Latest / Ryder Lee / Jay Weidner | Kubrick's Mysteries Revealed | A Clockwork Shining: Kubrick's Odyssey 3

Transcript

Jay Weidner | Kubrick's Mysteries Revealed | A Clockwork Shining: Kubrick's Odyssey 3 · Ryder Lee

• 0:30
  Speaker 1: Buildings behind me were the headquarters for the World War
• 0:33
  Speaker 1: Two Office of Strategic Service.
• 0:36
  Speaker 2: It was here that the first halting steps toward mind
• 0:38
  Speaker 2: control began.
• 0:41
  Speaker 3: So ten years before Stanley Kubrick made The Shining, he
• 0:44
  Speaker 3: made another film. There's a film about microcode called The
• 0:47
  Speaker 3: Clockwork Orn.
• 0:51
  Speaker 2: The Shining is one movie that has really been put
• 0:54
  Speaker 2: through the ringer and one thing that people really don't notice,
• 0:57
  Speaker 2: that doesn't really make a lot of sense.
• 1:00
  Speaker 3: All during the shoot, Kubrick is rewriting the movie.
• 1:04
  Speaker 2: What we see here is Stanley Kubrick trying to encode
• 1:08
  Speaker 2: a secret meaning into The Shining that he doesn't want
• 1:12
  Speaker 2: anyone to know about her.
• 1:15
  Speaker 3: Kubrick has several references to Freemasonry in his films.
• 1:19
  Speaker 2: There's a lady that walks past that has a bloody
• 1:22
  Speaker 2: hamprint on her ass.
• 1:24
  Speaker 3: The Shining is Kubrick's eleventh film, and there's elevens all
• 1:28
  Speaker 3: through the film. Eleven is a special number in occult theology.
• 1:33
  Speaker 2: The Shining has been regarded as one of the greatest
• 1:35
  Speaker 2: horror films ever made, but is it really a horror film?
• 1:40
  Speaker 3: The Shining also is loaded with sexual innuendo.
• 1:43
  Speaker 2: The family is isolated up at the overlook, which is
• 1:47
  Speaker 2: a perfect opportunity for some sort of CIA experimentation to
• 1:52
  Speaker 2: go down.
• 1:53
  Speaker 4: Up there, using mk ultra methods psycheatrically control assassins, literally assassins.
• 2:05
  Speaker 1: Experimental drugs, including LSD.
• 2:07
  Speaker 3: Were administered to human guineas.
• 2:10
  Speaker 4: The patients were never told that their treatment was part
• 2:13
  Speaker 4: of a CIA experiment.
• 2:14
  Speaker 5: And there was this story which involves him spiking the
• 2:19
  Speaker 5: drinks of one of his deputies, this guy Frank Olsen,
• 2:24
  Speaker 5: and he jumped out of a window to his death.
• 2:28
  Speaker 6: It's a demonic possession, you know. So it makes someone
• 2:33
  Speaker 6: feel like they don't have any control over this etherical
• 2:37
  Speaker 6: entity outside themselves, when really it's the people who are
• 2:40
  Speaker 6: imposing the trauma that need to be held accountable for the.
• 2:43
  Speaker 3: Actions the students.
• 2:46
  Speaker 4: We know what happened in the apartment that they had.
• 2:51
  Speaker 2: There are many clues that point to the fact that
• 2:54
  Speaker 2: this theory of what the Shining is really about is
• 2:57
  Speaker 2: the correct theory.
• 2:59
  Speaker 3: We think that we're watching a horror movie where ghosts
• 3:02
  Speaker 3: are kind of forcing a man to go off and
• 3:06
  Speaker 3: kill his family.
• 3:07
  Speaker 1: What are we really watching here, Wendy, I'm.
• 3:25
  Speaker 2: Home and welcome back to Raise by Giants. We are
• 3:38
  Speaker 2: live Welcome everyone in the chat. Get to see you
• 3:40
  Speaker 2: guys and any moderators and or channel members out there.
• 3:43
  Speaker 2: I hope everyone had a wonderful Thanksgiving and turn back
• 3:46
  Speaker 2: their scales around fifteen pounds for the holidays. Welcome anyone
• 3:50
  Speaker 2: that's new to the channel, first time in the live
• 3:52
  Speaker 2: chat on this channel. I've been on a lot of
• 3:55
  Speaker 2: shows here recently promoting the Clockwork Shining. If you found
• 3:59
  Speaker 2: me through any of those other channels that I've been on,
• 4:02
  Speaker 2: please type it in where you came from and what
• 4:04
  Speaker 2: other channel you came from so you can get a
• 4:06
  Speaker 2: warm welcome. Hopefully you find a new home here on
• 4:10
  Speaker 2: this channel. Everyone is welcome here, but of course a
• 4:13
  Speaker 2: reminder that I don't tolerate disrespect toward my guests. Hard
• 4:18
  Speaker 2: questions are fine, people can handle hard questions, but disrespect,
• 4:23
  Speaker 2: personal attacks, harassment, trolling your band, You're gone. The people
• 4:28
  Speaker 2: I bring on take the time, you know, to come
• 4:31
  Speaker 2: on here and talk about their work and their experiences.
• 4:35
  Speaker 2: You know, you don't have to agree with everyone, or
• 4:37
  Speaker 2: even agree with me, but respect has to be maintained.
• 4:41
  Speaker 2: And we have a very exciting show for everyone here
• 4:43
  Speaker 2: this evening. He's a producer of the brand new documentary
• 4:47
  Speaker 2: A Clockwork Shining on Amazon Prime and Apple tv Plus
• 4:51
  Speaker 2: that some of you guys have watched, and I really
• 4:55
  Speaker 2: appreciate that and appreciate your supports and your ratings and
• 4:58
  Speaker 2: your reviews. I'm also to be speaking at on a
• 5:03
  Speaker 2: live webinar that Walter Bosley has put together on March eighth.
• 5:08
  Speaker 2: I will be giving a presentation on that. That link
• 5:10
  Speaker 2: is in the description, and if you use promo code
• 5:13
  Speaker 2: Cosmic Writer, you'll get ten percent off your purchase. I'm
• 5:17
  Speaker 2: going to try and drop the link periodically in the chat.
• 5:20
  Speaker 2: Use promo code Cosmic Writer at checkout and get ten
• 5:23
  Speaker 2: percent off your tickets for the trans Temporal live webinar
• 5:28
  Speaker 2: on March eighth with percent presenters such as Walter Bosley,
• 5:33
  Speaker 2: doctor Farrell, Joshua Cutchen, and myself. So with that down,
• 5:39
  Speaker 2: today we have returning guest author, filmmaker, and writer and
• 5:43
  Speaker 2: producer of our star and the star of our documentary film,
• 5:47
  Speaker 2: A Clockwork Shining on Amazon Prime and Apple TV Plus.
• 5:50
  Speaker 2: Link is in the description, Jay Wiener, Welcome back to
• 5:52
  Speaker 2: the show. It's good to see you.
• 5:54
  Speaker 3: Good. Hey, it's good back. Thanks for inviting me.
• 5:56
  Speaker 2: Do you have a good Thanksgiving I did.
• 5:59
  Speaker 3: I put in about fourteen hours into cooking the dinner
• 6:06
  Speaker 3: for the three days prior to Thursday, and then about
• 6:10
  Speaker 3: five hours of work on Thursday, and I had a
• 6:12
  Speaker 3: bunch of friends over and everybody picked out. And once
• 6:16
  Speaker 3: a year I do it. I pay for the whole
• 6:18
  Speaker 3: thing myself. I try to buy everything organic and it's
• 6:23
  Speaker 3: like my present back to the community, to my friends.
• 6:27
  Speaker 2: Yeah, that's what we kind of did this year too,
• 6:29
  Speaker 2: was have like a little friends giving. It was nice.
• 6:32
  Speaker 2: I made a cheese ball that I make every year.
• 6:34
  Speaker 2: Oh my god, I love those cheeseballs.
• 6:36
  Speaker 3: Yeah, yeah, it was fine. You know, it's just time
• 6:39
  Speaker 3: of the year, you know, where there's four holidays between
• 6:44
  Speaker 3: October thirty first and January first, which is just a
• 6:47
  Speaker 3: little over two months. And that's the reason for that
• 6:50
  Speaker 3: is because the whole world just gets screwy at this
• 6:54
  Speaker 3: time of the year. It's hardly any daylight and most
• 6:58
  Speaker 3: places it's getting cold, and so you know, your body's
• 7:03
  Speaker 3: like readjust That's that's what I really think Thanksgiving is about,
• 7:08
  Speaker 3: is just a readjustment of your body to the to
• 7:11
  Speaker 3: the coming darkness.
• 7:13
  Speaker 2: Yeah, they I heard someone. I think it was Joe
• 7:16
  Speaker 2: Rogan talking the other day about how if you know,
• 7:20
  Speaker 2: whenever the time goes forward and the time goes back
• 7:22
  Speaker 2: and you lose that hour of sleep, like heart attacks
• 7:26
  Speaker 2: rise by like twenty one percent whenever the time goes back,
• 7:29
  Speaker 2: and then they decreased by twenty one percent when it
• 7:32
  Speaker 2: goes forward. It's crazy, yep.
• 7:34
  Speaker 3: On the And when they switched the time in November
• 7:38
  Speaker 3: twenty seventeen, I was working at Gaya, and it was
• 7:42
  Speaker 3: just they switched on a Sunday, right, and so I
• 7:45
  Speaker 3: went to work on Monday, and I got my car
• 7:48
  Speaker 3: and I took a left turn right into the rising sun.
• 7:51
  Speaker 3: It was like completely blazing in my you know, in
• 7:54
  Speaker 3: my windshield. And it wasn't expecting it because it didn't
• 7:57
  Speaker 3: happen gradually, right, it didn't happen day or suddenly. Now
• 8:00
  Speaker 3: I went for no sun in my windshields of sun blazing.
• 8:03
  Speaker 3: I was in heavy traffic and everybody's having trouble because
• 8:09
  Speaker 3: of the sun. And all of a sudden, I saw
• 8:13
  Speaker 3: everybody start breaking in front of me, two or three
• 8:15
  Speaker 3: cars in front of breaking, and I saw a bicycle
• 8:18
  Speaker 3: and a human being flying up in the air about
• 8:21
  Speaker 3: fifteen feet twisting in the air dancing with the bike
• 8:25
  Speaker 3: and hitting the ground with the sickening sound. The guy died,
• 8:29
  Speaker 3: he got hit head on because the woman couldn't see,
• 8:33
  Speaker 3: and she couldn't see because we didn't gradually change the clocks.
• 8:38
  Speaker 3: So I'm like a like a radical person who wants
• 8:43
  Speaker 3: to note talk clock changes. Ever again, I was young
• 8:49
  Speaker 3: when they changed the clocks the first time, and I
• 8:51
  Speaker 3: remember what it was like without changing the clocks, and
• 8:55
  Speaker 3: it was nice. In fact, I've even thought of moving
• 8:58
  Speaker 3: to Arizona because they don't change.
• 8:59
  Speaker 2: The Yeah, I think that's one of the only states,
• 9:02
  Speaker 2: so there might be a few more.
• 9:03
  Speaker 3: But Arizona, Florida is now stopping daylight saving time, so
• 9:10
  Speaker 3: so slowly the states are doing it, you know.
• 9:13
  Speaker 2: Well, I mean it was really for the farmers, but
• 9:15
  Speaker 2: I don't feel like there's that many farmers any more
• 9:20
  Speaker 2: doing things. They're trying to get rid of the farmers.
• 9:23
  Speaker 3: Yeah, that's a strange thing to be doing. You know.
• 9:28
  Speaker 3: Only the Bolsheviks are ever the only ones in history
• 9:31
  Speaker 3: who tried to get rid of their farmers, and they
• 9:33
  Speaker 3: all starved to death in the Great Starving of Ukraine,
• 9:38
  Speaker 3: you know, right after the Communists took over. So you
• 9:42
  Speaker 3: know it's not going to happen. The Colie Yugas behind
• 9:49
  Speaker 3: us were now in the double part of Yuga. Every
• 9:53
  Speaker 3: day is going to get easier for us. There's going
• 9:55
  Speaker 3: to be all sorts of new inventions coming out. The
• 10:00
  Speaker 3: Trump named a businessman to head the Navy. This should
• 10:05
  Speaker 3: make everybody's head spin. Why is Trump saying that he
• 10:11
  Speaker 3: wants this high tech businessman to run the Navy? Because
• 10:14
  Speaker 3: the Navy has all the high tech inventions in secret
• 10:18
  Speaker 3: and they want to get them out, but they don't
• 10:20
  Speaker 3: want to do it. They want to do it through
• 10:22
  Speaker 3: companies and corporations. So it looks like there's a pedigree
• 10:25
  Speaker 3: to these inventions because the problem that they're facing right now,
• 10:28
  Speaker 3: and the BS that's going on in the UFO community
• 10:31
  Speaker 3: that's going on right now, is because they've had these
• 10:35
  Speaker 3: inventions since mid nineteen fifties and they've been sitting on
• 10:39
  Speaker 3: them this whole time, seventy years or so, and they've
• 10:45
  Speaker 3: destroyed the planet. I mean they've literally destroyed the planet
• 10:48
  Speaker 3: when they didn't have to. And so now that they're
• 10:51
  Speaker 3: releasing all this stuff, they have to find excuse for
• 10:55
  Speaker 3: why they didn't release it earlier. And they're going to
• 10:58
  Speaker 3: say that they didn't come from them, it came from
• 11:01
  Speaker 3: the Aliens. And we'll probably never see the Aliens. It'll
• 11:06
  Speaker 3: just be like, oh, yeah, we found a crash ship,
• 11:08
  Speaker 3: we back engineered it and uh, you know it's impossible.
• 11:13
  Speaker 3: It's impossible. Just imagine a seven forty seven crashing in
• 11:17
  Speaker 3: the jungles of Borneo and those people that are hunter
• 11:21
  Speaker 3: gatherers taking that seven forty seven and back engineering it
• 11:26
  Speaker 3: and making their own seven forty seven. That's what this
• 11:29
  Speaker 3: would be like. And it's just ridiculous.
• 11:32
  Speaker 2: And I think they did. And they made it out
• 11:34
  Speaker 2: of Hay, didn't they.
• 11:36
  Speaker 3: They use hands Yeah, Australia airplane And so right now
• 11:42
  Speaker 3: the UFO field is being completely manipulated. It early irritates
• 11:46
  Speaker 3: me because I know they got the equipment because I've
• 11:48
  Speaker 3: talked to the guys that have used it and they've
• 11:51
  Speaker 3: had it for years, for decades, and we could have
• 11:54
  Speaker 3: had free energy forty years ago, but we didn't. But
• 12:00
  Speaker 3: here's the thing. It is coming now. I know it's coming.
• 12:02
  Speaker 3: It'll be here probably within a year. There there's gonna
• 12:07
  Speaker 3: be you're gonna have a little box that you're gonna
• 12:09
  Speaker 3: be able to hook up to your house and power
• 12:11
  Speaker 3: your entire house without any pollution, zero point energy And
• 12:16
  Speaker 3: it's a reality, and it's coming, and a whole lot
• 12:19
  Speaker 3: of other things are coming that are going to shake
• 12:21
  Speaker 3: up everything. That's why they don't care about the death,
• 12:23
  Speaker 3: because they know that there's all this stuff coming. This
• 12:27
  Speaker 3: is going to erase the entire presence and in the past,
• 12:31
  Speaker 3: and it's coming really fast, and it's actually really exciting.
• 12:36
  Speaker 3: And uh and Trump knows all about it. His dad
• 12:39
  Speaker 3: was the guy that debriefed the Tesla paper. Not his dad.
• 12:43
  Speaker 3: His uncle John Trump got all the Teslas of papers
• 12:47
  Speaker 3: when he died and took him back to m I
• 12:49
  Speaker 3: T and and they've known all this stuff for a
• 12:53
  Speaker 3: long time. And I can even give you the pedigree
• 12:56
  Speaker 3: where it went, where it came from, how it started,
• 12:59
  Speaker 3: who worked on it, what they have. I bet I
• 13:02
  Speaker 3: say that I would bet you that most of the
• 13:06
  Speaker 3: ships in the United States Navy, especially the We're Secret ones,
• 13:10
  Speaker 3: are running on free energy right now and not on fuel.
• 13:14
  Speaker 2: Well, a lot of them are definitely running on nuclear power,
• 13:17
  Speaker 2: which would be like a form of free energy because
• 13:21
  Speaker 2: it just kind of collapses in on itself and it continuously,
• 13:25
  Speaker 2: you know, keeps perpetuating forward.
• 13:28
  Speaker 3: Yeah, so it's exciting times and I'm really haven't been
• 13:32
  Speaker 3: this optimisticy I don't think ever in my life, and
• 13:35
  Speaker 3: just my insiders that what they tell me what's coming
• 13:38
  Speaker 3: down the line and what's about to be freed up,
• 13:41
  Speaker 3: and you know, then I'm really in favor of Elon
• 13:46
  Speaker 3: cutting the hell out of the budget. I hope he
• 13:48
  Speaker 3: cuts eighty percent of it out. I really do. We
• 13:51
  Speaker 3: won't notice, I guarantee it.
