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A Clockwork Shining (Feat. Ryder Lee) · Cosmic Peach

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  Speaker 1: Baby, I'm a gangstato. It takes a little tangle. You
• 0:04
  Speaker 1: don't mess with me. Mess with me, baby, I'm a
• 0:08
  Speaker 1: gangsta too. Oh, Pach, baby, you're a Gangstatoo.
• 0:23
  Speaker 2: For good warnings, this podcast is designed to take you
• 0:26
  Speaker 2: outside of your comfort zone and make you question reality
• 0:30
  Speaker 2: Listening Discretion is a vibe the Fellas.
• 0:41
  Speaker 1: This ain't my first time at the rodeos. All right, everyone,
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  Speaker 1: you know what it is. It's a cosmic Peach podcast
• 0:57
  Speaker 1: and I have a very special guest line up for
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  Speaker 1: you today. I recently worked with him on The Occult Rejects,
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  Speaker 1: so you may have already heard that episode, but it's
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  Speaker 1: Rider Lee.
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  Speaker 3: How are you.
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  Speaker 1: What's going on?
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  Speaker 3: I'm doing great, Julia, Thanks for having me on Really Eazy. Yeah,
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  Speaker 3: I'm god. You like my movie and if you watched.
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  Speaker 1: It, yeah, I've watched it a couple of times actually.
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  Speaker 1: So it is available on Amazon Prime and is it
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  Speaker 1: anywhere else? That's where I've been watching it.
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  Speaker 3: But you can get it on Apple TV Plus and
• 1:32
  Speaker 3: you can also get it on to b Now, so
• 1:36
  Speaker 3: you got a few options there. I think that it
• 1:39
  Speaker 3: was released in the UK also on Amazon Prime, but
• 1:43
  Speaker 3: it's not like a worldwide thing. So now that it's
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  Speaker 3: out on to B more countries that people live in
• 1:50
  Speaker 3: can now watch it if you can get the too
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  Speaker 3: B apps, So yeah to Amazon Prime and Apple TV plus.
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  Speaker 1: Yeah, I mean I love it obviously. I actually watched
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  Speaker 1: the first two Kubrick's Odyssey that was Jay Widner, and
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  Speaker 1: then when I saw this one, my husband Colby actually
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  Speaker 1: I think has spoke to you about it from Kenspiracy Playtime.
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  Speaker 1: We watched it together and yeah, we were both huge
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  Speaker 1: fans of it right away. So I wanted to have
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  Speaker 1: you on ask you my own questions about it because
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  Speaker 1: there's a lot to dive into there. But I guess
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  Speaker 1: I really first want to open up by saying, I'm
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  Speaker 1: a huge Kubrick fan obviously, as you can kind of
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  Speaker 1: tell from my background, But what what is he to you? Like?
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  Speaker 1: Is he a mad genius? Or is he like a
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  Speaker 1: bad guy or a good guy or like where who
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  Speaker 1: is he to you?
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  Speaker 3: Well? I've always been a fan of filmmaking. I'm certified centiphile.
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  Speaker 3: That's when I grew up, like I would just throw
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  Speaker 3: on a movie. It was like kind of my escapism
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  Speaker 3: from you know, real and I always admired really good
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  Speaker 3: filmmaking and Qubreic is definitely considered one of the best
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  Speaker 3: filmmakers of all time, and just his cinematic style. No
• 3:18
  Speaker 3: one really does that anymore, right, It's all like jump cuts.
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  Speaker 3: It's always don't let the shot hang on anybody for
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  Speaker 3: too long, which is not the way that it's you're
• 3:31
  Speaker 3: supposed to tell a story through filmmaking supposed to be
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  Speaker 3: a story. You don't have to give everything away in
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  Speaker 3: the exposition of the film, which is a mistake that
• 3:42
  Speaker 3: a lot of modern movies make now. They don't tell
• 3:46
  Speaker 3: the story through the actual They don't let the camera
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  Speaker 3: tell the story. They let the characters within the story
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  Speaker 3: tell the story. That's a really big mistake. Now there
• 3:57
  Speaker 3: are a few directors nowadays that do kind of lean
• 4:03
  Speaker 3: in that direction more. They're starting to, mostly with horror movies.
