what a kid is
• 1:43:57
  Speaker 3: supposed to be doing. So then they're like, oh, well,
• 1:43:59
  Speaker 3: there's something wrong with them, and we got to put
• 1:44:01
  Speaker 3: them on all these medications. And it's a it's an
• 1:44:06
  Speaker 3: addictive thing as well, and it just gets these kids
• 1:44:10
  Speaker 3: like super screwed up and they don't even really know
• 1:44:13
  Speaker 3: why they're screwed up.
• 1:44:17
  Speaker 1: Yeah, stay sober, kids. Drugs are bad. Okay, okay, I
• 1:44:23
  Speaker 1: was watching a couple of nights ago. It's so funny.
• 1:44:28
  Speaker 3: When is that new season going to drop? Dude, we're
• 1:44:31
  Speaker 3: about due for a new south Park season. Bro.
• 1:44:33
  Speaker 1: Did they say they were going to do a new
• 1:44:35
  Speaker 1: south Park?
• 1:44:35
  Speaker 4: See?
• 1:44:36
  Speaker 2: Yeah, yeah, they're can They actually said that they're going
• 1:44:38
  Speaker 2: to not be political this time.
• 1:44:41
  Speaker 6: No.
• 1:44:41
  Speaker 3: I love the Trump mister Garrison stuff.
• 1:44:45
  Speaker 4: I don't know if you can take them for their
• 1:44:46
  Speaker 4: word ever, you know, I.
• 1:44:48
  Speaker 1: Mean they took LSD out the.
• 1:44:51
  Speaker 2: Uh the red carpet. Yeah, I forgot what specific thing
• 1:44:56
  Speaker 2: it was. It was like an MTV Movie Award or something.
• 1:44:59
  Speaker 1: That so awards show. They so it'll be season twenty
• 1:45:03
  Speaker 1: seven next year.
• 1:45:08
  Speaker 3: They can't drops billion dollar Dill.
• 1:45:13
  Speaker 1: That's crazy.
• 1:45:15
  Speaker 3: They've been shorter and shorter. They think that. What was
• 1:45:18
  Speaker 3: the last movie that they did. It was the Zimpeg
• 1:45:21
  Speaker 3: movie that I thought was I.
• 1:45:25
  Speaker 2: Kind of like that if they just continuously do these
• 1:45:28
  Speaker 2: movies where they can do like an hour an hour
• 1:45:30
  Speaker 2: and a half long episode, essentially, I could see that
• 1:45:34
  Speaker 2: as being like a whole extra branch of South Park.
• 1:45:38
  Speaker 3: Yeah, this was essentially what they've done, because I think
• 1:45:40
  Speaker 3: the last season wasn't until like that was like what
• 1:45:45
  Speaker 3: two years ago at least, So it's been two years
• 1:45:48
  Speaker 3: and they they're normally on like a yearly schedule, but
• 1:45:54
  Speaker 3: I think they did like three or four movies on
• 1:45:57
  Speaker 3: Paramount Plus in between the release of the The's two seasons.
• 1:46:03
  Speaker 2: Well, when you've got these billion dollar deals, you can
• 1:46:05
  Speaker 2: maybe start dictating your own new novel ways to release
• 1:46:08
  Speaker 2: your content.
• 1:46:09
  Speaker 1: This is one to a one too a code.
• 1:46:15
  Speaker 3: See I everging love mister Garrison's drum. I think it's
• 1:46:18
  Speaker 3: freaking hilarious.
• 1:46:20
  Speaker 1: Mister Garrison rallyterly Randy became like the most popular character.
• 1:46:29
  Speaker 3: Yeah, me too, integrity bro.
• 1:46:34
  Speaker 6: That.
• 1:46:35
  Speaker 2: But I think his his first breakout role was like
• 1:46:37
  Speaker 2: I thought this was America because he kind of became
• 1:46:41
  Speaker 2: at that point a representation of America when he went
• 1:46:45
  Speaker 2: on that rant, and ever since then he's been on
• 1:46:48
  Speaker 2: an upward uh Like incline, I thought that America.