• 13:54
  Speaker 2: I think one thing that really scares me is, I mean,
• 13:59
  Speaker 2: and I'm in agreement with you, I'm really optimistic, and
• 14:02
  Speaker 2: people attack me for being optimistic. I think it's just
• 14:06
  Speaker 2: more of the same. I don't think that it's more
• 14:07
  Speaker 2: of the same. But what really does scare me is
• 14:12
  Speaker 2: artificial intelligence. And people have been talking about artificial intelligence
• 14:16
  Speaker 2: for a really long time and how like it can
• 14:20
  Speaker 2: you know, take over and all that, and it does
• 14:23
  Speaker 2: seem like it could be possible that we're living in
• 14:26
  Speaker 2: some sort of Terminator style world. I mean, even if
• 14:32
  Speaker 2: they don't like take over and want to eliminate humanity,
• 14:36
  Speaker 2: a lot of things are going to be run by AI.
• 14:39
  Speaker 2: Like when you type some a question into Google, now
• 14:42
  Speaker 2: you get the AI summary at the top of the page,
• 14:46
  Speaker 2: like it's all run by AI. They got Apple Intelligence.
• 14:49
  Speaker 2: A new update for Apple on the iPhone has Apple
• 14:53
  Speaker 2: Intelligence on it. So yeah, regardless if even if it's
• 14:58
  Speaker 2: not like literal robots are taking over, everything's going to
• 15:02
  Speaker 2: be run by AI. And that's still that's a pretty
• 15:06
  Speaker 2: scary thought when you really sit down and think about it.
• 15:10
  Speaker 3: Well, I mean, you know, there's a lot of jobs
• 15:12
  Speaker 3: that are going to be gone. I mean I even
• 15:15
  Speaker 3: asked my stockbroker about two months ago, why should I
• 15:19
  Speaker 3: listen to you? Why don't I just get an AI
• 15:22
  Speaker 3: program and have it do my stocks? At least it
• 15:26
  Speaker 3: does it's not in love with Nike shoes. It goes
• 15:28
  Speaker 3: out buy a whole bunch of Nike stock because it's
• 15:30
  Speaker 3: likes Nike shoes. It's not going to make a stupid
• 15:32
  Speaker 3: mistake like that. And he laughed. He said, well, we're
• 15:35
  Speaker 3: all worried about that. And so I think it is coming.
• 15:39
  Speaker 3: I think that I think women are going to be
• 15:45
  Speaker 3: really affected by what's coming. Most of the jobs that
• 15:48
  Speaker 3: are going to be lost initially are going to be
• 15:51
  Speaker 3: women's jobs, clerical jobs. I mean, I don't even know.
• 15:57
  Speaker 3: My brain can only take the AI so far are
• 16:00
  Speaker 3: you know, before I figured realized that, Holy smokes, you know,
• 16:04
  Speaker 3: thank god I'm a filmmaker, because I think that's one
• 16:06
  Speaker 3: of the things that AI can't do, you know. And
• 16:09
  Speaker 3: if you want to see a really great thing about
• 16:11
  Speaker 3: AI and filmmaking, it's Ben Affleck on the type of
• 16:16
  Speaker 3: Google YouTube ben Affleck Ai Movies. Ben Affleck goes on
• 16:21
  Speaker 3: about a ten minute ran about how AI is going
• 16:25
  Speaker 3: to affect movies in the future, and it is I
• 16:28
  Speaker 3: don't really like Ben Affleck, but this is like brilliant.
• 16:31
  Speaker 3: This is like up there with you know, super high
• 16:35
  Speaker 3: IQ analysis. And he's like, AI is never going to
• 16:38
  Speaker 3: replace actors or or writers. That's never going to happen.
• 16:43
  Speaker 3: But if you're in special effects.
• 16:45
  Speaker 2: The writers will go first, I think, because that's really
• 16:48
  Speaker 2: what AI's best at right now, is right test.
• 16:51
  Speaker 3: He even says it. He said, all he can do
• 16:53
  Speaker 3: is do copy. You know, it can do it can
• 16:56
  Speaker 3: copy people's styles, but it can't catch any nuance. So
• 17:00
  Speaker 3: I don't think AI will ever be a very good writer.
• 17:03
  Speaker 3: And I know I can't act because acting is about
• 17:06
  Speaker 3: two people interacting with each other. So AI can't will
• 17:10
  Speaker 3: never be able to have that so, you know, but
• 17:13
  Speaker 3: you know, for special effects editing, it could be rough
• 17:17
  Speaker 3: for Hollywood and filmmaker makers in the future, but for
• 17:22
  Speaker 3: people like you and me, if we can get million
• 17:25
  Speaker 3: dollar effects off of AI for nothing, seez, I don't know, man,
• 17:30
  Speaker 3: that sounds like a pretty good deal to me.
• 17:34
  Speaker 2: Just makes our jobs easier. Yeah, I don't have a guess.
• 17:37
  Speaker 2: And then you fill in all the nuances and all
• 17:39
  Speaker 2: the stuff as like a human being and then have
• 17:42
  Speaker 2: the AI fill in the rest of it.
• 17:44
  Speaker 3: Yeah. And the thing is is that we're gonna you know,
• 17:47
  Speaker 3: Arthur C. Clark Wentz said that the ultimate goal of
• 17:50
  Speaker 3: technology is total unemployment, and that is the ultimate goal.
• 17:55
  Speaker 3: Everybody's unemployed doing whatever it is that they want, you know,
• 17:58
  Speaker 3: making art or going or whatever. And I think that's
• 18:02
  Speaker 3: the future that we're headed towards. That it's coming faster
• 18:04
  Speaker 3: than we can believe because we have left the Callieyuga.
• 18:08
  Speaker 3: We're now in the double part yoga, and the galactic
• 18:11
  Speaker 3: emanations from the center of the galaxy are just going
• 18:14
  Speaker 3: to get, you know, just like in my books, They're
• 18:16
  Speaker 3: just going to get more and more until we may
• 18:21
  Speaker 3: even be in telepathic communication before this thing is over.
• 18:24
  Speaker 3: Between the human race and UH and the forces of
• 18:29
  Speaker 3: the calli Uga are battling the newer emanations. And that's
• 18:34
  Speaker 3: what we're seeing politically, is of the war is the
• 18:39
  Speaker 3: the people that are stuck in the old mindset and
• 18:43
  Speaker 3: the ones that are the ones that are enlightened. I
• 18:47
  Speaker 3: still have a hangover from the Calauga, but we know
• 18:50
  Speaker 3: we're in a different age. The other ones are. They're
• 18:53
  Speaker 3: still back in the call of Yuga there. That's why
• 18:55
  Speaker 3: they're acting so crazy. If you go on X right now,
• 18:58
  Speaker 3: my god, it's outrageous on on X. I mean, they're
• 19:02
  Speaker 3: just absolutely losing their minds ever since the election.
• 19:05
  Speaker 2: So I don't really get on there. I just get
• 19:08
  Speaker 2: on there and post. I don't really get on and
• 19:10
  Speaker 2: scroll or anything, because I just.
• 19:12
  Speaker 3: Did a sociological experiment because I want to see what's
• 19:15
  Speaker 3: going on. And from the time that Elon bought it
• 19:19
  Speaker 3: till the election, it was actually a lot of fun.
• 19:23
  Speaker 3: People were putting up lots of really cool stories that
• 19:25
  Speaker 3: nobody could post before because of the censorship. But now
• 19:29
  Speaker 3: that they lost, the losers, you might say, are now
• 19:35
  Speaker 3: ganging up on anyone and everyone and it's toning down now.
• 19:39
  Speaker 3: But it was like mob rule there for about a
• 19:43
  Speaker 3: week after the election was crazy and I'm glad it's
• 19:46
  Speaker 3: over with anyway.
• 19:48
  Speaker 2: So it was really interesting when you when you're bringing
• 19:52
  Speaker 2: up your book, The Cross of Hindi Book, as I
• 19:55
  Speaker 2: sent you a picture. I was at a bookstore. Me
• 19:57
  Speaker 2: and my girlfriend went out hiking and we came across
• 20:03
  Speaker 2: a small little town. I had a bookstore, and we
• 20:05
  Speaker 2: went in and I'm looking through all they had like
• 20:07
  Speaker 2: a conspiracy section, and then I looking through there, I
• 20:10
  Speaker 2: found this book Project Beta.
• 20:13
  Speaker 3: Yes, I know him. He's a great guy.
• 20:16
  Speaker 2: Yeah, amazing. And I saw your book and I sent
• 20:19
  Speaker 2: you a picture of it and it was fifteen dollars
• 20:24
  Speaker 2: your book was, but right underneath your book was David
• 20:28
  Speaker 2: wilcox Ascension Book and his book was thirteen dollars. So
• 20:35
  Speaker 2: you won the used book price three dollars more than
• 20:42
  Speaker 2: David Wilcox's book.
• 20:44
  Speaker 3: You learn a lot more from my book, I guarantee you.
• 20:49
  Speaker 2: I thought that was really funny. They had all kinds
• 20:51
  Speaker 2: of it was a really great bookstore. They had the
• 20:54
  Speaker 2: second edition of The Shining in there for I think
• 20:59
  Speaker 2: four hundred dollars. It wasn't the original cover because they
• 21:02
  Speaker 2: had they changed out the original cover pamphlet. I think
• 21:06
  Speaker 2: that the original cover pamphlet is like a lot more money.
• 21:10
  Speaker 2: It's like in the five grand area, but they had
• 21:15
  Speaker 2: all kinds of Stephen King books, and of course, speaking
• 21:20
  Speaker 2: of Stephen King and the Shining I. How do you
• 21:27
  Speaker 2: think that the movie has been received so far? You
• 21:30
  Speaker 2: think that people really enjoyed it? What's the what's the
• 21:32
  Speaker 2: feedback that you've gotten. Have you gotten a bunch of
• 21:34
  Speaker 2: emails and stuff?
• 21:35
  Speaker 3: Yeah, I know people really enjoy it, and they like it,
• 21:38
  Speaker 3: and they like the you know, the the detective work.
• 21:41
  Speaker 3: I guess that we did. And I've gotten nothing but
• 21:47
  Speaker 3: good things. I was at a outdoor thing today, winter Fest,
• 21:52
  Speaker 3: and people were running up to you, Oh, yeah, your movie.
• 21:55
  Speaker 3: It was so amazing. Never saw any of that stuff
• 21:58
  Speaker 3: in there before, and like, thank you, thank you. You know,
• 22:02
  Speaker 3: I don't know what to say to him. And I
• 22:05
  Speaker 3: finally saw Doctor Sleep two days ago.
• 22:08
  Speaker 2: So you finally watched it. What did you think of that?
• 22:12
  Speaker 3: I like Mike Flannagan. I think he's a good director.
• 22:16
  Speaker 3: I think he's got a real style that you can recognize,
• 22:19
  Speaker 3: which is hard to do, by the way, to have
• 22:21
  Speaker 3: a style that people recognize. And I liked the fact
• 22:26
  Speaker 3: that he used Kubricks the Shining, and he actually remade
• 22:30
  Speaker 3: the hotel and everything. That was pretty pretty wild, actually,
• 22:34
  Speaker 3: And I guess he consulted with the Kubrick family to
• 22:38
  Speaker 3: get all the plans for the set for The Shining
• 22:42
  Speaker 3: from the original of The Shining and then he remade
• 22:45
  Speaker 3: the entire set, which is kind of you know, wow,
• 22:48
  Speaker 3: that's pretty crazy. And I noticed also that he kept
• 22:54
  Speaker 3: his name off of the movie on Amazon, so not
• 22:58
  Speaker 3: directed by anybody, there's no credit at all. And I'm
• 23:02
  Speaker 3: like really curious as to why that is. And I'm
• 23:06
  Speaker 3: wondering if he and King didn't get in some kind
• 23:08
  Speaker 3: of fight when King found out that he was using
• 23:11
  Speaker 3: Kubrick stuff, right, and King's you know, I don't use
• 23:15
  Speaker 3: that movie. That movie's Jakes or whatever, because King doesn't
• 23:18
  Speaker 3: like The Shining. Well known that he doesn't. And even
• 23:22
  Speaker 3: the carpet that you have here that's used heavily in
• 23:25
  Speaker 3: Doctor Sleep, you.
• 23:26
  Speaker 2: Know, that's one of the only Well, they're at the
• 23:30
  Speaker 2: overlook the entire last half of the movie. They're pretty
• 23:33
  Speaker 2: much at the overlook, and they have that guy that
• 23:36
  Speaker 2: looks like Jack Nicholson, but it's not Jack Nicholson. I
• 23:40
  Speaker 2: thought that that kind of ruined it a little bit.
• 23:43
  Speaker 2: I'm like, hey, just bring Jack Nicholson in for a minute, Like,
• 23:46
  Speaker 2: it doesn't matter if he's old or not.
• 23:48
  Speaker 3: He wouldn't do it. He tried. Jack Nicholson has what
• 23:52
  Speaker 3: do you call it, Alzheimer's, He can't remember his lines anymore,
• 23:56
  Speaker 3: and Flanning and I think even flew out to Lada
• 23:59
  Speaker 3: Bay and Jack said, now I can't do it, man. Sorry.
• 24:02
  Speaker 3: So it's that's a tragedy too. How that happened to
• 24:05
  Speaker 3: Jack must have been all the drugs he took. But yeah,
• 24:10
  Speaker 3: burnt on the LSD, among the other things. I hear
• 24:14
  Speaker 3: he did everything. Jesse Venture I was talking to Jesse
• 24:19
  Speaker 3: Venture one time and and he's telling me about Jack
• 24:24
  Speaker 3: and he said, I said, well, so what's Jack like.
• 24:27
  Speaker 3: He's always a great guy. He's a great guy, but
• 24:30
  Speaker 3: you wouldn't want your daughter to date him. So but no,
• 24:37
  Speaker 3: the movie's doing really well. I'm really happy with the response.
• 24:40
  Speaker 3: And you know, there's been a couple of turkeys that
• 24:43
  Speaker 3: don't like it, but mostly they don't like me is
• 24:46
  Speaker 3: basically what they're really saying, which.
• 24:49
  Speaker 2: Is wild because I don't even think that like we're
• 24:53
  Speaker 2: not even I mean, we have the longest run time
• 24:56
  Speaker 2: in the movie because we're spread out through the entire movie,
• 24:58
  Speaker 2: but there's there's four other people in the movie.
• 25:02
  Speaker 3: It's definitely personal. Leaders don't like me for some reason,
• 25:05
  Speaker 3: maybe epistem offset something in the past for something else.
• 25:08
  Speaker 3: It happens all the time with me and so it
• 25:11
  Speaker 3: doesn't surprise me. The other other bad review got was
• 25:15
  Speaker 3: the guy who was a flat earther. It said we
• 25:18
  Speaker 3: had too much speculation in the movie, so that's all
• 25:21
  Speaker 3: that was pretty funny. A person who leaves in the
• 25:23
  Speaker 3: flat earth thinks that we were speculating to okay, And they.
• 25:26
  Speaker 2: Said that we didn't have any whistleblowers to prove our theory,
• 25:29
  Speaker 2: which doesn't make any sense. We had two, well not
• 25:33
  Speaker 2: technically whistleblowers, but people that have experienced We had Walter
• 25:36
  Speaker 2: Ballsey Afosi, special Agent of the Air Force in there
• 25:39
  Speaker 2: telling us telling everyone that the Air Force is doing
• 25:42
  Speaker 2: the MK Ultra programs. And we had Kathie O'Brien, the
• 25:44
  Speaker 2: MK Ultra Monarch survivor in there. I mean, they don't
• 25:48
  Speaker 2: really classify themselves as whistleblowers, but for the movie, they're
• 25:53
  Speaker 2: pretty much whistleblowers, right.
• 25:55
  Speaker 3: Yeah, yeah, they're whistleblowers. And you know, and then we
• 25:58
  Speaker 3: have the movie The Shy itself. You know, what is
• 26:02
  Speaker 3: inside it? And why why did it get made? And
• 26:05
  Speaker 3: why why was Stanley rewriting it while he was shooting it,
• 26:08
  Speaker 3: which is something you just don't ever do. And you know,
• 26:13
  Speaker 3: I mean, yeah, you have unlimited budget, maybe like Kubrick did.
• 26:17
  Speaker 3: I don't know if he did have an unlimited budget.
• 26:19
  Speaker 3: I don't think so, but I don't know. And you know,
• 26:23
  Speaker 3: he was under the scrutiny of Warner Brothers for sure
• 26:26
  Speaker 3: at the time. And you know, people like Stanley's daughter,
• 26:34
  Speaker 3: Vivian Kubrick. You know, I'd like to know what she
• 26:37
  Speaker 3: thinks of the movie, because I know that she champions
• 26:41
  Speaker 3: the fact that her dad was this a person who
• 26:45
  Speaker 3: you know, fought against the establishment, and he did to
• 26:48
  Speaker 3: a certain degree and everything and then and if you
• 26:51
  Speaker 3: look at our movie, well you know, he was presenting
• 26:54
  Speaker 3: evidence in a subliminal way of one of the worst
• 26:58
  Speaker 3: programs that our government ever produced, the MK Ultra program.