• 4:09
  Speaker 3: It's kind of they're starting to not give things away
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  Speaker 3: within the actual movie and let the audience put two
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  Speaker 3: and two together. And that's what Cubreak is, basically, what
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  Speaker 3: the Shining is, it's the audience having to put two
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  Speaker 3: and two together to create their own theory of what's
• 4:27
  Speaker 3: going on. And at the end of our movie at clockwork,
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  Speaker 3: shining Kubric's Odyssey three. We have that audio clip of
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  Speaker 3: Cubriic talking I don't know if you listen all the
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  Speaker 3: way to the end during the credits, but he talks
• 4:42
  Speaker 3: about the reason why he doesn't do very many interviews
• 4:47
  Speaker 3: is because he doesn't want to tell the audience what
• 4:50
  Speaker 3: the movie is actually about. He wants the audience to
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  Speaker 3: figure out what the movie means to them, right, And
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  Speaker 3: that's a really big deal within filmmaking, because again, now
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  Speaker 3: it's not about that anymore. Now it's just giving away
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  Speaker 3: the end. Though, like Long Legs. I don't know if
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  Speaker 3: you watch Long Legs with Nicholas Cage right.
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  Speaker 1: It's on my list. I haven't watched it yet, though
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  Speaker 1: it is good, well, it's.
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  Speaker 3: Really good up until about the end when they tell
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  Speaker 3: you everything that's going on throughout the entire movie. They
• 5:25
  Speaker 3: don't give you anything because you're trying to figure it out, right,
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  Speaker 3: And that's what a movie is supposed to do. You're
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  Speaker 3: supposed to figure things out as a movie goes along,
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  Speaker 3: and then you put it together and by the end
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  Speaker 3: you've realized what's going on. But they don't do that anymore.
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  Speaker 3: It's more of an it's an attention span thing because
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  Speaker 3: people don't have the attention to set down and watching
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  Speaker 3: an hour and forty five minute movie. They want to
• 5:49
  Speaker 3: be playing on their phone or doing whatever. But when
• 5:51
  Speaker 3: I'm watching a movie, it's like nothing else is going
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  Speaker 3: on and paying one hundred percent focus to the movie.
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  Speaker 3: But in the movie Long Legs, they go through an
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  Speaker 3: hour and minutes of this movie and then at the end,
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  Speaker 3: right like right before it's getting ready to end, they
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  Speaker 3: explain everything that happened throughout the movie, and it just
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  Speaker 3: ruined them. Right, Yeah, when the audience could have they
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  Speaker 3: could have added a few more scenes in there, and
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  Speaker 3: they the audience could have put together exactly what's going on,
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  Speaker 3: and you didn't have to tell everybody what happened through
• 6:28
  Speaker 3: the movie. They could piece it together on their own.
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  Speaker 3: And that's a really big mistake. I would love to
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  Speaker 3: actually direct a feature film with like actors and like
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  Speaker 3: do an actual film, because I think that I could
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  Speaker 3: do it really.
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  Speaker 1: Well, like horror genre or.
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  Speaker 3: Horror genre or like some something psychological mm hmmm, psychological
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  Speaker 3: movies like mind bending movies a day.
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  Speaker 1: I feel like you'd be really good at that. And
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  Speaker 1: it's just curious question, but how do you feel about
• 6:57
  Speaker 1: Jordan Peel.
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  Speaker 3: I do like Jordan Peele.
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  Speaker 1: Okay, I do too. I was just curious because he is,
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  Speaker 1: to me a modern day storyteller with some of the
• 7:10
  Speaker 1: things that he's coming. I was just curious if you
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  Speaker 1: thought he was any good, because I do.
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  Speaker 3: But my pile movies, I didn't really like Candy Man,
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  Speaker 3: but all of his other ones Nope, Nope, was really good.
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  Speaker 3: It was great. Get Out was really good. That other
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  Speaker 3: one that he did that.