• 1:46:52
  Speaker 1: Yeah, that was so funny. And my theory is, you
• 1:46:57
  Speaker 1: know how like a lot of people are trying to
• 1:47:00
  Speaker 1: rebellious by like saying like racist stuff, or saying like
• 1:47:05
  Speaker 1: the R word and saying the F word like and
• 1:47:09
  Speaker 1: saying the J word. Like everything that South Park did
• 1:47:13
  Speaker 1: right is like.
• 1:47:14
  Speaker 2: Now, I did this in seventh grade too, bro right,
• 1:47:21
  Speaker 2: So that's hot topic.
• 1:47:23
  Speaker 1: So everybody who thinks that like the counterculture now is
• 1:47:28
  Speaker 1: like saying all this like racist stuff, the j stuff.
• 1:47:32
  Speaker 4: Yeah, they're just being viacom in the late nineties.
• 1:47:35
  Speaker 1: This is Yeah, this is what I think it is
• 1:47:37
  Speaker 1: is those people that are doing that now, they were
• 1:47:40
  Speaker 1: sheltered as kids. When I was a kid, I was
• 1:47:43
  Speaker 1: watching this, I was saying all those words to my friends.
• 1:47:46
  Speaker 1: Everyone was jumping each other.
• 1:47:48
  Speaker 4: Like.
• 1:47:48
  Speaker 1: I didn't live a sheltered life as a kid, so
• 1:47:52
  Speaker 1: I kind of grew up quicker. And I feel like
• 1:47:54
  Speaker 1: a lot of people who have the Internet now that
• 1:47:56
  Speaker 1: are like influencers that are leading this counter culture of
• 1:48:00
  Speaker 1: pushing this, I feel like they might have just been
• 1:48:03
  Speaker 1: sheltered when they were kids, because I grew up in Vegas,
• 1:48:07
  Speaker 1: so I wasn't sheltered.
• 1:48:09
  Speaker 3: Well, it's also like another way for because there's certain
• 1:48:13
  Speaker 3: words that you can't say now, so they're like substituting
• 1:48:18
  Speaker 3: older words that have kind of that you weren't really
• 1:48:21
  Speaker 3: supposed to say before, but you can kind of start
• 1:48:24
  Speaker 3: bringing it back now, Like you can't really say the
• 1:48:29
  Speaker 3: F word or the G word in like a derogatory way.
• 1:48:33
  Speaker 3: But now it's becoming acceptable to say the R word again.
• 1:48:38
  Speaker 3: You know, it's kind of coming back full circle because
• 1:48:41
  Speaker 3: these other words that were used to describe essentially the
• 1:48:45
  Speaker 3: same thing you can't really say anymore.
• 1:48:49
  Speaker 1: I just don't understand why I have such a big deal,
• 1:48:51
  Speaker 1: like you know what I mean, maybe no, just words.
• 1:49:00
  Speaker 1: I don't say any bad words really on my show
• 1:49:03
  Speaker 1: because it's harder to not curse and say those words.
• 1:49:08
  Speaker 1: It's more of a sign of intelligence if you, I
• 1:49:10
  Speaker 1: feel like, if you can do it. It took me a
• 1:49:12
  Speaker 1: while because all I did growing up was say cuss
• 1:49:15
  Speaker 1: words and all that that. If you can talk and
• 1:49:19
  Speaker 1: hold a whole conversation and not even say any of it,
• 1:49:23
  Speaker 1: I think that's the skill on its own.
• 1:49:26
  Speaker 3: I don't on my show, but I do in like
• 1:49:28
  Speaker 3: real life, like with my friends, Like before we started
• 1:49:31
  Speaker 3: the show. I think I dropped off momb like ten times, like,
• 1:49:34
  Speaker 3: but I don't whenever I'm on like a when I'm
• 1:49:37
  Speaker 3: doing my show or if I'm a guest on somebody
• 1:49:39
  Speaker 3: else's show. But like in real life, yeah, I'm dropping
• 1:49:42
  Speaker 3: in all the time.
• 1:49:47
  Speaker 1: That's awesome. Yeah, I yeah, I know what you mean, well,
• 1:49:53
  Speaker 1: we we had a good show tonight. That was fun.