• 27:02
  Speaker 3: So you know, we are we Stanley was in our
• 27:06
  Speaker 3: movie Stanley. We were saying that Stanley was exposing the
• 27:09
  Speaker 3: deep state.
• 27:13
  Speaker 2: Yeah, and I think that that's a big shocker for
• 27:16
  Speaker 2: a lot of people that listen to it. And you know,
• 27:18
  Speaker 2: the shocker because at the end of Doctor Sleep, the
• 27:22
  Speaker 2: movie that you just watched the other day, the Overlook
• 27:26
  Speaker 2: burnt to the ground, which is exactly what happened to
• 27:32
  Speaker 2: look Out Mountain Hotel, which was right where the Air
• 27:35
  Speaker 2: Force built their their military base there, which was studios.
• 27:40
  Speaker 3: The original ending to the book The Shining, the Overlook
• 27:43
  Speaker 3: bords down and uh and Curett didn't like that ending
• 27:48
  Speaker 3: and really infuriated the King because he wanted this big,
• 27:51
  Speaker 3: huge Hollywood ending, giant fire going and then racing away
• 27:55
  Speaker 3: in their snow cat and all that. But weeks like, nah,
• 28:00
  Speaker 3: I'm not doing that, And that's the kind of snubs
• 28:03
  Speaker 3: against King that probably drove King crazy. Another thing that
• 28:12
  Speaker 3: you know, you know, the universe is such a weird
• 28:16
  Speaker 3: place that you know, people are coming up with simulation theory,
• 28:21
  Speaker 3: right saying that we're living in a simulation, and then
• 28:24
  Speaker 3: they point to certain things, experiments and things that's sort
• 28:27
  Speaker 3: of kind of proved that we might be in a simulation. Well,
• 28:30
  Speaker 3: there's things in The Shining that make you wonder if
• 28:34
  Speaker 3: you're not in a simulation. For instance, both of the
• 28:39
  Speaker 3: authors of the book and the movie had the initials
• 28:44
  Speaker 3: s K Stephen King and Stanley Kubriy, and his co
• 28:48
  Speaker 3: writer was Diane Johnson and her initials were D and J.
• 28:53
  Speaker 3: And the lead characters in the movie are Danny and
• 28:55
  Speaker 3: Jack who had D and J. And Danny and Jack
• 28:59
  Speaker 3: are actors with those same exact names. And the thing
• 29:04
  Speaker 3: that inspired King to write the book The Shining was
• 29:08
  Speaker 3: a visit to the Stanley Hotel right in Estes Park, Colorado.
• 29:16
  Speaker 3: And you know, there's so many weird things about just
• 29:20
  Speaker 3: like this. Is this a joke or is it planned
• 29:24
  Speaker 3: by Kubrick or is it just a bunch of coincidences?
• 29:26
  Speaker 3: Or are we living in a simulation? And uh, it
• 29:30
  Speaker 3: makes it really makes you wonder, you know, isn't.
• 29:33
  Speaker 2: There something somewhere like that with JFK And Abraham Lincoln too.
• 29:37
  Speaker 3: Yeah, yeah, Dave. Abraham Lincoln had his secretary was named
• 29:41
  Speaker 3: Kennedy and Kennedy's secretary was named Lincoln. They were shot,
• 29:50
  Speaker 3: oh uh uh. Abraham Lincoln was shot in a theater
• 29:55
  Speaker 3: and Lee Harvey Oswald was caught in a theater. That
• 30:00
  Speaker 3: there's a whole bunch of things that it's just like unbelievable,
• 30:03
  Speaker 3: and you have to wonder with you know, our movie
• 30:05
  Speaker 3: JFKX if Kennedy wasn't really aware of all this and
• 30:09
  Speaker 3: wanted to cement his legacy somehow and may have done
• 30:13
  Speaker 3: things in a certain way that would cause people to wonder.
• 30:17
  Speaker 3: But you know, again, you have to really wonder if
• 30:20
  Speaker 3: we're not in a simulation, because if you take the
• 30:24
  Speaker 3: slit screen experiment, right, So if they do is they
• 30:27
  Speaker 3: take a plate and they put two slits in it
• 30:29
  Speaker 3: holes or shaped like slits, and then they fire one
• 30:33
  Speaker 3: electron at it, right, and there's a photographic plate on
• 30:37
  Speaker 3: the other side of the slit screen. So here's the
• 30:40
  Speaker 3: photo gun, here's the slit screen, and here's the photographic plate.
• 30:44
  Speaker 3: When they shoot the photo the single photon electron I
• 30:49
  Speaker 3: mean through the split, it hits the photographic plate, it
• 30:55
  Speaker 3: registers as a wave, right, So then the well that's weird, okay,
• 31:00
  Speaker 3: So let's find out which split the signal electron went through.
• 31:04
  Speaker 3: So they put sensors on slits right to detect which
• 31:09
  Speaker 3: slipped the electron went through, and so they fire another
• 31:12
  Speaker 3: electron through it and this time it hits They see
• 31:16
  Speaker 3: what slit it went through, but this time when it
• 31:18
  Speaker 3: hits the photographic plate, it's a particle. It's not a
• 31:22
  Speaker 3: wave anyone, which is saying that if we observe it,
• 31:26
  Speaker 3: it changes its shape. Reality shifts and change by just
• 31:30
  Speaker 3: observing reality. When we take the sensors away and fire
• 31:34
  Speaker 3: the electron through the slits, it's a wave again. So
• 31:37
  Speaker 3: it only turns into a particle. It only particleizes, It
• 31:40
  Speaker 3: only atomizes when we're staring at it. And that is
• 31:45
  Speaker 3: a real sign that we could be living in a simulation,
• 31:47
  Speaker 3: because that's how software works. Software doesn't change until the
• 31:55
  Speaker 3: user wants it to change. It's just sitting their static.
• 31:59
  Speaker 3: It doesn't do anything until you ask it to do something.
• 32:02
  Speaker 3: Then it moves it starts changing, right, So only when
• 32:05
  Speaker 3: you become involved does the software activated sol And that's
• 32:08
  Speaker 3: exactly what's going on with the slit screen experiment. And
• 32:12
  Speaker 3: there's other other things that would make you wonder if
• 32:15
  Speaker 3: we're not in a simulation too, And maybe someday we'll
• 32:19
  Speaker 3: do a movie about that, because I think that it's
• 32:21
  Speaker 3: just a really fascinating subject.
• 32:24
  Speaker 2: Yeah, the simulation theory is really fascinating, and it's like
• 32:28
  Speaker 2: the observer theory. You know, like if you're does a
• 32:32
  Speaker 2: what is it saying, if you're in the forest and
• 32:34
  Speaker 2: the tree falls, does it make a sound? You know,
• 32:38
  Speaker 2: not if you're not observing it. Not if you're not there,
• 32:41
  Speaker 2: that's right to hear it.
• 32:43
  Speaker 3: Yep. Yeah, and you know again if you were, if
• 32:47
  Speaker 3: we were in a computer simulation, the we we know
• 32:52
  Speaker 3: that there. What they think is the Big Bang is
• 32:55
  Speaker 3: because they measure and they can see that all of
• 32:58
  Speaker 3: space is moving away from once central place. Right, so, oh,
• 33:01
  Speaker 3: it must have been a giant explosion millions of years ago,
• 33:04
  Speaker 3: and all.
• 33:05
  Speaker 2: Be careful talking about space there, jays. Some people don't
• 33:07
  Speaker 2: believe in space.
• 33:12
  Speaker 3: Yeah, and anyway, it doesn't really matter because that's exactly
• 33:16
  Speaker 3: the way the machine would look to us. It would
• 33:20
  Speaker 3: look like there would be a central place where everything
• 33:23
  Speaker 3: was coming from, and it would be expanding outwards. So
• 33:26
  Speaker 3: even the expanding universe theory looks like it could be
• 33:29
  Speaker 3: part of a machine. But I'm not saying we are.
• 33:32
  Speaker 3: And the reason I don't think that we're in a
• 33:34
  Speaker 3: simulation is because of alchemy. There's no way that a
• 33:38
  Speaker 3: programmer would create alchemy and put it in the past.
• 33:42
  Speaker 3: It's just why, why go through all that effort and
• 33:46
  Speaker 3: make all the symbolism and all the rituals and everything,
• 33:51
  Speaker 3: and then put it in the past and your program.
• 33:53
  Speaker 3: So that's the main reason I don't think we are
• 33:55
  Speaker 3: in a simulation.
• 33:57
  Speaker 2: Who was it that said if you want to figure
• 34:00
  Speaker 2: out if we're in a simulation or not, then like,
• 34:03
  Speaker 2: look at our history and if you start finding inconsistencies
• 34:07
  Speaker 2: in our history, then you'll realize that we are in
• 34:11
  Speaker 2: a simulation, because the simulation doesn't render the past as
• 34:15
  Speaker 2: well as it does the present.
• 34:16
  Speaker 3: Yeah, it was the guy about the physicist from Oxford
• 34:22
  Speaker 3: get his name now, a really brilliant guy. He wrote
• 34:24
  Speaker 3: a whole book called the Simulation Theory, and in that
• 34:27
  Speaker 3: book he says that because the programmers would have to
• 34:32
  Speaker 3: spend all programmers have limited resources, no matter how big
• 34:37
  Speaker 3: their budgets are, they're limited to some degree of limitation.
• 34:41
  Speaker 3: He said that they would spend most of their time
• 34:44
  Speaker 3: programming the present and the future, and then they were
• 34:48
  Speaker 3: just kind of do an ad hoc in the past
• 34:50
  Speaker 3: so that it looked good. And so therefore, if you
• 34:53
  Speaker 3: go to the past you find all these anomolies, then
• 34:56
  Speaker 3: there's a chance, a high chance that we are in
• 34:59
  Speaker 3: a simulation. And I did that about four years ago.
• 35:02
  Speaker 3: I went in and started looking at history and finding
• 35:08
  Speaker 3: things I really still to this day I can't believe.
• 35:11
  Speaker 3: And you know, that's where I met autodidactic. He has
• 35:15
  Speaker 3: a lot of really good videos on photographs from the past.
• 35:19
  Speaker 3: And you know, you type in Berlin eighteen sixty and
• 35:25
  Speaker 3: google image it, or Moscow eighteen sixty and google image it,
• 35:30
  Speaker 3: and there's nobody on the streets. They're completely empty. There's
• 35:34
  Speaker 3: no horse shit on the streets like you'd think you'd see, right,
• 35:38
  Speaker 3: because there's only horses, right, there's no cars, so you
• 35:41
  Speaker 3: think you'd see like horse poop everywhere, and you know,
• 35:45
  Speaker 3: all those ravages of city life, and the streets are
• 35:49
  Speaker 3: completely clean. There's nobody there. People say, oh, well, photographer
• 35:52
  Speaker 3: got everybody to stay inside. Way he took his five
• 35:55
  Speaker 3: minute exposure. You could get people Paris, France to go
• 36:01
  Speaker 3: inside for twenty minutes or a half hour. Those people
• 36:04
  Speaker 3: are just so cranky that they're not going to do it.
• 36:07
  Speaker 3: So you know, there's all sorts of strange and honorless
• 36:10
  Speaker 3: stuff in our past. And of course we have the
• 36:13
  Speaker 3: famous Russian scientists who got the astronomy software forgetting his
• 36:20
  Speaker 3: name now, Vladimir I'll remember here in a second. But anyway,
• 36:27
  Speaker 3: when the astronomy software first came out, like in the
• 36:30
  Speaker 3: I think it would be like the late nineties, you know,
• 36:33
  Speaker 3: he really excitedly got it out and he started like
• 36:36
  Speaker 3: putting in dates to see, you know, like he knew
• 36:38
  Speaker 3: that during the Peloponnesian War. There's the people that were
• 36:42
  Speaker 3: doing the history wrote down that there were two total
• 36:44
  Speaker 3: eclipses during the seven year Peloponnesian War. So he went
• 36:48
  Speaker 3: back on to see those two eclipses and they weren't there.
• 36:52
  Speaker 3: They weren't during the Peloponnesian War. He's like, what's going
• 36:55
  Speaker 3: on here? Like fifteen people reported that there was two
• 36:59
  Speaker 3: total eclipse during this war, and yet I go back
• 37:02
  Speaker 3: to this time period and there isn't two total eclipses.
• 37:05
  Speaker 3: And that really got it going because then he looked
• 37:08
  Speaker 3: at about seven hundred years later in Greece, there were
• 37:14
  Speaker 3: two eclipses exactly that far apart. And then he started
• 37:17
  Speaker 3: thinking that somebody had added seven hundred years to the
• 37:21
  Speaker 3: history or more maybe close to a thousand years even.
• 37:24
  Speaker 3: And then you come up to the problem of the
• 37:30
  Speaker 3: same exact technology that we used in fourteen hundred to
• 37:36
  Speaker 3: get from Spain and Portugal to America and all that.
• 37:41
  Speaker 3: That is exactly the same technology we had in four
• 37:45
  Speaker 3: hundred eighty one thousand years earlier. In other words, from
• 37:49
  Speaker 3: four hundred to fourteen hundred, there was no advancements in voting, shipping, weaponry,
• 37:58
  Speaker 3: vehicle traffic, how you get around right, all stayed exactly.
• 38:04
  Speaker 3: There was no advances in any technology that we can
• 38:07
  Speaker 3: find anywhere. It's as if the whole world just came
• 38:10
  Speaker 3: to a halt in four hundred and then woke up
• 38:12
  Speaker 3: and started up again in fourteen hundred or they added
• 38:16
  Speaker 3: a thousand years somehow. And so you know, this is
• 38:19
  Speaker 3: a big dilemma. I have a bunch of people I
• 38:23
  Speaker 3: call him the Old Farts Club, and we sit around
• 38:26
  Speaker 3: talking all the time about all this because we're really
• 38:29
  Speaker 3: totally interested in what is really going on with our
• 38:31
  Speaker 3: history and why larger forces have done everything they can
• 38:36
  Speaker 3: to hide it all from us. So we know, we
• 38:39
  Speaker 3: didn't know about Tartaria, and really until twenty thirteen when
• 38:43
  Speaker 3: Putin released all the Tartaria maps. Why did he do that?
• 38:47
  Speaker 3: I don't know, you know, and we have all sorts
• 38:51
  Speaker 3: of weird problems we have on the Great Wall of China.
• 38:55
  Speaker 3: The guard turret where the guards can go to get
• 38:58
  Speaker 3: out of the rain, they're on the end to any
• 39:00
  Speaker 3: side of the wall. Why would you do that? Why
• 39:03
  Speaker 3: would you put the guard turns on the Chinese side
• 39:05
  Speaker 3: of the wall? Right? They didn't. They put it on
• 39:08
  Speaker 3: the other side, Which tells me that maybe somebody else
• 39:12
  Speaker 3: built the Great Wall and they meant to keep the
• 39:14
  Speaker 3: Chinese out from going north. And you know, the Great
• 39:17
  Speaker 3: Wall is thirteen thousand miles on.
• 39:22
  Speaker 2: That's a long ass wall.
• 39:24
  Speaker 3: Thirteen thousand miles, my god. But anyway, that's that's things
• 39:30
  Speaker 3: I've been thinking about lately when it gets dark and
• 39:32
  Speaker 3: we've got nothing else to do.
• 39:34
  Speaker 2: Well, when you think about it, though, like nothing has
• 39:37
  Speaker 2: really changed in our reality, Like we still use the
• 39:40
  Speaker 2: same shit we've been using, the seam shit forever. The
• 39:43
  Speaker 2: only thing that's really changed yere has been our technology.
• 39:47
  Speaker 2: We still build houses the same way, still use roads
• 39:50
  Speaker 2: that you pave it one year and then you got
• 39:52
  Speaker 2: to pave it again the very next year, Like sidewalks,
• 39:56
  Speaker 2: the same thing. Planes we're still using the same planes
• 39:59
  Speaker 2: that we've been using for freaking fifty years, same microwaves,
• 40:04
  Speaker 2: same refrigerators. Like, nothing has really changed when it comes
• 40:08
  Speaker 2: to our way of life in like a really long time. Really,
• 40:13
  Speaker 2: the only thing that's changed has been the technology that
• 40:16
  Speaker 2: we use. I mean, we didn't have we didn't have
• 40:18
  Speaker 2: the capability to do this thirty years ago what we're
• 40:21
  Speaker 2: doing right now. But like, really the only thing that
• 40:24
  Speaker 2: has changed has been like phones and computers and AI
• 40:28
  Speaker 2: and like ways of tracking and all that, which is
• 40:32
  Speaker 2: another really interesting thing. They just remember Pokemon Go. You
• 40:38
  Speaker 2: probably don't know about Pokemon Go, but it was this
• 40:41
  Speaker 2: really big app that came out like six or seven
• 40:45
  Speaker 2: years ago. It's called Pokemon Go, and it was this
• 40:50
  Speaker 2: app that you could get on your phone and then
• 40:52
  Speaker 2: you can walk around wherever, drive around and you would
• 40:55
  Speaker 2: like find Pokemon on your phone and you would throw a
• 40:56
  Speaker 2: poke ball at it and you would catch it. Oh yeah, okay,
• 41:00
  Speaker 2: So the company was actually doing made that game so
• 41:07
  Speaker 2: that they did track and trace the entire world basically
• 41:12
  Speaker 2: and map out where everybody is. There's a giant track
• 41:15
  Speaker 2: and trace programs that just came in. I was like,
• 41:18
  Speaker 2: holy shit, that's the real reason why why they were
• 41:21
  Speaker 2: doing it.