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  Speaker 1: Was like his next US. Yes, yeah, I was.
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  Speaker 3: Really good too. Like when you have the formula for
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  Speaker 3: a psychological thriller mind bending movie. I think that the
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  Speaker 3: the problem with directors in like Hollywood is they think
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  Speaker 3: that it's going to be too psychological to where the
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  Speaker 3: audience can't figure it out. But the audience is way
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  Speaker 3: but that that encourages rewatchability. Half the movies has come
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  Speaker 3: out in the modern day have no rewatchability. Right then
• 8:04
  Speaker 3: once and you're done, but not qubic right. I've watched
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  Speaker 3: The Shining hundreds of times just making the movie, and
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  Speaker 3: I watched it hundreds of times before that when I
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  Speaker 3: was developing my theory of exactly what Stanley Kubrick was
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  Speaker 3: trying to say, within the movie. I watched it hundreds
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  Speaker 3: of times. Okay, there's not another movie or another genre
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  Speaker 3: of movie or anybody other than Stanley Kubrick that you
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  Speaker 3: can rewatch over and over and over and over again
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  Speaker 3: and get something new because they're like one and done movie.
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  Speaker 3: M I will never rewatch a Marvel movie until.
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  Speaker 1: Right. Yeah, it's like you know, they compared to go
• 8:56
  Speaker 1: into like an amusement park. When you watch a Marvel movie,
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  Speaker 1: you know, because it's all just like fun and games
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  Speaker 1: and whatever, and then it's over and there's like explosions
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  Speaker 1: and you know, bright flashing colors or whatever. It's like
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  Speaker 1: candy movie, you know, for like just zoning out. But
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  Speaker 1: I've been watching The Shining since I was a little kid,
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  Speaker 1: and every time I watch it, immediately, just like with
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  Speaker 1: the opening when it's going through the lake and the
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  Speaker 1: trees and like you're kind of getting the landscape and
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  Speaker 1: it's just transcendent almost, It like immediately takes you inside
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  Speaker 1: the movie. And it doesn't matter how many times I
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  Speaker 1: watch it, I always feel like I've stayed at the overlook.
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  Speaker 1: By the time the movie is over, I feel like
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  Speaker 1: I've went through the experience. And so I did find
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  Speaker 1: it interesting that you and Jay Widner mentioned in the
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  Speaker 1: movie that it's not actually a horror film though, and
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  Speaker 1: so what would you you say that it is.
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  Speaker 3: I would say that it is a psychological mind bending movie.
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  Speaker 3: And but it was categorized when it first came out
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  Speaker 3: well as like a horror movie, as like Stephen King's
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  Speaker 3: masterpiece horror movies. But there's very few horror elements within
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  Speaker 3: Stanley Kubrick's The Shining. There's very there's not any jump scares,
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  Speaker 3: r one jump scare. It's it's more of a psychological.
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  Speaker 1: Thriller.
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  Speaker 3: And that brings on an entirely new meaning when you
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  Speaker 3: watch our movie at Clockwork Shining Cubric's honesty three, because
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  Speaker 3: the whole thing is psychological. It's a psychological experiment. They're
• 10:46
  Speaker 3: running a psychological experiment up there on Jack. The entire
• 10:51
  Speaker 3: thing has ran as like an operation. It's a CIA
• 10:58
  Speaker 3: mind control operation that's going on up there. And once
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  Speaker 3: you put all the pieces together and you realize exactly
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  Speaker 3: what's going on, the entire movie makes sense because there's
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  Speaker 3: not Everyone has their own theories of what's going on
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  Speaker 3: in The Shining. And that's not to say that any
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  Speaker 3: of those theories are wrong. They can all be right simultaneously. Right,
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  Speaker 3: But the overall arching theory is our theory that we
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  Speaker 3: present in a clockwork shining seems to be the thing
• 11:29
  Speaker 3: that makes sense because it also makes everything else makes sense.