• 1:49:58
  Speaker 3: Thank you man, thank you having me.
• 1:50:00
  Speaker 1: Wanted to end. I just want to kick it with
• 1:50:03
  Speaker 1: y'all all night long.
• 1:50:10
  Speaker 3: Serenation from Donut here Bro coming out with all the bangers,
• 1:50:15
  Speaker 3: not long.
• 1:50:18
  Speaker 4: Dropping out.
• 1:50:19
  Speaker 2: Actually yeah, we'll maybe have an album as one of
• 1:50:21
  Speaker 2: the future stretch goals here.
• 1:50:23
  Speaker 1: Yeah. If y'all go support the Illuminati Comic tonight and
• 1:50:27
  Speaker 1: get us past the thirty three thousand mark, I will
• 1:50:31
  Speaker 1: release my Meditations of Success on the every tier gets
• 1:50:37
  Speaker 1: an auto.
• 1:50:39
  Speaker 4: This is an exclusive. I mean, I haven't even heard
• 1:50:41
  Speaker 4: about this before.
• 1:50:42
  Speaker 1: What it's not. If people support the Illuminati Comic we
• 1:50:47
  Speaker 1: get past that thirty three mark, everyone will get the
• 1:50:50
  Speaker 1: digital download of Donuts Manifest Wealth, Health and Abundance.
• 1:50:55
  Speaker 4: Okay, up the marketing and all the promo.
• 1:51:00
  Speaker 1: We need to cut a commercial twenty four hours.
• 1:51:04
  Speaker 4: If we gotta cut a commercial for this, it's gotta.
• 1:51:07
  Speaker 1: Be like in the next twenty four hours.
• 1:51:10
  Speaker 3: You gotta make the mark in the next twenty four
• 1:51:12
  Speaker 3: hours or you don't get the affirmation amazing audio recording
• 1:51:17
  Speaker 3: of very You should turn that into a course, Bro,
• 1:51:20
  Speaker 3: You should be doing courses doing it don't even worry
• 1:51:22
  Speaker 3: about this other stuff. Just do meditation courses, dude, Yes, yeah,
• 1:51:29
  Speaker 3: three hundred and thirty three dollars for donuts meditation course.
• 1:51:32
  Speaker 4: Mm hmm for the first chapter.
• 1:51:38
  Speaker 1: Well, click the link below, make sure the smash I
• 1:51:40
  Speaker 1: like button. Go watch the movie. We here with paranoid
• 1:51:43
  Speaker 1: American right of lead. Go watch the movie. But I'm
• 1:51:48
  Speaker 1: gonna play the commercial. Now we're gonna go out. We're
• 1:51:51
  Speaker 1: gonna sign out.
• 1:51:53
  Speaker 4: Well, you gotta say much love and God bless that's you.
• 1:52:07
  Speaker 1: Sorry, I gotta.
• 1:52:09
  Speaker 8: Hallucinogenic drugs, hypnosis, electric shocks to the brain some of
• 1:52:17
  Speaker 8: the methods used in secret CIA mind control experiments.
• 1:52:21
  Speaker 3: There are many theories as to what the Shining is
• 1:52:24
  Speaker 3: really about, from the faking of the moon landing to
• 1:52:27
  Speaker 3: Native American genocide and the Holocaust.
• 1:52:29
  Speaker 9: Now, if he did fake the Apollogon landing, then he
• 1:52:32
  Speaker 9: probably has really deep connections into the intelligence world. Why
• 1:52:37
  Speaker 9: are there these gigantic continuity errors in this movie?
• 1:52:42
  Speaker 1: The occulted meaning has to be comprehensible.
• 1:52:44
  Speaker 4: It's just hidden, usually in a very.
• 1:52:47
  Speaker 3: Systematic way, so that it could be understood by someone
• 1:52:51
  Speaker 3: coming along later on.
• 1:52:52
  Speaker 4: Who knows what the real meaning is? Supposed to be.