• 41:22
  Speaker 3: Yep, yeah, yeah, yeah, that makes total complete sense. Yeah, well,
• 41:26
  Speaker 3: we're living in this that kind of society right now.
• 41:29
  Speaker 3: Everybody's being watched and traced and and uh and uh.
• 41:35
  Speaker 3: And at the same time, there's like a lot of
• 41:38
  Speaker 3: mind control victims are suddenly coming out of the of
• 41:41
  Speaker 3: the woodwork and talking about being sex slaves and mind
• 41:44
  Speaker 3: control and how they were controlled. And this is all
• 41:48
  Speaker 3: kind of weird and new too. So there seems to
• 41:51
  Speaker 3: be some kind of weird wave of people that don't
• 41:55
  Speaker 3: care anymore and they're just saying it whatever they want.
• 41:59
  Speaker 3: That's a good thing.
• 42:01
  Speaker 2: Yeah, I'm trying to find this, uh this article, okay,
• 42:08
  Speaker 2: this is a USA Today article. It's not just your game,
• 42:15
  Speaker 2: it's your Pokemon Go player data is training an AI
• 42:18
  Speaker 2: map models. So players of Pokemon Go may not have
• 42:22
  Speaker 2: realized that, but they've been training more than their Pokemonnitonic,
• 42:25
  Speaker 2: the developer behind the popular mobile game Pokemon Go, announced
• 42:29
  Speaker 2: last week that it is building an AI model to
• 42:32
  Speaker 2: map the physical world. This large geospatial model will utilize
• 42:38
  Speaker 2: data collective from players from Pokemon Go to achieve special intelligence.
• 42:44
  Speaker 2: The company said in a blog post as wild When
• 42:49
  Speaker 2: I seen that, I was like, holy shit, But I
• 42:53
  Speaker 2: mean it makes sense that that's what they would be doing.
• 42:56
  Speaker 3: Yeah, it does, makes total sense. Yeah, well we're in
• 43:01
  Speaker 3: for it now.
• 43:01
  Speaker 2: I guess there it is. This is the USA Today
• 43:05
  Speaker 2: article and just so people no, actually just drop it
• 43:09
  Speaker 2: in the chat too, because I thought it was super interesting.
• 43:11
  Speaker 2: It was like, holy crap.
• 43:13
  Speaker 3: Yeah, I remember when it was going on. I was
• 43:15
  Speaker 3: wondering what was going on. You know, like, well, that's good.
• 43:19
  Speaker 3: Are you going to make money doing this?
• 43:21
  Speaker 2: Yeah? Because it was free, and it just proves that
• 43:23
  Speaker 2: nothing is free. They're like collecting your data. That's why
• 43:27
  Speaker 2: pretty soon all of these social media platforms you're you're
• 43:32
  Speaker 2: not going to be able to use them if you're
• 43:33
  Speaker 2: not paying for them. I mean, X has already done that.
• 43:36
  Speaker 2: Elon Musk, Like, if you want to go live on
• 43:38
  Speaker 2: X and have all these special features and all that,
• 43:40
  Speaker 2: then you got to pay for a monthly subscription to X.
• 43:44
  Speaker 2: And then I'm like, okay, well what happens when it's
• 43:47
  Speaker 2: like that for every single social media Instagram is already there.
• 43:51
  Speaker 2: They've already approached me. Instagram has approached me in my
• 43:54
  Speaker 2: account because I post on there all the time. They're
• 43:57
  Speaker 2: like fourteen ninety nine and we'll give you a blue
• 43:59
  Speaker 2: we'll get your blue check mark, and same with Facebook.
• 44:03
  Speaker 2: So pretty soon it's it's no longer. You might still
• 44:07
  Speaker 2: have the option to have a free account, but it's
• 44:10
  Speaker 2: not going to do anything.
• 44:11
  Speaker 3: Yeah, you're not still downgrade it. It won't upgrade it
• 44:15
  Speaker 3: or anything, and you won't be in the search engines
• 44:18
  Speaker 3: or anything.
• 44:19
  Speaker 2: So yeah, but that's the way the X done it though,
• 44:23
  Speaker 2: was to like cut out ads and like so Elon
• 44:26
  Speaker 2: must didn't have to because all of his sponsors and
• 44:29
  Speaker 2: all the people that were paying for ads dropped out.
• 44:32
  Speaker 2: So then he was like, well, how do I make
• 44:33
  Speaker 2: money off of this platform? I know I'll charge your
• 44:35
  Speaker 2: subscription every month. So pretty much the way that I
• 44:38
  Speaker 2: see it is all of these social media platforms have
• 44:41
  Speaker 2: already gotten all of their data out of all of
• 44:43
  Speaker 2: their users. It's already been taken care of. It's already
• 44:47
  Speaker 2: stored somewhere maybe who knows where it's stored. And then
• 44:52
  Speaker 2: they're they're like, okay, well we'll no longer have to
• 44:54
  Speaker 2: do this anymore. We'll just make the customer pay to
• 44:58
  Speaker 2: use the app. When you think about that, if that's
• 45:01
  Speaker 2: fourteen ninety nine for Facebook, fourteen ninety nine for X
• 45:09
  Speaker 2: that's thirty dollars, you know, fifteen dollars for Instagram. That's
• 45:15
  Speaker 2: forty five US forty five dollars a month that you're
• 45:18
  Speaker 2: gonna be paying just to use these these freaking social
• 45:20
  Speaker 2: media apps. And then on top of that, all the
• 45:23
  Speaker 2: different streaming apps that people have to pay for. All
• 45:25
  Speaker 2: those streaming apps keep going up every single month. They
• 45:28
  Speaker 2: go up by three and four and five dollars at
• 45:30
  Speaker 2: a time. Like Hulu right now is eighteen ninety nine
• 45:34
  Speaker 2: for an ad free streaming service. Netflix is like sixteen
• 45:40
  Speaker 2: ninety nine. Is wild. They're trying to price everybody out
• 45:44
  Speaker 2: of these streaming services, so they get the lowest tier
• 45:48
  Speaker 2: because the lowest tier with the ad content because Hollywood
• 45:52
  Speaker 2: and these big media companies were not hip to the
• 45:55
  Speaker 2: streaming stuff. They got on far too late, and the
• 45:58
  Speaker 2: streaming services didn't not have ads in their content back then,
• 46:03
  Speaker 2: and it was like six ninety nine. I remember when
• 46:05
  Speaker 2: Netflix was six ninety nine base. And so then all
• 46:10
  Speaker 2: the people are now jumping over the streaming. WWE is
• 46:14
  Speaker 2: jumped over to streaming. The Jake Paul Mike Tyson fight
• 46:17
  Speaker 2: just jumped over to streaming on Netflix. So now it's
• 46:20
  Speaker 2: going to become an all streaming thing. I mean, MSNBC
• 46:24
  Speaker 2: is like up for sale right now because they've lost
• 46:27
  Speaker 2: so much money. It's just wild, and they're trying to
• 46:30
  Speaker 2: price everybody out of that ad free tier. So they're
• 46:34
  Speaker 2: making the ad tier so much less expensive so that
• 46:39
  Speaker 2: people really have no choice but to get the ad tier,
• 46:42
  Speaker 2: so they get all the freaking programming that comes along
• 46:44
  Speaker 2: with all the stupid ads.
• 46:47
  Speaker 3: Uh well, let me tell you a little secret. I've
• 46:51
  Speaker 3: already told you. I'll let your audience in on it.
• 46:54
  Speaker 3: There is a way out of that. It's called flixt Are.
• 47:01
  Speaker 3: I just google Google that and it's a company out
• 47:04
  Speaker 3: of Turkey. And I think I paid two hundred dollars
• 47:09
  Speaker 3: for two years and I have got everything, every movie,
• 47:15
  Speaker 3: everything on Netflix, everything on Amazon, everything on everything. So
• 47:19
  Speaker 3: I've been able to watch everything for that little bit
• 47:22
  Speaker 3: of money. It's not high res. It's uh ten eighty,
• 47:28
  Speaker 3: so it's a little bit lower res but than the Netflix,
• 47:32
  Speaker 3: but well worth it.
• 47:35
  Speaker 2: Yeah, that's a really gooing because it's gonna get to
• 47:37
  Speaker 2: that point. I mean, if you're paying for all the
• 47:39
  Speaker 2: streaming services including you know, Peacock and Paramount Plus and
• 47:45
  Speaker 2: Showtime and HBO, like it's over one hundred dollars a
• 47:49
  Speaker 2: month that you're just paying for these streaming services. Completely ridiculous.
• 47:53
  Speaker 2: And now what like what they did with Yellowstone, the
• 47:55
  Speaker 2: new season of Yellowstone, the people have been waiting like
• 47:58
  Speaker 2: two years on to release don't put it. They didn't
• 48:00
  Speaker 2: put it out for free on any of the streaming service.
• 48:02
  Speaker 2: They made you pay for it individual episodes. But I mean,
• 48:08
  Speaker 2: they're trying to make their money, but I don't know.
• 48:10
  Speaker 2: And then they're just doing nothing but remakes and reboots,
• 48:13
  Speaker 2: and the TV show industry is now being taken over,
• 48:16
  Speaker 2: just like Hollywood movies were being taken over. They're just
• 48:19
  Speaker 2: doing nothing. The doing series on HBO isn't half bad.
• 48:22
  Speaker 2: Have you started watching that yet?
• 48:24
  Speaker 3: No, but I'm going to. I can't wait, actually, but yeah,
• 48:28
  Speaker 3: you know it's the movie business is in very very
• 48:33
  Speaker 3: very serious trouble and I don't know how they're going
• 48:35
  Speaker 3: to get out of it. And Hollywood blew it and
• 48:39
  Speaker 3: then they didn't catch onto the streaming until it was
• 48:44
  Speaker 3: too late. And also Hollywood's business model isn't viable anymore,
• 48:50
  Speaker 3: and so the whole thing is going to collapse in
• 48:54
  Speaker 3: And the only say that seems to be making money now,
• 48:57
  Speaker 3: or these horror films that are flooding out of the market,
• 49:00
  Speaker 3: and even that they're in deep competition with each other.
• 49:04
  Speaker 2: So the horror films and the big blockbuster Marvel movies,
• 49:10
  Speaker 2: those are the only things that seem to make any
• 49:12
  Speaker 2: kind of real money that's even worth it to put
• 49:16
  Speaker 2: it in the theaters. But it's just a shame because
• 49:18
  Speaker 2: it used to be that, you know, TV on these
• 49:21
  Speaker 2: streaming services, like if you had a series, that was
• 49:25
  Speaker 2: the only place that you were able to get all
• 49:28
  Speaker 2: of your creative juices out in there. And now it's
• 49:31
  Speaker 2: just been saturated, and within the next two years, it's
• 49:35
  Speaker 2: just going to be remake after remake after recognizable IP
• 49:38
  Speaker 2: after reboot after prequel after sequel, and they're just doing
• 49:42
  Speaker 2: all of these series now based on previously already established IP.
• 49:47
  Speaker 2: They're doing two different office series, they're doing an alien
• 49:50
  Speaker 2: TV show, they just did the Dune show, they're doing
• 49:53
  Speaker 2: the Fallout show. It's like it's just over its exact
• 49:57
  Speaker 2: same thing that happened to the film industry and they're
• 49:59
  Speaker 2: doing it to the TV industry. The only little bit
• 50:01
  Speaker 2: of slimmer of hope that we had is now being like,
• 50:07
  Speaker 2: you know, you know, kind of going by the wayside,
• 50:12
  Speaker 2: which is so unfortunate. But speaking of that though, yeah,
• 50:15
  Speaker 2: go ahead.
• 50:16
  Speaker 3: Yeah, that's what happens when the accountants take over. They
• 50:19
  Speaker 3: just said, well, we don't do this guy. We don't
• 50:21
  Speaker 3: know what's he do all day? Get rid of it.
• 50:23
  Speaker 3: It turns out the guys, you know, a script doctor repair,
• 50:26
  Speaker 3: repairing all the damage scripts and making them a lot better.
• 50:29
  Speaker 3: They just they don't have any idea what they're really doing.
• 50:33
  Speaker 3: And hopefully one day, you know, an artist will take
• 50:37
  Speaker 3: over a studio again that's what we really need.
• 50:40
  Speaker 2: That is exactly what we need. And speaking of that,
• 50:43
  Speaker 2: please watch our documentary on Amazon Prime A Clockwork Shining,
• 50:48
  Speaker 2: and on Apple tv Plus. It's available in the UK
• 50:51
  Speaker 2: and in the United States. If you're in a country
• 50:54
  Speaker 2: that you cannot get it on Amazon, trying Apple TV Plus.
• 50:57
  Speaker 2: And we'll be getting that hopefully to you guys. Is
• 51:00
  Speaker 2: worldwide here and hopefully pretty soon we'll get that going.
• 51:04
  Speaker 2: But the other day, I was on Donuts Show and
• 51:09
  Speaker 2: I did a bunch of slides. I made like a
• 51:11
  Speaker 2: big slide of all the continuity errors that I could
• 51:16
  Speaker 2: possibly find within the Shining that I actually want to
• 51:19
  Speaker 2: go over with you as well, because I think it's
• 51:24
  Speaker 2: super fascinating. And there's some ones that I didn't even
• 51:28
  Speaker 2: realize until I was going back through. Oh this isn't it?
• 51:33
  Speaker 2: Oh yeah it is? What there? We go cool? So
• 51:39
  Speaker 2: of course I got some of the ones from the
• 51:41
  Speaker 2: movie in there as well. But this one, the bloody handprint,
• 51:46
  Speaker 2: the one that I had seen, and I had been
• 51:48
  Speaker 2: on a couple of shows, and I was on Charlie
• 51:52
  Speaker 2: Robinson's show Microaggressions, and he brought up the fact that
• 51:56
  Speaker 2: the hamdprint looks a lot like the bloody handprint on
• 52:01
  Speaker 2: the Wilson Ball with Tom Hanks and Castaway.
• 52:07
  Speaker 3: That is interesting.
• 52:09
  Speaker 2: Yeah, which of the movie came out twenty years later.
• 52:11
  Speaker 2: It came on in two thousand, but just the it
• 52:14
  Speaker 2: looks almost identical. And people have tried to come at
• 52:23
  Speaker 2: us with this and being like, oh, well it's a
• 52:25
  Speaker 2: part of the dress. Well, it still resembles a handprint,
• 52:28
  Speaker 2: regardless if it was an actual bloody handprint that the
• 52:31
  Speaker 2: person put on the late at the back of the
• 52:34
  Speaker 2: ladies dress or not, or if it's part of the dress,
• 52:36
  Speaker 2: it still looks like a handprank. And it proves it
• 52:40
  Speaker 2: with this Wilson volleyball. You're gonna have a four fingered
• 52:44
  Speaker 2: handprint because wasn't didn't Tom Hanks. He was trying to
• 52:49
  Speaker 2: make a fire or something and cut his hand, yeah,
• 52:52
  Speaker 2: I think, and then he ended up on the volleyball.
• 52:55
  Speaker 3: Yep, is it? Because that was Robert Zumikas And he
• 52:59
  Speaker 3: also did Back to the Future and Back in the
• 53:03
  Speaker 3: Future has a lot of weird stuff in it at
• 53:04
  Speaker 3: about nine to eleven nine one or whatever you want
• 53:07
  Speaker 3: to call it, right, and the plot to Back to
• 53:11
  Speaker 3: the Future is a guy goes through the future and
• 53:14
  Speaker 3: sees a future terrorist event and goes back to the
• 53:17
  Speaker 3: past to warn everybody, and no one will listen to him,
• 53:20
  Speaker 3: which is kind of a weird thing because anyway, Robert
• 53:24
  Speaker 3: z Omeckis is a strange guy. I've often thought that
• 53:27
  Speaker 3: he was like intelligence.
• 53:30
  Speaker 2: Yeah, that makes sense, uh, this one that I I mean,
• 53:35
  Speaker 2: we could have we could have done the entire movie
• 53:37
  Speaker 2: on all these connuity hours and it would have been
• 53:40
  Speaker 2: like two hours going through all these connuity hours. But
• 53:43
  Speaker 2: it just is cool to go over it now. But
• 53:47
  Speaker 2: this is the in the opening establishing shot of Stanley
• 53:51
  Speaker 2: Kubrick's the shining there isn't a hedge me in the
• 53:55
  Speaker 2: background of the of the Overlook Hotel, which we do
• 53:59
  Speaker 2: know that some of the well most of the exterior
• 54:02
  Speaker 2: shots were shot at Timberline Lodge in Oregon, So it
• 54:06
  Speaker 2: makes sense that there wouldn't be a hedge maze because
• 54:09
  Speaker 2: there isn't a hedge maze either at Timberline Lodge or
• 54:13
  Speaker 2: at the Stanley Hotel. But they did put a one
• 54:16
  Speaker 2: at the Stanley. It's in front of the hotel now,
• 54:18
  Speaker 2: but just because of the popularity of the movie and
• 54:21
  Speaker 2: that the Stanley Hotel is a big tourist attraction up
• 54:24
  Speaker 2: there at Estes Park. But then later in the movie,
• 54:28
  Speaker 2: obviously there's the hedge maze in behind the hotel.