• 11:34
  Speaker 3: The moon landing stuff, which would be one giant psychological
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  Speaker 3: operation faking the moon, which would be an MK ultra
• 11:47
  Speaker 3: program like live feed out to everybody in the world,
• 11:53
  Speaker 3: all at the same time of a fake moon landing.
• 11:56
  Speaker 3: That's if that's true, that's one of the greatest MK
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  Speaker 3: allure mind control operations has ever existed. Right, Can we
• 12:04
  Speaker 3: make everybody believe everyone in the world believe that we
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  Speaker 3: went to the moon? And that's the type of things
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  Speaker 3: that they do. That's what the MK ultra programs is
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  Speaker 3: really about, is to change the perception of people, to
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  Speaker 3: make them believe something happened when it may or may
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  Speaker 3: not have actually happened. Right. We can implant memories, thoughts,
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  Speaker 3: and ideas into people's heads to make them think that
• 12:31
  Speaker 3: something happened when it didn't happen, or vice versa, when
• 12:35
  Speaker 3: something really did happen, and will make them believe that
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  Speaker 3: it didn't happen. Right, It works both ways. You can
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  Speaker 3: do it both ways, and when you look at you
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  Speaker 3: and camera and what he was doing in Canada whenever
• 12:46
  Speaker 3: the CIA subleased the programs into Canada, because that's really
• 12:51
  Speaker 3: where a lot of them went. They subleased a lot
• 12:54
  Speaker 3: of these programs to private companies and private contractors and
• 12:57
  Speaker 3: private government contractors so that they wouldn't have to reveal
• 13:04
  Speaker 3: that they were doing these experiments, right because it's from
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  Speaker 3: a private company, and a private company is not beholding
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  Speaker 3: to the same laws that the government is beholden to.
• 13:16
  Speaker 3: So they would use like hospital Wings. They would open
• 13:18
  Speaker 3: up a giant hospital Wings to just test MK ultra
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  Speaker 3: mind control stuff. And they had this big hospital in
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  Speaker 3: Canada and several of the people from Canada that was
• 13:29
  Speaker 3: experimented on by you and Cameron actually sued the Canadian
• 13:32
  Speaker 3: government for it and they won. But the thing that
• 13:35
  Speaker 3: he was doing was there's a process to this. There's depatterning.
• 13:42
  Speaker 3: So you depattern the mind of your subject, so you
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  Speaker 3: essentially erase all of their cognitive behavior. You kind of
• 13:50
  Speaker 3: erase their memories, you erase what they think is actually
• 13:55
  Speaker 3: going on, any of their previous ideas of what happening
• 14:00
  Speaker 3: like there the critical thinking and their awareness around something,
• 14:06
  Speaker 3: and that's normally done through trauma. So you traumatize somebody,
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  Speaker 3: you're essentially deep patterning them. So after they traumatize them,
• 14:16
  Speaker 3: they can then drug them and then use a technique
• 14:22
  Speaker 3: that's called psychic driving, which psychic driving is implanting a
• 14:26
  Speaker 3: thought or an idea into somebody's head. And some of
• 14:31
  Speaker 3: their original outlook of what psychic driving was, the original
• 14:36
  Speaker 3: definition of how they did it was is they would
• 14:38
  Speaker 3: take in a tape recorder, a repeated audio looped tape recorder,
• 14:44
  Speaker 3: and they would play it repeatedly to these patients that
• 14:48
  Speaker 3: they had been deppatterned and druggy. Now, as we talk
• 14:53
  Speaker 3: about in the documentary at Clockwork Shining, there's a whole
• 14:57
  Speaker 3: list of drugs. Whenever Kathy O'Brien is talking about her
• 15:00
  Speaker 3: experiences within the mk Ultra Monarch program, we show a
• 15:04
  Speaker 3: list of all the drugs that were used by the
• 15:08
  Speaker 3: CIA and the mk Ultra programs, and it's hundreds of drugs,
• 15:11
  Speaker 3: from caffeine to adderall to weed, thenphetamine, the nicotine. They
• 15:17
  Speaker 3: used all of it. So it's not just LSD, and
• 15:21
  Speaker 3: that's a common misconception within the mk Ultra programs. They think, oh,
• 15:25
  Speaker 3: while they were just using some LSD, they were just
• 15:27
  Speaker 3: making people trip, which can put people out of their mind.