• 1:52:55
  Speaker 3: We believe that there's something even more sinister lurking beneath
• 1:52:59
  Speaker 3: a surf of this masterful film.
• 1:53:02
  Speaker 9: So Lookout Mountain Hotel looked a lot like the Overlook Hotel.
• 1:53:07
  Speaker 10: You realize that there's no such thing as coincidences like that.
• 1:53:11
  Speaker 3: As Lookout Mountain studios ran by the Air Force.
• 1:53:15
  Speaker 5: And told the story of nuclear weapons testing by the
• 1:53:18
  Speaker 5: United States of the.
• 1:53:20
  Speaker 1: Army Navan Air Force.
• 1:53:21
  Speaker 11: The Air Force was known to be the most excited,
• 1:53:25
  Speaker 11: the most turned on by mk ultran its prospects.
• 1:53:28
  Speaker 10: Reportedly, there were more films made at Lookout Mounting than
• 1:53:34
  Speaker 10: at all the other film studios in Hollywood.
• 1:53:37
  Speaker 9: We really don't know if these famous film directors were
• 1:53:40
  Speaker 9: being recruited for what project or whatever?
• 1:53:43
  Speaker 6: Was it?
• 1:53:44
  Speaker 4: The mood Landing.
• 1:53:48
  Speaker 3: The CIA's mk Ultra programs were admitted to the public
• 1:53:52
  Speaker 3: in nineteen seventy five, five years before the release of
• 1:53:57
  Speaker 3: The Shining.
• 1:53:58
  Speaker 5: These experiments were done without the informed consent of the patients.
• 1:54:03
  Speaker 11: Look at some UFO cases and the things that are
• 1:54:06
  Speaker 11: reported tells me that MK Ultra is likely being applied.
• 1:54:11
  Speaker 12: In my MK Ultra mind control experience, I was taken
• 1:54:14
  Speaker 12: to various military NASA and DARPA installations for sophisticated mind
• 1:54:21
  Speaker 12: control programming.
• 1:54:25
  Speaker 10: Woke Disney, Marilyn Monroe, James Stewart, Carrie Grant, Ronald Reagan.
• 1:54:33
  Speaker 10: Nobody really knows what they were doing up.
• 1:54:35
  Speaker 11: There, as well as high ranking military and Department of
• 1:54:38
  Speaker 11: Defense personnel.
• 1:54:39
  Speaker 9: But people don't realize is that many of the people
• 1:54:42
  Speaker 9: that worked with Kubrick also worked with Kennedy.
• 1:54:45
  Speaker 1: This is actually the smoking.
• 1:54:46
  Speaker 9: Gun proving that Kubrick was working with the government.
• 1:54:50
  Speaker 10: These were all CIA sponsored experiments.
• 1:54:54
  Speaker 6: I said, I'm not gonna hurt you. I'm just gonna
• 1:54:57
  Speaker 6: bash your brains.
• 1:55:00
  Speaker 10: It in little symbolic cryptic clues and Easter eggs pertaining
• 1:55:05
  Speaker 10: to the fact that they're still doing it.
• 1:55:08
  Speaker 3: These clues include a hidden swastika in the background of
• 1:55:13
  Speaker 3: the boardroom.
• 1:55:14
  Speaker 12: What was the set up? What it was being told?
• 1:55:17
  Speaker 12: And realized that it was a lie all along, But.
• 1:55:21
  Speaker 10: Right there in the narrative in the dialogue, they're telling
• 1:55:24
  Speaker 10: you that this was a very real program coming out
• 1:55:28
  Speaker 10: of those nice folks in the CIA.
• 1:55:46
  Speaker 6: Hears Johnny.
• 1:56:07
  Speaker 5: Learn about the full history of the Bavarian Illuminati, Adam Weishau, Colombrados, Jesuits, Rosicrucians, Freemasons,
• 1:56:18
  Speaker 5: and more from the eighteenth century to modern day.
• 1:56:23
  Speaker 4: We expose it.
• 1:56:24
  Speaker 5: All that's right is the Illuminati comic from Donut and
• 1:56:37
  Speaker 5: baranoid American. Get yours now at illuminatiicomic dot com.