• 54:34
  Speaker 3: Yeah, that's pretty important actually.
• 54:36
  Speaker 2: And the hedge maze is like the biggest important thing
• 54:41
  Speaker 2: about the movie really is where it all ends. Yeah,
• 54:47
  Speaker 2: this one the cool laid on top of on top
• 54:50
  Speaker 2: of the fridge, which this isn't a connuity or this
• 54:53
  Speaker 2: is just something that some other people have pointed out
• 54:55
  Speaker 2: in the past, which I think that the what do
• 54:59
  Speaker 2: you make of the making the kool aid on top
• 55:01
  Speaker 2: of the fridge in the apartment and Jack and Wendy's
• 55:06
  Speaker 2: in Border, Is.
• 55:08
  Speaker 3: There a reference to Jamestown Jonestown?
• 55:11
  Speaker 2: Yeah, that's kind of what I thought too.
• 55:13
  Speaker 3: Yeah, I think so. That's interesting because it's well known
• 55:17
  Speaker 3: that Jonestown was a CIA medical experiment.
• 55:22
  Speaker 2: Yes, Jonestown gets super wild wild.
• 55:27
  Speaker 3: I've done a huge deep dive on that one. Holy smoked,
• 55:30
  Speaker 3: is that one a weird one?
• 55:33
  Speaker 2: And that one happened was this seventy eight, so that
• 55:37
  Speaker 2: would have been two years before this movie.
• 55:39
  Speaker 3: He was in the middle of shooting when Jonestown happened.
• 55:44
  Speaker 2: Oh wow, yeah, mm, yeah, I think that's what that's referencing. Obviously,
• 55:49
  Speaker 2: the sticker disappearing on Danny's door that people have pointed out,
• 55:53
  Speaker 2: the Dopey the dwarf disappearing. This one is a light
• 55:58
  Speaker 2: switch that is there when Hollering is giving a tour
• 56:03
  Speaker 2: to Windy and Danny of the hotel in the beginning
• 56:05
  Speaker 2: of the movie, and then when Wendy is carrying Jack's
• 56:08
  Speaker 2: body to the storage room, light switch is gone, which
• 56:14
  Speaker 2: is just.
• 56:14
  Speaker 3: Weird because I mean, you really have to do a
• 56:16
  Speaker 3: lot of work to remove that light switch. I mean,
• 56:19
  Speaker 3: I don't know.
• 56:19
  Speaker 2: Yeah, yeah, that's not a cut, that's not a cut
• 56:22
  Speaker 2: and paced job. It doesn't look like and then this
• 56:29
  Speaker 2: one is the same thing, but it's a light switch
• 56:32
  Speaker 2: that appears so it's not there when Jack first walks
• 56:35
  Speaker 2: into Allman's office, and then later when he's going into
• 56:38
  Speaker 2: destroy the radio to prevent Danny and Wendy from leaving
• 56:42
  Speaker 2: the hotel, there's a light switch underneath.
• 56:46
  Speaker 3: These aren't gotten newd years. This is our purpose. But
• 56:52
  Speaker 3: for what reason? I mean, he had to tell someone
• 56:56
  Speaker 3: to put that lights or that switch there. You know,
• 56:59
  Speaker 3: it's like, huh, why would he do that? And I mean,
• 57:03
  Speaker 3: I really can't answer that question except that he's just
• 57:06
  Speaker 3: trying to screw it with the audience.
• 57:08
  Speaker 2: I think so. I think that he wants the audience
• 57:12
  Speaker 2: to subconsciously go into some kind of delusional state, just
• 57:16
  Speaker 2: as Jack is also going into a delusional state. Because
• 57:20
  Speaker 2: that's what we talk about within the movie, that it's
• 57:22
  Speaker 2: an experiment within an experiment, and an experiment on the audience.
• 57:26
  Speaker 2: You know, not only is Stanley making an experiment within
• 57:30
  Speaker 2: the shining by rewriting the movie as the movie is
• 57:34
  Speaker 2: being filmed, he's also doing an experiment on the actors
• 57:36
  Speaker 2: and the way that he treats Shelley Duvall. And then
• 57:39
  Speaker 2: it's an experiment on the audience that's watching the movie. Yeah,
• 57:43
  Speaker 2: it's a triple whammy.
• 57:45
  Speaker 3: It is. And he sort of did some of that
• 57:50
  Speaker 3: in a Clockwork Orange too, where things would be out
• 57:54
  Speaker 3: of place and it seemed weird. And I think he
• 57:57
  Speaker 3: was trying to do the same thing, not to the
• 57:59
  Speaker 3: extent that he did it in the Shining Tup.
• 58:03
  Speaker 2: I tried to look for this, this error in the
• 58:06
  Speaker 2: in the clockwork. Well, it's not an error, it's put
• 58:09
  Speaker 2: there on purpose. But isn't there something in the clockwork
• 58:13
  Speaker 2: orange that almost spells out a drenochrome like a dream
• 58:20
  Speaker 2: chrome or something like that.
• 58:22
  Speaker 3: C dren chrome. And it's a drink that's at the
• 58:26
  Speaker 3: Molokai milk Bar that Alex is at the beginning. It's
• 58:31
  Speaker 3: a psychedelic drink and it's it's you know, all I
• 58:35
  Speaker 3: have to do is add the A at the beginning
• 58:37
  Speaker 3: and the E at the end. It's a drenochrome, right,
• 58:40
  Speaker 3: And it's a drink, and drenochrome is a psychedelic So
• 58:44
  Speaker 3: they're clearly serving weird uh stuff at the milk bar.
• 58:51
  Speaker 2: This one is really interesting because John gets the wrong
• 58:57
  Speaker 2: amount of time that he that they're going to be
• 59:00
  Speaker 2: up at the overlook according to what Oh, no, this
• 59:04
  Speaker 2: is a different one. This is when Wendy is telling
• 59:08
  Speaker 2: the doctor that after Danny, Danny started having these visions,
• 59:14
  Speaker 2: in these psychic abilities, after Jack had abused him and
• 59:19
  Speaker 2: hurt his arm. What she says that he's been five
• 59:23
  Speaker 2: months sober after the event. This is a really strange one, Jay,
• 59:29
  Speaker 2: because there's not only connuity errors within the movies with
• 59:32
  Speaker 2: things like disappearing, there's also continuity errors between the dialogue
• 59:36
  Speaker 2: of the characters. So when he's telling the doctor that
• 59:40
  Speaker 2: this is he's been sober for five months, essentially because
• 59:44
  Speaker 2: after he injured Danny's arm, he's been sober for five
• 59:47
  Speaker 2: months now. Whenever Jack is talking to what's the name here, Lloyd,
• 59:55
  Speaker 2: Lloyd the bartender, he tells Lloyd that it was three
• 1:00:00
  Speaker 2: years ago. Now you heard Danny.
• 1:00:03
  Speaker 3: You're right? That is weird. How could you make such
• 1:00:07
  Speaker 3: an error?
• 1:00:08
  Speaker 2: That's a big air, big error.
• 1:00:12
  Speaker 3: It doesn't seem possible. You would have thought that Diane Johnson,
• 1:00:15
  Speaker 3: the co screenwriter, would have got that right. That has
• 1:00:20
  Speaker 3: to be I don't know, I don't know what to
• 1:00:22
  Speaker 3: make of that. That's pretty weird because I mean, that's
• 1:00:24
  Speaker 3: the whole plot history of your movie here, and you
• 1:00:29
  Speaker 3: can't even get it straight. I mean, that's weird.
• 1:00:32
  Speaker 2: It's so it's so strange. This one is also the
• 1:00:36
  Speaker 2: famous chair disappearing that people have seen before. It disappears
• 1:00:40
  Speaker 2: and then reappears. The shot cuts and then it goes
• 1:00:44
  Speaker 2: to Windy and then it's gone, and then it goes
• 1:00:46
  Speaker 2: back to Johnck and it's still there.
• 1:00:47
  Speaker 3: And I pointed out that one to Leon Vitali, who
• 1:00:51
  Speaker 3: is Kubrick's top assistant. I was gonna, I was gonna
• 1:00:54
  Speaker 3: heated discussion with him once and I pulled that up
• 1:00:58
  Speaker 3: on the computer and I showed him that air. You
• 1:01:00
  Speaker 3: know what. He said, oh Kubri, which just probably didn't care.
• 1:01:05
  Speaker 3: What what Kube didn't care? What the hell? You know?
• 1:01:12
  Speaker 3: So again, it has to be delivered.
• 1:01:16
  Speaker 2: It's delivered. I mean there's a coffee table that's next
• 1:01:19
  Speaker 2: to the chair too. I mean, yeah, come on, and
• 1:01:23
  Speaker 2: it seems like it's all in the same exact shot.
• 1:01:27
  Speaker 3: Yeah.
• 1:01:29
  Speaker 2: Uh. This one is the one that I was mentioning
• 1:01:31
  Speaker 2: before that. John gets the amount of time wrong that
• 1:01:36
  Speaker 2: they're going to be up at the overlook. He says
• 1:01:38
  Speaker 2: that it's five months. Five months of peace is just
• 1:01:42
  Speaker 2: what I want when it's actually seven months because the
• 1:01:44
  Speaker 2: hotels closed seven months out of the year and they
• 1:01:46
  Speaker 2: will be up there for seven months. This is the
• 1:01:50
  Speaker 2: famous one that you've pointed out several times, the sexual
• 1:01:55
  Speaker 2: in the window, which is also in our movie. When
• 1:01:59
  Speaker 2: John goes into shaking with Almond Stuart Alman, the paper
• 1:02:03
  Speaker 2: tree on the desk looks like it's giving Almond a
• 1:02:07
  Speaker 2: heart on.
• 1:02:08
  Speaker 3: Yeah, and he says it's nice to meet you at
• 1:02:10
  Speaker 3: the same allment. So it's kind of very gay thing there.
• 1:02:16
  Speaker 2: Yeah. And the other one is the teddy Bear with
• 1:02:20
  Speaker 2: the fire truck ladder sticking up, giving the appearance that
• 1:02:23
  Speaker 2: the teddy Bear has a heart on as well. But
• 1:02:26
  Speaker 2: this one is really interesting because I didn't even realize
• 1:02:29
  Speaker 2: I've watched this movie so many times, but as I
• 1:02:32
  Speaker 2: was going back and getting these screenshots to clip out
• 1:02:35
  Speaker 2: and make these images for as promotion for the movie,
• 1:02:41
  Speaker 2: the bat that Windy grabs is right beside of the
• 1:02:44
  Speaker 2: teddy Bear right here.
• 1:02:46
  Speaker 3: Yeah, that's interesting. I saw that before, so.
• 1:02:51
  Speaker 2: Then yeah, it's right here, and then I think I
• 1:02:54
  Speaker 2: might have the next image. Yeah, right there it is.
• 1:02:57
  Speaker 2: She picks it up. So the very next seeing she
• 1:03:01
  Speaker 2: grabs the bat that is next to the teddy Bear
• 1:03:04
  Speaker 2: with the ladder sticking up.
• 1:03:06
  Speaker 3: Wow, that's pretty wild.
• 1:03:08
  Speaker 2: Yeah, I didn't even recognize that until I was going
• 1:03:11
  Speaker 2: back and trying to get the screenshots. This is another
• 1:03:14
  Speaker 2: one that I didn't even notice until I was going
• 1:03:16
  Speaker 2: back through too, but apparently some of the people have
• 1:03:20
  Speaker 2: already pointed this out. With the teddy Bear, whenever the
• 1:03:23
  Speaker 2: doctor comes in to check on Danny after his episode
• 1:03:26
  Speaker 2: in their apartment in Bolder, there's the teddy Bear in
• 1:03:31
  Speaker 2: the background that Danny is laying on, and then you
• 1:03:33
  Speaker 2: have the teddy Bear all the man dressed in a
• 1:03:37
  Speaker 2: Teddy Bear outfit with the other man that they're doing
• 1:03:40
  Speaker 2: some sort of sexual encounter.
• 1:03:45
  Speaker 3: Drugs too, that are up in the in the room
• 1:03:48
  Speaker 3: where Jack is working. So there's and of course the
• 1:03:55
  Speaker 3: teddy Bear is the is a symbol for pedophiles. That's
• 1:04:02
  Speaker 3: how they talk to each other. They use teddy Bears.
• 1:04:04
  Speaker 3: That's why you know you're talking to another pedophile, because
• 1:04:07
  Speaker 3: he'll be having a Teddy Bear logo or something on
• 1:04:12
  Speaker 3: his whatever he's using to communicate with you, and the
• 1:04:16
  Speaker 3: Teddy Bear behind Danny's in some ways kind of prerogative
• 1:04:20
  Speaker 3: if you like, if you know what I mean. And
• 1:04:23
  Speaker 3: so he looks like he's in the embrace of the bear,
• 1:04:25
  Speaker 3: and the bear is actually looking to lick Danny. And
• 1:04:29
  Speaker 3: if you think about it.
• 1:04:32
  Speaker 2: I thought this was really interesting because it really ties
• 1:04:35
  Speaker 2: into our our movie because this is one of the
• 1:04:38
  Speaker 2: scenes when you know, Wendy is you know, traumatized obviously
• 1:04:43
  Speaker 2: after Jack is trying to kill her with an acci
• 1:04:46
  Speaker 2: and then she's starting to go through this same type
• 1:04:49
  Speaker 2: of process that Danny went through, in the same type
• 1:04:53
  Speaker 2: of process that Jack is going through. And then she
• 1:04:58
  Speaker 2: you know, sees the man in the hall. Well actually
• 1:05:00
  Speaker 2: I think she might see this one first, but anyway,
• 1:05:05
  Speaker 2: she's going up the stairs and then she looks through
• 1:05:09
  Speaker 2: the door of the room there and she sees these
• 1:05:12
  Speaker 2: two guys at the at the bottom. And it really
• 1:05:16
  Speaker 2: makes sense when you watch our movie as to what
• 1:05:19
  Speaker 2: these people are doing, if you can put two and
• 1:05:22
  Speaker 2: two together when you've watched our movie, because we kind
• 1:05:25
  Speaker 2: of get into this as you know, as an experiment
• 1:05:28
  Speaker 2: and like a larp. So are these these are definitely
• 1:05:33
  Speaker 2: actors here. These aren't ghosts. These are actors that are
• 1:05:38
  Speaker 2: here for this larp. At the overlook and they probably
• 1:05:42
  Speaker 2: got got it on the radio, like, oh hey it's over.
• 1:05:46
  Speaker 2: Everything is everything is good. You guys can relax now
• 1:05:49
  Speaker 2: we don't actually need you. We don't need the guy
• 1:05:51
  Speaker 2: in the bearer costume and the creepy guy in the
• 1:05:54
  Speaker 2: suit anymore. So go up and relax. Then Wendy just
• 1:05:59
  Speaker 2: stumble up the up the stairs and then catches him. Yep,
• 1:06:04
  Speaker 2: that's why it looks so shocked. This dude looks super
• 1:06:07
  Speaker 2: shi yep shocked.
• 1:06:09
  Speaker 3: Yeah, yeah, yeah, that's pretty good.
• 1:06:11
  Speaker 4: I like that.
• 1:06:13
  Speaker 2: This one is the tang. Oh you can get into
• 1:06:15
  Speaker 2: this jay. This is many people have pointed this out before,
• 1:06:21
  Speaker 2: but the tang in the background.
• 1:06:23
  Speaker 3: That's what went to the moon with the astronauts. Tang
• 1:06:26
  Speaker 3: that was a big Tang's big advertising line was the
• 1:06:31
  Speaker 3: drink that went to the Moon. For like ten years
• 1:06:34
  Speaker 3: after the moonlandings, we had to put up with it.
• 1:06:37
  Speaker 3: And and there it is the.
• 1:06:39
  Speaker 2: Tang, good old tang. Yeah, this is an interesting one.
• 1:06:47
  Speaker 2: Whenever Danny first sees Room two thirty seven, there there's
• 1:06:51
  Speaker 2: a door behind him right here to the right of
• 1:06:54
  Speaker 2: him that is closed, and then in the next shot
• 1:06:57
  Speaker 2: the door is open. Swear it's a strange one. And
• 1:07:03
  Speaker 2: then of course the carpet carpet switching patterns, and people
• 1:07:08
  Speaker 2: have said, oh, well, he just turned and they just
• 1:07:10
  Speaker 2: turned him around. Well, they might have, or they might
• 1:07:13
  Speaker 2: have shot it in a different way and then ripped
• 1:07:16
  Speaker 2: up the carpet and then put it there. But in
• 1:07:18
  Speaker 2: the first shot it's an open facing carpet, and then
• 1:07:22
  Speaker 2: in the next shot it's a closed facing carpet.