• 15:32
  Speaker 3: We talk about that too within the documentary. If you're
• 15:34
  Speaker 3: unknowingly dosed with LSD, you have no idea what drug
• 15:38
  Speaker 3: that you You're going to think that you're losing your mind.
• 15:41
  Speaker 3: It's going to put you a psychoss if you're dosed
• 15:45
  Speaker 3: with a high amount of LSD. And there's proof of
• 15:48
  Speaker 3: that with several people being unknowingly dosed with LSD. I mean,
• 15:52
  Speaker 3: Project Midnight Climax was all about that.
• 15:56
  Speaker 1: They were just stuff.
• 15:59
  Speaker 3: Yeah, Frank Olsen he was unknowingly dosed with LSD and
• 16:03
  Speaker 3: jumped out of the what was it the thirteenth or
• 16:05
  Speaker 3: the fourteenth through.
• 16:06
  Speaker 1: A closed window, no less, with a big concussion on
• 16:10
  Speaker 1: his head. So he somehow hid himself over the head,
• 16:13
  Speaker 1: gave himself a deadly injection of something I think it
• 16:18
  Speaker 1: was LSD, and then it jumped out of closed window.
• 16:22
  Speaker 1: I mean, the amount of like craziness that goes in
• 16:27
  Speaker 1: this documentary a clockwork shining, you touch on so many
• 16:31
  Speaker 1: there's so much to unpact because it is the Frank
• 16:34
  Speaker 1: Olsen LSD stuff, Monarch stuff. Stanley was friends with a
• 16:38
  Speaker 1: lot of higher up uppity people at NASA, and it
• 16:44
  Speaker 1: is about stuff like that Laurel Canyon big part of it.
• 16:48
  Speaker 1: And then it's like there are so many layers, it's
• 16:51
  Speaker 1: like a five layer burrito, really. And one of the
• 16:55
  Speaker 1: things that caught my attention to is that you mentioned
• 16:59
  Speaker 1: this Mimoi. I think it was to the President talking
• 17:02
  Speaker 1: about how Stanley Kubrick was the most promising something or other,
• 17:09
  Speaker 1: and I think that he was working for the government
• 17:14
  Speaker 1: in some unspecified capacity, Like do you think that's part
• 17:18
  Speaker 1: of the MK thing.
• 17:21
  Speaker 3: Yeah, we don't know exactly what that project was because
• 17:23
  Speaker 3: it doesn't state it in the document, but the document
• 17:26
  Speaker 3: states that there are five film directors that are being
• 17:30
  Speaker 3: looked at for some unknown government project, with Stanley Kubrick
• 17:33
  Speaker 3: being looked at as the most promising. And we know
• 17:36
  Speaker 3: that Stanley Kubrick's had ties to the government because the
• 17:39
  Speaker 3: Air Force came to the set of Doctor Strangelove. Whenever
• 17:44
  Speaker 3: he did the he made a model of the inside
• 17:47
  Speaker 3: of the B two stealth bomber, and he'd asked the government,
• 17:51
  Speaker 3: the Air Force, for if he could use like if
• 17:56
  Speaker 3: he could see the inside of a B two stealth
• 17:57
  Speaker 3: bomber so they can get the inside of it.
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  Speaker 1: Correct.