• 1:07:26
  Speaker 3: Yes, he may have done that, because it as I
• 1:07:31
  Speaker 3: point out in my first Kubricks film, Kubrick's Odyssey One.
• 1:07:36
  Speaker 3: Of course, this is the famous scene where I'm saying
• 1:07:38
  Speaker 3: that this is the diagram. The hexagonal pattern on the
• 1:07:43
  Speaker 3: ground resembles launch pad thirty nine A at Cape Canaveral,
• 1:07:47
  Speaker 3: and it does. And even with the little driveway, the
• 1:07:51
  Speaker 3: line coming out of the thing is the driveway leading
• 1:07:55
  Speaker 3: it up to the launch pad. Of course, Danny's got
• 1:07:57
  Speaker 3: a poddle of elevens on his sweat, and then he
• 1:08:01
  Speaker 3: rises up as if the rocket is launching, and then
• 1:08:05
  Speaker 3: he travels across the carpet to room two thirty seven.
• 1:08:10
  Speaker 3: And at the time of the making of two thousand
• 1:08:12
  Speaker 3: and one, the medium distance between the Earth and the
• 1:08:15
  Speaker 3: Moon was two hundred and thirty seven thousand miles. And
• 1:08:19
  Speaker 3: so this little scene here is really tuberic telling you
• 1:08:26
  Speaker 3: that he faked the moon landings, and which is also
• 1:08:30
  Speaker 3: an MK Ultra program, you might.
• 1:08:32
  Speaker 2: Say, which definitely ties in to our movie as well.
• 1:08:37
  Speaker 2: Here is the Shining Toy story reference. A lot of
• 1:08:42
  Speaker 2: people were saying, why didn't we include the Shining Toy
• 1:08:44
  Speaker 2: story reference? The movie could have been like three or
• 1:08:47
  Speaker 2: four hours long, guys, But.
• 1:08:49
  Speaker 3: Well, let's forget in this movie toy story movie. Buzz
• 1:08:54
  Speaker 3: light Year was Buzz Altraight and Went to the Moon
• 1:08:57
  Speaker 3: is a toy aster who, in the plot of the movie,
• 1:09:02
  Speaker 3: discovers that he's not a real astronaut. For the whole
• 1:09:07
  Speaker 3: first half of the movie, he's bragging about being a
• 1:09:09
  Speaker 3: real astronaut and the toys don't have the nerve to
• 1:09:12
  Speaker 3: tell him that he's not a real astronaut. And then
• 1:09:15
  Speaker 3: he sees an ad for Buzz Lightyear on the TV
• 1:09:18
  Speaker 3: and realizes that he's a fake astronaut and they have
• 1:09:22
  Speaker 3: the pattern from the Shining and that move has made
• 1:09:26
  Speaker 3: years before I came out with any of my moon
• 1:09:30
  Speaker 3: landing stuff. So that tells me that Hollywood knows all
• 1:09:34
  Speaker 3: about Stanley and the moon Landing.
• 1:09:38
  Speaker 2: That makes sense. The what's the director's name?
• 1:09:42
  Speaker 3: He?
• 1:09:42
  Speaker 2: I think he's a huge Shining fan too. Even the
• 1:09:46
  Speaker 2: pattern on the wall here resembles the Shining carpet as well.
• 1:09:50
  Speaker 3: Yeah, and he's financed Room two thirty seven, Rodney Asher's
• 1:09:55
  Speaker 3: film that I'm in about the Shining. He gave Rodney
• 1:09:59
  Speaker 3: the money to do Room two thirty seven. Whoever the
• 1:10:02
  Speaker 3: guy's name is, I can't remember it right now. It's
• 1:10:04
  Speaker 3: actually two guys as I remember that work on Toy Story,
• 1:10:09
  Speaker 3: and yeah, they're Shining fans and they must have known,
• 1:10:12
  Speaker 3: because how could they have It can't be a coincidence
• 1:10:14
  Speaker 3: that the movie's plot is an astronaut finds out that
• 1:10:17
  Speaker 3: he's not a real astronaut. I mean, just how could
• 1:10:21
  Speaker 3: that be, you know, with all the Shining references in
• 1:10:23
  Speaker 3: it and everything. I don't know.
• 1:10:26
  Speaker 2: Did you see that movie? Oh my god, I'm blinking
• 1:10:32
  Speaker 2: on the name of the movie Player Ready Player one?
• 1:10:35
  Speaker 3: Yeah. Oh yeah, there's Shining scene. Yeah that was pretty wild. Yeah, Yeah,
• 1:10:41
  Speaker 3: that was pretty well.
• 1:10:42
  Speaker 2: How was Steven Spielberg that directed that?
• 1:10:46
  Speaker 3: Yeah? Who directed Ai Cubic? Yeah? After Kubrick died and
• 1:10:53
  Speaker 3: made changes to that movie that Kubrick would not have
• 1:10:55
  Speaker 3: approved of. But that's all I'm saying about that.
• 1:10:58
  Speaker 2: Yeah, Yeah, this one we also point out in our film,
• 1:11:02
  Speaker 2: and that other people have pointed out the TVs and
• 1:11:05
  Speaker 2: appliances within The Shining don't look like that they're plugged
• 1:11:09
  Speaker 2: into anything, which I think is symbolizing the faking of
• 1:11:14
  Speaker 2: the moon landing, because obviously that footage was if it
• 1:11:19
  Speaker 2: was faked, the footage was at least faked, and that
• 1:11:24
  Speaker 2: footage would not have been live, so it have been
• 1:11:26
  Speaker 2: like they're watching like a replay of something on TV.
• 1:11:29
  Speaker 2: And that's probably the symbolizing of Qubic not having the
• 1:11:33
  Speaker 2: TVs plugged into any electrical outlet.
• 1:11:36
  Speaker 3: Yeah, I agree with that. And I think there's another
• 1:11:38
  Speaker 3: scene in The Shining which I've never included any of
• 1:11:42
  Speaker 3: my work, but I think is also more proof that
• 1:11:44
  Speaker 3: he's talking about the moon landing. And that's a scene
• 1:11:47
  Speaker 3: where Owen greets Wendy and Jack and Danny and all
• 1:11:53
  Speaker 3: of their luggage is sitting behind them, and we're supposed
• 1:11:56
  Speaker 3: to believe that this six foot high pile of luggage
• 1:12:00
  Speaker 3: was packed into a Volkswagen Beetle, and that's exactly the
• 1:12:04
  Speaker 3: problem with the moon landings. They're the inside of the
• 1:12:08
  Speaker 3: lunar Lander was so small. There's no way you could
• 1:12:11
  Speaker 3: get all that stuff in there. And it's got to
• 1:12:14
  Speaker 3: be Cubic telling us that, See, you couldn't get this
• 1:12:17
  Speaker 3: much stuff in a Volkswagen, You definitely couldn't get that
• 1:12:20
  Speaker 3: much stuff in the lunar Lander.
• 1:12:22
  Speaker 2: Yeah, and especially how big cameras were back then, there's
• 1:12:26
  Speaker 2: no way they're lugging up those cameras in our rocket
• 1:12:28
  Speaker 2: to the Moon.
• 1:12:29
  Speaker 3: Cameras are huge or vacuum tube cameras, which, by the way,
• 1:12:33
  Speaker 3: would never last in the two hundred and fifty degree
• 1:12:36
  Speaker 3: heat of the Moon at all. They would be melted
• 1:12:38
  Speaker 3: almost immediately. Imagine taking one of those old cameras and
• 1:12:42
  Speaker 3: sticking it in your oven at two hundred and fifty
• 1:12:44
  Speaker 3: degrees for twenty minutes and thinking it's going to work.
• 1:12:48
  Speaker 3: Come on, it's so ridiculous. You know.
• 1:12:50
  Speaker 2: There's another interesting error that I don't have in here,
• 1:12:53
  Speaker 2: but well, I don't know if it's actually an error
• 1:12:56
  Speaker 2: or not, but it's interesting. Whenever if they're going up
• 1:13:00
  Speaker 2: to the elevator, whenever they first get to the hotel, Jack,
• 1:13:04
  Speaker 2: Wendy and Danny and Olmen is giving them the tour
• 1:13:06
  Speaker 2: in the beginning and takes them up in the elevator
• 1:13:08
  Speaker 2: to show them their apartment that they're going to be
• 1:13:10
  Speaker 2: standing for the winner. The elevator opens from I think
• 1:13:15
  Speaker 2: it's left to right, and then whenever you see the
• 1:13:19
  Speaker 2: visions of the blood coming out of the elevator, it
• 1:13:21
  Speaker 2: opens from right to left.
• 1:13:25
  Speaker 3: It's really amazing, it's wild.
• 1:13:28
  Speaker 2: Yeah, this one Mark Dovlin actually brought up to us
• 1:13:33
  Speaker 2: in our interview, which I think is another one that
• 1:13:38
  Speaker 2: proves the our theory correct because whenever Olmen is talking
• 1:13:44
  Speaker 2: to Jack in the interview in the beginning of the movie,
• 1:13:47
  Speaker 2: Allmen says that the previous caretaker to the hotel, his
• 1:13:51
  Speaker 2: name is Charles Grady. Then when Jack meets Grady and
• 1:13:58
  Speaker 2: you suppos alcohol on him and then they go into
• 1:14:01
  Speaker 2: the bathroom for Grady to try and wipe it off
• 1:14:03
  Speaker 2: of Jack, Brady introduces himself as Delbert Grady. And this
• 1:14:10
  Speaker 2: really fits with our theory that these people aren't ghosts,
• 1:14:16
  Speaker 2: they're actors. And it's a high possibility that the actor
• 1:14:20
  Speaker 2: that's playing Charles Grady here forgot the line that he
• 1:14:27
  Speaker 2: was supposed to say within the movie and just called
• 1:14:29
  Speaker 2: himself Delbert Grady.
• 1:14:32
  Speaker 3: That's pretty sure.
• 1:14:35
  Speaker 2: I mean that kind of that wouldn't make sense.
• 1:14:38
  Speaker 3: Yeah, well he did that again on Clockwork Orange. Alex's
• 1:14:43
  Speaker 3: name is Alex DeLong at the beginning of the movie,
• 1:14:47
  Speaker 3: and at the end of the movie his name is
• 1:14:48
  Speaker 3: Alex Vergis. So it's like, wait a minute, what's going
• 1:14:52
  Speaker 3: on here. So it's not the first time Cubrick's done that.
• 1:14:56
  Speaker 3: I'm not sure why. Either don't get it. I know
• 1:14:59
  Speaker 3: it irritated Anthony Burgess to know end. He wrote a
• 1:15:03
  Speaker 3: review of Clockwork Orange complaining about that that continuity are there,
• 1:15:10
  Speaker 3: Hockey you can't get the name right right, It's like,
• 1:15:13
  Speaker 3: I don't know.
• 1:15:15
  Speaker 2: Yeah, that's a really strange one. I didn't even pay
• 1:15:18
  Speaker 2: attention to that until Mark brought it up in our
• 1:15:21
  Speaker 2: interview together.
• 1:15:22
  Speaker 3: I was like, wild, Yeah, I caught that before, but
• 1:15:25
  Speaker 3: I never could figure it out. Why.
• 1:15:28
  Speaker 2: Well, I mean, it makes sense. If these people are LARPing,
• 1:15:31
  Speaker 2: then they got to say specific things to try and
• 1:15:34
  Speaker 2: get Jack to do what they want Jack to do.
• 1:15:38
  Speaker 2: And during the chaos and all these people that are
• 1:15:42
  Speaker 2: essentially actors that are LARPing at this party, then it's
• 1:15:47
  Speaker 2: highly possible that and another thing, another continent. It's not
• 1:15:53
  Speaker 2: really continuity here, but it's a mistake. Is Jack mentions
• 1:15:58
  Speaker 2: to Grady. He was like, haven't I I've seen you
• 1:16:00
  Speaker 2: somewhere before? And he hadn't seen it. There's no pictures
• 1:16:05
  Speaker 2: of Grady on any of the walls of the hotel.
• 1:16:09
  Speaker 2: But that's the scene that Kubrick actually cut out of
• 1:16:12
  Speaker 2: the movie where Jack finds the scrapbook. Yeah, he finds
• 1:16:16
  Speaker 2: all the newspaper clippings in the articles that Kubrick. Did
• 1:16:21
  Speaker 2: he shoot that scene and then he decided not to
• 1:16:23
  Speaker 2: put it in or did they not even shoot it.
• 1:16:25
  Speaker 3: Diane Johnson, his co screenwriter, says that there was a
• 1:16:29
  Speaker 3: crucial scene he took days to shoot, and apparently there
• 1:16:33
  Speaker 3: was a whole bunch of ancillary scenes that had to
• 1:16:35
  Speaker 3: do with it, and Jack telling Wendy how great it
• 1:16:38
  Speaker 3: was to be writing again and write all this stuff,
• 1:16:41
  Speaker 3: and que just lopped it all out and junked it,
• 1:16:46
  Speaker 3: and now you know. Diania Johnson thought it hurt the
• 1:16:50
  Speaker 3: movie because you couldn't figure out what was going on anymore.
• 1:16:54
  Speaker 3: But she didn't know what was really going on because
• 1:16:57
  Speaker 3: Cubric didn't tell her.
• 1:17:00
  Speaker 2: That would make sense that he would have had that
• 1:17:02
  Speaker 2: scene in there, and that would have made that scene
• 1:17:04
  Speaker 2: between him and Grady make a lot more sense because
• 1:17:08
  Speaker 2: Jack never seen in the continuity of the film, he
• 1:17:11
  Speaker 2: never saw a picture of Grady anywhere, but yet he's
• 1:17:14
  Speaker 2: telling them that he's seen him before.
• 1:17:16
  Speaker 3: Yeah, and you wonder why Cubant even left that line in.
• 1:17:19
  Speaker 3: I mean, you know, I don't. Again, it goes back
• 1:17:24
  Speaker 3: to our theory proving it correct, is what I think.
• 1:17:27
  Speaker 2: Yeah, I absolutely agree. The next one is, Uh, Wendy
• 1:17:32
  Speaker 2: is the first time we meet Wendy and Danny, which
• 1:17:35
  Speaker 2: we talk about in our movie. Wendy's reading a book
• 1:17:37
  Speaker 2: by an intelligence officer J. D. Salinger called Catcher in
• 1:17:42
  Speaker 2: the Rye.
• 1:17:43
  Speaker 3: Yep, what is the What is the catcher catching in
• 1:17:50
  Speaker 3: that book? He's catching children, That's who's getting caught in
• 1:17:55
  Speaker 3: the Rye. And it's quite obvious. And uh, we do
• 1:18:01
  Speaker 3: interview with the Great Joe Atwell, who really breaks down
• 1:18:04
  Speaker 3: Catcher and the Rye to the point where you realize
• 1:18:07
  Speaker 3: it it is, in fact, the whole book is an
• 1:18:10
  Speaker 3: intelligence operation.
• 1:18:13
  Speaker 2: Absolutely. And then this one is really interesting too, Jay
• 1:18:17
  Speaker 2: I didn't even realize this until I was looking back
• 1:18:20
  Speaker 2: through it. When Jack breaks into the apartment upstairs to
• 1:18:27
  Speaker 2: try and get the windy. Windy goes into the bathroom.
• 1:18:30
  Speaker 2: Jack only breaks down one of the quarter panels of
• 1:18:35
  Speaker 2: the door, which is the right side that he sticks
• 1:18:38
  Speaker 2: his face through and says the famous line, here's Johnny.
• 1:18:41
  Speaker 2: But whenever Hollarand rolls up on the snowmobile the SnowCat
• 1:18:46
  Speaker 2: or whatever he is, is trying to get up to
• 1:18:48
  Speaker 2: the top of the mountain to see what's going on,
• 1:18:51
  Speaker 2: the shot turns and it's this one and both of
• 1:18:55
  Speaker 2: the quarter panels of the door have been broken.
• 1:19:00
  Speaker 3: Wow.
• 1:19:02
  Speaker 2: Weird.
• 1:19:03
  Speaker 3: Yeah, because you have to go through the effort of
• 1:19:06
  Speaker 3: breaking it, so I do know it's weird.
• 1:19:10
  Speaker 2: And apparently Jack was actually using a real like his
• 1:19:15
  Speaker 2: own fireman axe to break down these doors, but then
• 1:19:20
  Speaker 2: it got super heavy, and then they had to change
• 1:19:23
  Speaker 2: the axe because Kuberg was having them do all these
• 1:19:25
  Speaker 2: scenes so many times and he was getting tired of well,
• 1:19:29
  Speaker 2: get a heavy freaking fireman's axe around, so they made
• 1:19:32
  Speaker 2: a lighter for him. I thought that one was really interesting.
• 1:19:38
  Speaker 2: This one is even wilder. Okay, so, and this was
• 1:19:45
  Speaker 2: so obvious, but I had never seen it before. So
• 1:19:49
  Speaker 2: when Hollerin is giving a tour to Windy and Danny.