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  Speaker 3: The military said, no, you can't do that because it's
• 18:04
  Speaker 3: top secret classified information. If we let you do that,
• 18:07
  Speaker 3: then when other countries, this film is going to be
• 18:10
  Speaker 3: distributed in other countries, and if other countries see what
• 18:14
  Speaker 3: the inside of the B two stealth bomber looks like
• 18:16
  Speaker 3: and all of its gadgets and how it all works
• 18:18
  Speaker 3: and everything, then they can replicate it. Right. So they
• 18:21
  Speaker 3: said no, And then Kubrick's project designer, his producer, which
• 18:27
  Speaker 3: we have talking about it in the documentary, he cut
• 18:32
  Speaker 3: out all of these like magazines and looked at models
• 18:39
  Speaker 3: of what people thought that the inside of a B
• 18:41
  Speaker 3: too Stealth bomber looked like. And they compiled all this
• 18:44
  Speaker 3: information and then they recreated what they believed the inside
• 18:48
  Speaker 3: of the B too Stealth bomber looked like. So then
• 18:50
  Speaker 3: when the Air Force came to visit the side of
• 18:52
  Speaker 3: Doctor Strangelove and they watched the movie, they're like, what's
• 18:57
  Speaker 3: that going on here? We said no, that you couldn't
• 19:00
  Speaker 3: see the inside of this B two stealth bomber, but
• 19:02
  Speaker 3: yet you have what the inside of a B two
• 19:05
  Speaker 3: stealth bomber looks like. Almost perfectly. Ok So we believe
• 19:10
  Speaker 3: that that was the inception of Qubricks starting to work
• 19:15
  Speaker 3: with the government and these three letter organizations and the military.
• 19:20
  Speaker 3: And then if you fast forward into two thousand and one,
• 19:22
  Speaker 3: A Space Odyssey, at the end of that movie, there
• 19:26
  Speaker 3: was credits there that he was thinking all of these
• 19:28
  Speaker 3: big corporations like lockeed Martin Air Force Intelligence, Langley Air
• 19:35
  Speaker 3: Force Base, all these big military contractors and these three
• 19:40
  Speaker 3: letter organizations, right, and that all those credits ended up
• 19:45
  Speaker 3: getting cut out in the final run of the movie
• 19:48
  Speaker 3: because I'm sure that one of these military people came
• 19:50
  Speaker 3: to him and was like, Hey, you can't be thinking
• 19:52
  Speaker 3: all of us in the credits of this movie, because
• 19:55
  Speaker 3: then people are going to know that we're involved.
• 19:57
  Speaker 1: With the production exactly NASA.
• 20:01
  Speaker 3: The cameras that he used for filming two thousand and
• 20:04
  Speaker 3: one Space Honesty came from NASA. Okay. So there's connections
• 20:10
  Speaker 3: all over the place here between military organizations, three letter organizations,
• 20:15
  Speaker 3: and direct ties with Stanley Kubrick. And we also show
• 20:18
  Speaker 3: within the documentary how many other movies have been had
• 20:24
  Speaker 3: production and has ties in the military industrial complex. Die
• 20:28
  Speaker 3: another Day, the James Bond movies transformers movies, which all
• 20:32
  Speaker 3: those came out way later than what. We didn't know
• 20:35
  Speaker 3: about that until the four year request came back and
• 20:39
  Speaker 3: then they got all that information. So now the cat
• 20:43
  Speaker 3: is out of the bag that the three letter organizations
• 20:45
  Speaker 3: in the military is involved with film production, and then
• 20:49
  Speaker 3: that ties into the Laurel Canyon stuff. Okay, So Laurel Canyon,
• 20:53
  Speaker 3: there was a military base called Lookout mount on top
• 20:56
  Speaker 3: right outside of la on top of Laurel Kenyon called
• 21:00
  Speaker 3: Lookout Mountain Air Force Base. There's a huge facility. They
• 21:04
  Speaker 3: had sound stages, they had movie sets. They that's where
• 21:09
  Speaker 3: the miniature bomb, the nuclear bomb explosions all took place there.
• 21:15
  Speaker 3: That was filmed on miniature sets, Okay, And there was
• 21:19
  Speaker 3: thousands and thousands of films that were made there. And
• 21:21
  Speaker 3: it's just a coincidence that this is right beside la
• 21:24
  Speaker 3: where Hollywood is, where all these films are being made. Like,
• 21:27
  Speaker 3: you got to be using mental gymnastics to not think
• 21:31
  Speaker 3: that the military is involved and is making films to
• 21:34
  Speaker 3: put out to the public. And also how much of
• 21:38
  Speaker 3: the stuff that we think is actually real footage of
• 21:41
  Speaker 3: real events happening were actually staged events film that Lookout
• 21:45
  Speaker 3: Mountain because if they were doing this way back when,
• 21:47
  Speaker 3: and Jared Leto now owns the Lookout Mountain Air Force Base.