• 1:19:54
  Speaker 2: The after the kitchen, they the first stop is at
• 1:19:58
  Speaker 2: the freezer room. Yeah, so when they're going into the
• 1:20:02
  Speaker 2: freezer room, you see the handle here on the left.
• 1:20:06
  Speaker 2: It's on the right side of the door. And then
• 1:20:09
  Speaker 2: this is the next shot of them exiting the freezer room.
• 1:20:13
  Speaker 2: The handle is on the left side of the door,
• 1:20:16
  Speaker 2: and the entire background is different. There's not a chalkboard
• 1:20:24
  Speaker 2: in the background. This looks like a big open kitchen area.
• 1:20:26
  Speaker 2: This looks like right outside of the kitchen. And then
• 1:20:28
  Speaker 2: when they exit, it's there's there's an exit sign there
• 1:20:32
  Speaker 2: with two open wide doors there. There's a fire alarm
• 1:20:37
  Speaker 2: on the side of it. There's not It's wow, it's
• 1:20:41
  Speaker 2: two different sets.
• 1:20:43
  Speaker 3: That is crazy. That has to be done for some
• 1:20:47
  Speaker 3: psychological reason. It's kind of weird.
• 1:20:52
  Speaker 2: But I was dumbfounded when I seen that one. I
• 1:20:54
  Speaker 2: was like, holy crap, Like, how does that even happen?
• 1:20:58
  Speaker 2: And it's so quick it's you can miss it really easily.
• 1:21:04
  Speaker 3: Watch this movie like thirty times.
• 1:21:06
  Speaker 2: So yeah, the background is completely I mean, there's a
• 1:21:10
  Speaker 2: tray over here in the first shot. It looks like
• 1:21:13
  Speaker 2: plates and tea kettles or jars or whatever, and then
• 1:21:17
  Speaker 2: it's just not there, and when they walk out wild
• 1:21:22
  Speaker 2: This was interesting. So whenever Jack goes in, when he
• 1:21:26
  Speaker 2: breaks down the first door into the apartment that they're
• 1:21:30
  Speaker 2: staying in, and Wendy and Danny is trying to escape
• 1:21:35
  Speaker 2: to the bathroom, and she lets Danny out the window
• 1:21:38
  Speaker 2: and Danny escapes and then ends up back inside of
• 1:21:41
  Speaker 2: the hotel. There's a lampshade on the table here that's crooked,
• 1:21:46
  Speaker 2: and then when Jack walks in, the lamp shade is straight.
• 1:21:52
  Speaker 3: You're convincing me that Curious is screwing with us state
• 1:21:59
  Speaker 3: like that.
• 1:22:00
  Speaker 2: And then obviously here's the monarch poster in the background
• 1:22:06
  Speaker 2: when Danny first sees the twins. And several people have
• 1:22:09
  Speaker 2: said that they haven't gotten that right, they've gotten it
• 1:22:14
  Speaker 2: wrong what that actually means, and we explain it in
• 1:22:18
  Speaker 2: our movie. And this one, of course, this was the
• 1:22:24
  Speaker 2: famous one from Room two thirty seven where at the
• 1:22:29
  Speaker 2: end scene the shot fades and for a split second
• 1:22:34
  Speaker 2: you can see a little Hitler mustache beginning to form
• 1:22:37
  Speaker 2: on Jack's face. There. Then the last one, which is
• 1:22:41
  Speaker 2: the one that I seen, is the swastika in the
• 1:22:47
  Speaker 2: background of the gold room when Ollman is giving a
• 1:22:50
  Speaker 2: tour to Jack, Bill Watson and Wendy.
• 1:22:57
  Speaker 3: Yeah.
• 1:23:00
  Speaker 2: But ye, that's the uh yeah, that's all all the
• 1:23:05
  Speaker 2: ones that I've found so far.
• 1:23:09
  Speaker 3: It's incredible, incredible because a lot of movies there's like
• 1:23:13
  Speaker 3: not even one or two of those kinds of things
• 1:23:16
  Speaker 3: going on. I mean that they have a whole cot
• 1:23:20
  Speaker 3: continuity directors. All they do is take photographs and and
• 1:23:25
  Speaker 3: look at everything day to day, make sure everything's exactly
• 1:23:27
  Speaker 3: like it was the day before. And that's their whole job.
• 1:23:31
  Speaker 3: And uh so, either there was no continuity director, or
• 1:23:35
  Speaker 3: the continuity director should be fired, or Cuba killed the
• 1:23:38
  Speaker 3: continuity director to just shut up. Yeah, so I don't know,
• 1:23:43
  Speaker 3: but man, that's a lot of continuity hers.
• 1:23:47
  Speaker 2: Now. The strange one that I was looking at was
• 1:23:51
  Speaker 2: apparently when Jack after he kills Hollering with the acts
• 1:23:58
  Speaker 2: the door, because when Hollarin first arrives at the hotel,
• 1:24:02
  Speaker 2: the door is a jar, but we never really know
• 1:24:05
  Speaker 2: why the door is a jar. But it's Danny that
• 1:24:10
  Speaker 2: went back into the hotel from whenever he was outside.
• 1:24:13
  Speaker 2: But we never see Danny ent or back into the hotel.
• 1:24:16
  Speaker 2: But Danny is the one that left the door just
• 1:24:18
  Speaker 2: a jar because he's small enough to just get through
• 1:24:21
  Speaker 2: that little crack in the door. So whenever Hollarin shows up,
• 1:24:24
  Speaker 2: he opens the door all the way, but he just
• 1:24:27
  Speaker 2: opens one door and then he gets in, and then
• 1:24:30
  Speaker 2: Jack comes in and stobs him with the axe and
• 1:24:31
  Speaker 2: then he dies, and then he chases after Danny a
• 1:24:34
  Speaker 2: little bit more and they go around a few corridors,
• 1:24:36
  Speaker 2: and then Jack comes to the front door again, but
• 1:24:40
  Speaker 2: this time both doors are completely open, and people have
• 1:24:44
  Speaker 2: said that that's a connuity are but it's not because
• 1:24:47
  Speaker 2: Danny then exits the hotel again, and he would be
• 1:24:50
  Speaker 2: able to push both doors open from the inside when
• 1:24:53
  Speaker 2: he's exiting.
• 1:24:54
  Speaker 3: Right, that makes sense, Yeah, But.
• 1:24:58
  Speaker 2: I always thought that that was kind of strange when uh,
• 1:25:01
  Speaker 2: when Hallerin shows up and the door was open, because
• 1:25:04
  Speaker 2: I was like, there hadn't been anybody outside besides Windy
• 1:25:09
  Speaker 2: whenever she went to go check the SnowCat and the
• 1:25:12
  Speaker 2: radio from inside, and when johnck is inside the storage room,
• 1:25:15
  Speaker 2: and it was like go go and check, and she
• 1:25:18
  Speaker 2: went out there and checked. But that was like earlier
• 1:25:20
  Speaker 2: in the movie, that was she wouldn't have just left
• 1:25:22
  Speaker 2: the door open. So it was definitely Danny whenever he
• 1:25:26
  Speaker 2: escaped out of the hotel window, that left the door
• 1:25:30
  Speaker 2: drawer just enough for him to get it back inside.
• 1:25:32
  Speaker 3: Strange Hu didn't include that scene though, Danny getting back
• 1:25:36
  Speaker 3: in the hotel, that's.
• 1:25:38
  Speaker 2: All, yeah, because it was just automatically there. That's whenever
• 1:25:42
  Speaker 2: he goes and hides under the kitchen drawer.
• 1:25:47
  Speaker 3: Yeah, the metal metal drawer. Yeah, I know that that
• 1:25:52
  Speaker 3: is strange. That it's kind of crucial, you know, for
• 1:25:57
  Speaker 3: the audience to understand how Danny got back in, and
• 1:26:00
  Speaker 3: yet Cubic cuts it out, leaving us all mystified. It's
• 1:26:06
  Speaker 3: truly a mysterious film, The Shining, It really is, no
• 1:26:10
  Speaker 3: matter how you cut it. It's just so many mysteries
• 1:26:13
  Speaker 3: and layers and Cubic playing four D chests with the audience. Really.
• 1:26:21
  Speaker 2: Yeah, And the last thing I think we should talk
• 1:26:23
  Speaker 2: about is the is the ending to the Shine of
• 1:26:27
  Speaker 2: the original ending to the movie that not a lot
• 1:26:31
  Speaker 2: of people even know about that we have in our film.
• 1:26:36
  Speaker 2: What's in the test screenings of The Shining. Kubrick had
• 1:26:42
  Speaker 2: uh and completely different ending than the ending that we're
• 1:26:46
  Speaker 2: all used to of how The Shining all wraps up
• 1:26:51
  Speaker 2: and he cut that version of the film out.
• 1:26:56
  Speaker 3: Yeah, he cut the ending out and then apparently destroyed it,
• 1:27:00
  Speaker 3: so we can't have any We don't have any copies.
• 1:27:01
  Speaker 3: All we have is the script and some stills that
• 1:27:05
  Speaker 3: somebody took on the set that when they were shooting it,
• 1:27:08
  Speaker 3: and it really the alternative ending that has been thrown
• 1:27:12
  Speaker 3: out absolutely solidifies our point of view what the shining
• 1:27:18
  Speaker 3: is really about. Because Wendy's in the hospital apparently after
• 1:27:25
  Speaker 3: the ordeal, and Danny's there and Omen, who's never met
• 1:27:29
  Speaker 3: Wendy remember or Dan? Oh no, they met earlier, that's right.
• 1:27:34
  Speaker 3: Omen comes in and says, well, Wendy, we went back
• 1:27:37
  Speaker 3: to the hotel and we didn't find any evidence for
• 1:27:40
  Speaker 3: what you said happened at all. And Wendy's like really surprised,
• 1:27:45
  Speaker 3: and Jack says, I mean Omens says. He invites Danny
• 1:27:50
  Speaker 3: and Wendy to his La Beach home for a couple
• 1:27:53
  Speaker 3: of months stay, which is strange, and then he throws
• 1:27:58
  Speaker 3: Danny the tennis ball that was rolled down the aisle
• 1:28:04
  Speaker 3: in the famous room two thirty seven seen And unless
• 1:28:09
  Speaker 3: Olmen was there witnessing any of this or knew what
• 1:28:13
  Speaker 3: had happened, how would you know that Danny had a
• 1:28:17
  Speaker 3: tennis ball incident in the movie, and the answer is
• 1:28:20
  Speaker 3: because Olmen is the leader of the experiment. He's one
• 1:28:24
  Speaker 3: that instructed somebody to roll the tennis ball down to
• 1:28:27
  Speaker 3: attract Danny's attention. And why would he invite them to
• 1:28:31
  Speaker 3: his beach home in La Why not rent a place
• 1:28:35
  Speaker 3: on the beach. Why haven't say at your house? Because
• 1:28:38
  Speaker 3: in the mk Ultra experiments, you have to watch the
• 1:28:42
  Speaker 3: people you experimented on for a few months after the
• 1:28:44
  Speaker 3: experiment to see how they react. And that's what that
• 1:28:47
  Speaker 3: was all about. So I think the alternative ending that
• 1:28:50
  Speaker 3: Kubrick cut out and probably cut out because it gave
• 1:28:53
  Speaker 3: out too much of the info. It just says, then,
• 1:28:58
  Speaker 3: this is what's going on in this movie. It's a
• 1:29:01
  Speaker 3: it's a you know, it's a movie by mk Ultra,
• 1:29:05
  Speaker 3: and he had to cut it out because it was
• 1:29:07
  Speaker 3: given too much away. He may have even been instructed
• 1:29:11
  Speaker 3: by the agencies to cut it out. Whoa dude, We
• 1:29:14
  Speaker 3: didn't know what this movie was about until that last scene.
• 1:29:17
  Speaker 3: Then we realized what you were trying to say in
• 1:29:19
  Speaker 3: this movie. You better cut that last scene out. And
• 1:29:22
  Speaker 3: Cubick send an editor out and like fifteen twenty copies
• 1:29:26
  Speaker 3: are out there, and he cut it, and that's what
• 1:29:30
  Speaker 3: it's all about. And they buried that baby. They don't
• 1:29:33
  Speaker 3: want anybody to know about that alternative ending, and it's
• 1:29:38
  Speaker 3: completely buried. And fortunately you found a ai creation of
• 1:29:43
  Speaker 3: the ending, which gives you a really good flavor for
• 1:29:46
  Speaker 3: what it must have looked like. And so you know,
• 1:29:50
  Speaker 3: after we found you found that alternative ending, that's what
• 1:29:55
  Speaker 3: I knew that we were right on the right track.
• 1:29:58
  Speaker 2: Which was another film, the how the similar thing happened
• 1:30:03
  Speaker 2: that we discussed in our first movie, which is the
• 1:30:06
  Speaker 2: Zabruta film. They thought that they could just bury the
• 1:30:09
  Speaker 2: Zabruder film when no one would ever see it. I
• 1:30:12
  Speaker 2: mean the same thing with the moon landing footage. Absolutely,
• 1:30:15
  Speaker 2: it's just gone. It's just destroyed. The originals are gone.
• 1:30:18
  Speaker 3: They're all gone. Yeah, they destroyed them and uh and
• 1:30:21
  Speaker 3: they never told anybody or anything. They just got rid
• 1:30:24
  Speaker 3: of them. And all the lunar orbiter videotapes are rotting
• 1:30:31
  Speaker 3: in McDonald's in Pasadena, California, and old McDonald's are broken down.
• 1:30:36
  Speaker 3: Oliver McDonald's rotting away in the Pasadena heat. So they'll
• 1:30:40
  Speaker 3: be gone soon. And so the entire record of the
• 1:30:43
  Speaker 3: moonlandings has been pretty much completely destroyed. All the timori
• 1:30:48
  Speaker 3: alt timor data, the flight data, the landing data, all
• 1:30:55
  Speaker 3: of it's gone, not just the photographs of the videotapes.
• 1:30:58
  Speaker 3: All of the data has all been gone lost forever.
• 1:31:02
  Speaker 3: We'll never know what any of it was. And NASA
• 1:31:06
  Speaker 3: doesn't even care. They don't even offer you an explanation.
• 1:31:09
  Speaker 3: I don't care.
• 1:31:10
  Speaker 2: This is a good question. Why are they showing that
• 1:31:13
  Speaker 2: the driver as the killer again? Since Bill Cooper, I mean,
• 1:31:18
  Speaker 2: I have quick thoughts on that. I want to get
• 1:31:19
  Speaker 2: your thoughts on it too, Jay. The what made that
• 1:31:22
  Speaker 2: thing whole, the whole thing popular again was that documentary
• 1:31:26
  Speaker 2: that I had you watch on Netflix with that was
• 1:31:28
  Speaker 2: about the Octopus murders with Danny Castileiro, where the lady
• 1:31:32
  Speaker 2: is on there and said that she saw a version
• 1:31:34
  Speaker 2: of this the Bruder film that this intelligence guy was
• 1:31:38
  Speaker 2: showing her, and that showed the driver of the limousine
• 1:31:41
  Speaker 2: turning around and shooting JFK in the head.
• 1:31:45
  Speaker 3: Well, Bill Cooper had a really poor resolution film. I
• 1:31:52
  Speaker 3: saw him, I knew him, and I saw his film,
• 1:31:55
  Speaker 3: and and the driver does turn around. There's no doubt
• 1:31:58
  Speaker 3: about it, and there are things about his movements that
• 1:32:01
  Speaker 3: are furtive. But everybody in that car is looking at
• 1:32:04
  Speaker 3: Kennedy except for Jackie at the moment that he gets hit.
• 1:32:09
  Speaker 3: So it's because they saw him put the squib on.
• 1:32:13
  Speaker 3: So now they know it's about to go, so they're
• 1:32:15
  Speaker 3: all getting ready for it, right. And but if you
• 1:32:19
  Speaker 3: have to understand that you're driving the car and you're
• 1:32:23
  Speaker 3: gonna take your gun, I mean, first off, you're almost
• 1:32:27
  Speaker 3: gonna kill Connelly and his wife because you have to
• 1:32:30
  Speaker 3: shoot through them right to get to jack Plus the
• 1:32:33
  Speaker 3: angle is way off, so there's no it didn't happen,
• 1:32:37
  Speaker 3: and it would have. You would have seen the flash
• 1:32:41
  Speaker 3: from the gun going off, and you don't.
• 1:32:43
  Speaker 2: So yeah, I think that they got like some sort
• 1:32:48
  Speaker 2: of resurgence because of that documentary. And then also a
• 1:32:51
  Speaker 2: way to you know, kind of discredit our documentary on
• 1:32:55
  Speaker 2: the topic as well.
• 1:32:57
  Speaker 3: There's just a guy came out two or three days
• 1:33:00
  Speaker 3: ago saying that he saw Oswald, he saw the hit
• 1:33:04
  Speaker 3: Kennedy's head exploding. He was there that day. I saw
• 1:33:08
  Speaker 3: Kennedy's head exploding. You know. I was like, Okay, no,
• 1:33:11
  Speaker 3: wonder why you just came out with all this. So, yeah,
• 1:33:13
  Speaker 3: we got a lot of pushback on JFKX, the most
• 1:33:17
  Speaker 3: surprising amount that I've ever thought. I mean, I got
• 1:33:20
  Speaker 3: much more pushback on JFKX from the intelligence community than
• 1:33:24
  Speaker 3: I ever got with the Moon landing. I got pushback
• 1:33:27
  Speaker 3: on the moon landing, but nothing like what we got.
• 1:33:29
  Speaker 3: My god, the old documentary is trying to do sending
• 1:33:32
  Speaker 3: out this info again. Here we are just happened again
• 1:33:38
  Speaker 3: in the anniversary what's out anything? No, nothing, documentaries are
• 1:33:42
  Speaker 3: coming out, nobody's talking about it. It's not on any shows.
• 1:33:45
  Speaker 3: It's nowhere. It's gone wiped out of history, just like
• 1:33:49
  Speaker 3: it was for the fifty nine years before we put
• 1:33:52
  Speaker 3: our film out.
• 1:33:55
  Speaker 2: Yeah, yeah, that was unbelievable. I couldn't believe that. And
• 1:33:58
  Speaker 2: then the guy that, I mean, we've talked about it
• 1:33:59
  Speaker 2: so times, but I think it's important as well. The
• 1:34:02
  Speaker 2: guy that said that he planted that what was his name, Landis,
• 1:34:06
  Speaker 2: Mark Landis or Mike Landis or whatever said he planted
• 1:34:08
  Speaker 2: the magic bullet on JFK Stretcher.
• 1:34:11
  Speaker 3: Still he's still a lot of arrested.
• 1:34:15
  Speaker 2: Where did he come from? Like, why didn't he say
• 1:34:17
  Speaker 2: this freaking thirty forty years ago? Why didn't he say
• 1:34:20
  Speaker 2: it right after he did it?
• 1:34:22
  Speaker 3: Well, he waited until about two and a half weeks
• 1:34:24
  Speaker 3: after our film comes out before he says it half
• 1:34:28
  Speaker 3: the film comes out, you know. I mean it was amazing.
• 1:34:31
  Speaker 3: The amount of money that they put into the anti
• 1:34:34
  Speaker 3: JFKX propaganda machine was a thousand times more than our budget,
• 1:34:40
  Speaker 3: maybe five thousand times more than our budget. And I
• 1:34:43
  Speaker 3: mean even Oliver Stone put out a revisited JFK documentary
• 1:34:49
  Speaker 3: reiterating all the stuff that you know he had in
• 1:34:52
  Speaker 3: his previous work. But you know, I'm not gonna say
• 1:34:57
  Speaker 3: anything about Oliver Stone. But anyway, Uh yeah, so that
• 1:35:02
  Speaker 3: was that was kind of exciting. Now I'm waiting to
• 1:35:03
  Speaker 3: see what's going to happen with a clockwork Shining. It's
• 1:35:09
  Speaker 3: only been out for three weeks, so they haven't had
• 1:35:12
  Speaker 3: time to recover from it. I'm expecting. I think we've
• 1:35:18
  Speaker 3: hit a nerve and I think that people are going
• 1:35:22
  Speaker 3: to start coming out with weird stuff and it's always
• 1:35:24
  Speaker 3: start up again, I really do.
• 1:35:28
  Speaker 2: Hey, when you're when you're ahead of the curve, they
• 1:35:30
  Speaker 2: always they always come after you.
• 1:35:34
  Speaker 3: Quote is when you're one step ahead of the crowd,
• 1:35:37
  Speaker 3: you're a genius. When you're two steps ahead of the crowd,
• 1:35:40
  Speaker 3: you're a crackpot.
• 1:35:43
  Speaker 2: No one likes you at that point, but then in
• 1:35:45
  Speaker 2: five or six years everyone steals all your stuff.
• 1:35:49
  Speaker 3: Of course, where have you been all works?
• 1:35:54
  Speaker 2: Yea Alabama says Cubrick was a deep state onset. No,
• 1:36:01
  Speaker 2: you should watch a movie. Watch a movie, Alabama.
• 1:36:04
  Speaker 3: Yeah, he definitely had. He definitely had intelligence intelligence links.
• 1:36:11
  Speaker 3: The whole entire two thousand and one credits were all
• 1:36:15
  Speaker 3: thanking Langley and the US Navy and the military and
• 1:36:18
  Speaker 3: the Pentagon. So you know, he didn't he wasn't working
• 1:36:22
  Speaker 3: in a vacuum. He definitely and you know he was
• 1:36:25
  Speaker 3: a chess player, He would have been intrigued by intelligence.
• 1:36:28
  Speaker 2: Right, absolutely, He definitely would have been in the I
• 1:36:35
  Speaker 2: mean a lot of people throw around the four D
• 1:36:37
  Speaker 2: and the five D trust thing lightly, but I think
• 1:36:40
  Speaker 2: that if anybody was a four D five D whatever
• 1:36:44
  Speaker 2: sixty trust player would have been Kubrick.
• 1:36:46
  Speaker 3: Yeah, yeah, you know that's you know who else was
• 1:36:51
  Speaker 3: a champion chess player. By the way, Donald Donald Trump
• 1:36:56
  Speaker 3: barn is an even bigger chess champion than Donald was.
• 1:37:01
  Speaker 3: And I think that chess teaches you how to think
• 1:37:06
  Speaker 3: in the you know, eight or nine moves downstream, and
• 1:37:09
  Speaker 3: it gives you rewires your brain until you know you
• 1:37:14
  Speaker 3: have this incredibly analytical mind that does game theory, I
• 1:37:20
  Speaker 3: guess is what they call it. And I think that that.
• 1:37:26
  Speaker 3: I think if you're going to become doing very very
• 1:37:30
  Speaker 3: complicated work, I think that it would be behoove you
• 1:37:34
  Speaker 3: to learn chess and learn it well, because it will
• 1:37:38
  Speaker 3: teach you how to think in the future. And if
• 1:37:41
  Speaker 3: you're making films, man, you really got to be thinking
• 1:37:44
  Speaker 3: about the future being because if you're not, your ass
• 1:37:48
  Speaker 3: is going to get hung, that's for sure.
• 1:37:50
  Speaker 2: So I forgot to mention this earlier. I wanted to
• 1:37:54
  Speaker 2: bring it up, but I'm glad that I just remembered.
• 1:37:57
  Speaker 2: I had somebody reach out to me that I'm going
• 1:38:02
  Speaker 2: to be bringing on the show next week that I
• 1:38:07
  Speaker 2: know personally. I've met her a couple of times and
• 1:38:11
  Speaker 2: she told me that she was a body double for
• 1:38:15
  Speaker 2: Britney Spears, and she showed me like all the photos
• 1:38:20
  Speaker 2: of all this like proof that she was, and she
• 1:38:23
  Speaker 2: was like, I can show you when it's me and
• 1:38:25
  Speaker 2: her music videos. I can show you when it's her
• 1:38:28
  Speaker 2: and everything. I'm like, holy shit, and then she was
• 1:38:30
  Speaker 2: telling me that the music video that she bodied doubled
• 1:38:35
  Speaker 2: for Britney Spears and was a music video for Womanizer,
• 1:38:39
  Speaker 2: and it was filmed at a Boeing hanger. I'm like,
• 1:38:47
  Speaker 2: why would they be filming music videos at a freaking
• 1:38:52
  Speaker 2: Boeing hanger that's a government contractor. Boeing is a government contractor.
• 1:38:57
  Speaker 2: I'm like, why would they be doing that? I'm like, wow,
• 1:39:00
  Speaker 2: that really relates to And she was telling me that
• 1:39:03
  Speaker 2: the things that were inside of this Boeing hangar like
• 1:39:08
  Speaker 2: eclipses any Hollywood movie set. And she says she's been
• 1:39:14
  Speaker 2: to all of them. She's like, what was inside of
• 1:39:17
  Speaker 2: this hangar? It's like better than any Hollywood movie set. Well,
• 1:39:24
  Speaker 2: i mean, if.
• 1:39:25
  Speaker 3: You're making a big, huge epic, you know you want
• 1:39:27
  Speaker 3: a hanger. That's what we know that Qubrick shot the
• 1:39:32
  Speaker 3: Moon Landings in the blip Hager, uh just north of London.
• 1:39:36
  Speaker 3: Now that's used as a as ally uh movie studio set. Uh.
• 1:39:43
  Speaker 3: Christopher Nolan shot all three Batman movies in that blimp
• 1:39:47
  Speaker 3: Hager and uh so you know hangars are actually really
• 1:39:53
  Speaker 3: they got high ceilings and they're wide and and they're
• 1:39:56
  Speaker 3: actually steven Spieldberg shot close and cap all the alien
• 1:40:01
  Speaker 3: scenes at the end. That was all shot in a
• 1:40:03
  Speaker 3: hangar somewhere I think in Birmingham, Alabama, but yeah, they
• 1:40:09
  Speaker 3: usually they use hangars a lot, and you look at
• 1:40:13
  Speaker 3: it from the outside, you can't tell what's going on
• 1:40:15
  Speaker 3: on the inside. Right open up the door and there's
• 1:40:17
  Speaker 3: this huge, big set in there and all of that.
• 1:40:20
  Speaker 3: So that doesn't surprise me actually, but that's interesting that
• 1:40:24
  Speaker 3: she had a body double.
• 1:40:27
  Speaker 2: Yeah, we're gonna get into it next week because she
• 1:40:32
  Speaker 2: wants to come on and talk about it. So I
• 1:40:34
  Speaker 2: was like, have you ever talked about this before? And
• 1:40:36
  Speaker 2: she was like, not really, I've mentioned it before, but
• 1:40:38
  Speaker 2: people kind of just you know, brush over it. And
• 1:40:40
  Speaker 2: I'm like, well, this is a really because she watched
• 1:40:43
  Speaker 2: our movie and we have that section that house Britney
• 1:40:47
  Speaker 2: Spears in our movie. And then that's when she messaged
• 1:40:51
  Speaker 2: me and was like, hey, I was Britney Spears body double.
• 1:40:54
  Speaker 2: And I was like, wild, really wild. And then I
• 1:40:58
  Speaker 2: watched the music video and I was like, Holy, all
• 1:41:00
  Speaker 2: these people have body doubles. She was like, I wasn't
• 1:41:04
  Speaker 2: the only one. There was another body double that she
• 1:41:07
  Speaker 2: had as well.
• 1:41:08
  Speaker 3: Yeah, yeah, it's well known. The Beatles had body doubles
• 1:41:11
  Speaker 3: and the Rolling Stones had body doubles. Prints had a
• 1:41:14
  Speaker 3: body double. It's well known. If they do it, you know,
• 1:41:19
  Speaker 3: on the way you can get around really if you
• 1:41:20
  Speaker 3: think about it. So, yeah, Hollywood is just so interesting.
• 1:41:25
  Speaker 3: If you ever want to read a really good book
• 1:41:26
  Speaker 3: about Hollywood, read Kenneth Angers Hollywood Babylon. It's about Hollywood
• 1:41:32
  Speaker 3: in the nineteen twenties and thirties. And believe me, dude,
• 1:41:36
  Speaker 3: they made nothing new under the sun. Everything that we
• 1:41:39
  Speaker 3: think is kinky and weird today, they were doing it
• 1:41:42
  Speaker 3: back then. So that was almost one hundred years ago.
• 1:41:45
  Speaker 3: So yeah, nothing changed. People were murdering each other, people
• 1:41:51
  Speaker 3: were raping and having weird, kinky sex, and there were
• 1:41:54
  Speaker 3: drugs everywhere. And yeah, so nothing's really change except that
• 1:42:01
  Speaker 3: Hollywood's not going out of business.
• 1:42:02
  Speaker 2: So absolutely is done. And that's why people should support
• 1:42:05
  Speaker 2: independent filmmakers like us. Jay, let people know where they
• 1:42:08
  Speaker 2: can find and watch our movie Amazon Prime.
• 1:42:11
  Speaker 3: Go to Amazon Prime topic, type in a clockwork Shining
• 1:42:15
  Speaker 3: and it'll show up right away. And it's cheap. It's fun,
• 1:42:20
  Speaker 3: it's really riveting. Rider did an absolutely amazing job on
• 1:42:24
  Speaker 3: the film. And everybody is just praising it, both the plot,
• 1:42:31
  Speaker 3: the presentation and the technical work. It's a it's a
• 1:42:36
  Speaker 3: it's a I think it's the best film of twenty
• 1:42:38
  Speaker 3: twenty four speaking out of turn here, but also, you know,
• 1:42:42
  Speaker 3: I understand how you persuade people, and I want to
• 1:42:45
  Speaker 3: get it in your head that this is one of
• 1:42:46
  Speaker 3: the best films you're ever going to see. So when
• 1:42:48
  Speaker 3: you see it, you think it's one of the best
• 1:42:50
  Speaker 3: films you've ever seen. So everybody go see it. It's
• 1:42:55
  Speaker 3: as it really is a good film and what you'll
• 1:42:59
  Speaker 3: find in discovery or is that? What we did brilliantly
• 1:43:04
  Speaker 3: in the film was we used Stanley Kubrick's The Shining
• 1:43:08
  Speaker 3: as a as a like a trick to get you,
• 1:43:14
  Speaker 3: get you in the door. You're getting into your living
• 1:43:18
  Speaker 3: room like a trojan horse, or getting into your living
• 1:43:20
  Speaker 3: room by making it about the Shining, and then you
• 1:43:24
  Speaker 3: find out that there's soldiers inside the horse. We're going
• 1:43:28
  Speaker 3: to get out and take over the town. So it's
• 1:43:30
  Speaker 3: a trojan horse. But it works, and it works very cleverly,
• 1:43:34
  Speaker 3: and I think that you can actually show it to
• 1:43:38
  Speaker 3: your family and it'll have an impact on it. I
• 1:43:41
  Speaker 3: really do believe that.
• 1:43:43
  Speaker 2: Yeah, someone tweeted me the other day and said that
• 1:43:48
  Speaker 2: they showed showed the movie to their dad and he's
• 1:43:56
  Speaker 2: on his deathbed and like his dad like started crying.
• 1:44:01
  Speaker 2: I was like, Wow, that's super powerful. But people are
• 1:44:03
  Speaker 2: having crazy reactions to this because it's not just a
• 1:44:07
  Speaker 2: movie about the Shining and Stanley Kubrick. And don't get
• 1:44:10
  Speaker 2: us wrong, because there's been a few people that's been like, oh, well,
• 1:44:12
  Speaker 2: this is just a rehash of Jay Weiner's older works.
• 1:44:16
  Speaker 2: Like we have talked about the moon landing a lot
• 1:44:18
  Speaker 2: in this interview, but the movie is not about the
• 1:44:21
  Speaker 2: moon landing. It's completely different. It's nothing that we maybe
• 1:44:25
  Speaker 2: mentioned the moon landing maybe once or twice in the movies,
• 1:44:29
  Speaker 2: maybe has like two or three months of runtime, So.
• 1:44:32
  Speaker 3: Not even not even more than just a small emphasis.
• 1:44:37
  Speaker 3: We don't want it to be about the moon landing.
• 1:44:40
  Speaker 3: Shining is about the moon landing, but that's not what
• 1:44:42
  Speaker 3: this movie's about. This movie is about something completely different,
• 1:44:45
  Speaker 3: much more deeper than just the moon landing, much more
• 1:44:49
  Speaker 3: prevalent and much more important than the moon landing. Yes,
• 1:44:53
  Speaker 3: the moon landing is important and all that, but what
• 1:44:55
  Speaker 3: we're talking about is something that affects all society and
• 1:45:00
  Speaker 3: is one of the worst thing that has ever happened
• 1:45:04
  Speaker 3: to our country.
• 1:45:07
  Speaker 2: I agree absolutely, and like I've said, it's not just
• 1:45:12
  Speaker 2: you know, it's not a rehashing of old things. It's
• 1:45:16
  Speaker 2: a brand new theory that no one has ever heard before.
• 1:45:19
  Speaker 2: And it means a lot to me if you would
• 1:45:23
  Speaker 2: please watch it and purchase it or buy it. And
• 1:45:27
  Speaker 2: the rewatching value of it I've heard is from people
• 1:45:31
  Speaker 2: they've watched it two or three times, so it's probably
• 1:45:33
  Speaker 2: really important for you just to buy it. It's only
• 1:45:36
  Speaker 2: like a few more dollars more just to buy the
• 1:45:40
  Speaker 2: film and you'll always have it. You can always go
• 1:45:42
  Speaker 2: back to it. But thanks everyone for being here. Thanks
• 1:45:44
  Speaker 2: for coming on Jay, I really appreciate it. Please be
• 1:45:47
  Speaker 2: sure to hit the thumbs up button to help the
• 1:45:48
  Speaker 2: channel on the algorithm share subscribe, hit the bal icon
• 1:45:51
  Speaker 2: as well for notifications, and we'll see you guys next time.
• 1:45:55
  Speaker 2: Please watch the documentary but in the chat one more time.
• 1:45:58
  Speaker 2: Thank you guys. Have good night, and I hope you're
• 1:46:02
  Speaker 2: Black Friday as well, and you had a really great Thanksgiving.
• 1:46:06
  Speaker 2: And we'll see you guys next time. Kay