• 21:51
  Speaker 4: Yeah, he just does thirty the Mars and the cult
• 21:55
  Speaker 4: that Jared Leto is supposedly all involved with, the White
• 21:59
  Speaker 4: Road cult is what they call it.
• 22:02
  Speaker 3: And if they were doing it back then, and they
• 22:05
  Speaker 3: were so involved in making films, right and we don't
• 22:09
  Speaker 3: know what all those films were because it's still all classified,
• 22:13
  Speaker 3: we don't know what any of that was. So again,
• 22:18
  Speaker 3: you'd have to be using mental gymnastics to think that
• 22:20
  Speaker 3: they're still not doing that, right. That brings in the
• 22:24
  Speaker 3: question like all this stuff, it brings in, brings nine
• 22:27
  Speaker 3: to eleven into question. It brings in, like the jfk assassination,
• 22:32
  Speaker 3: all of it into question because they can literally just
• 22:36
  Speaker 3: film something on a military soundstage and then set off
• 22:43
  Speaker 3: as something real in the public. They just got to
• 22:44
  Speaker 3: put it everywhere, right, and now they don't necessarily that's
• 22:49
  Speaker 3: evolved now they don't even have to use real people.
• 22:52
  Speaker 3: Now they don't even have to film it. They can
• 22:54
  Speaker 3: just use AI. And if anybody thinks that they don't,
• 22:57
  Speaker 3: if they haven't perfected the technology of AI, the military
• 23:01
  Speaker 3: hasn't perfected it to where you legitimately cannot tell the
• 23:04
  Speaker 3: difference between if it's real or if it's one hundred
• 23:06
  Speaker 3: percent fake, just because we don't have that technology yet,
• 23:10
  Speaker 3: then you're only kidding yourself, right, hundred percent have it
• 23:13
  Speaker 3: and they been using it for decades now. There's dual
• 23:19
  Speaker 3: use for all of these things. There's dual use. There's
• 23:22
  Speaker 3: the military use, and then there's the public use. They
• 23:25
  Speaker 3: figure it all out within the military how they can
• 23:28
  Speaker 3: use it for their operations and what they're doing, and
• 23:30
  Speaker 3: then later on they released it to the public. I mean,
• 23:32
  Speaker 3: how long do we have drones? How long were military
• 23:35
  Speaker 3: drones a thing before we got these little tiny public
• 23:38
  Speaker 3: drones that people can use. Hey, they've been using drones
• 23:44
  Speaker 3: or freaking decades, years and years and years, way before
• 23:48
  Speaker 3: the public ever knew that the military had unmanned drones.
• 23:53
  Speaker 3: So if you use that same logic with AI and
• 23:56
  Speaker 3: with these soundstage military bases, then they're still doing the
• 24:02
  Speaker 3: exact same thing today. It's like a it's like a
• 24:05
  Speaker 3: mission of what they were doing before, so that they
• 24:08
  Speaker 3: can kind of come out and be like, oh, well,
• 24:10
  Speaker 3: we stopped doing this. Is like the MK Ultra programs
• 24:12
  Speaker 3: when they shut when they disclose it to the public
• 24:14
  Speaker 3: in nineteen eighty five. Right, they kind of had to
• 24:16
  Speaker 3: do that so that the CIA would take the fall
• 24:18
  Speaker 3: for it and take the bad rap while all the
• 24:20
  Speaker 3: other all the other three letter organizations were also doing
• 24:24
  Speaker 3: the exact same thing. But it gets all of those
• 24:27
  Speaker 3: off of the hook. I mean, the Air Force has
• 24:29
  Speaker 3: been running MK ultra programs almost since its inception. Right.
• 24:34
  Speaker 3: Walter Bosley, the AFOSI Special Air Force agent within our documentary,
• 24:38
  Speaker 3: says that the Air Force, he worked for the Air Force,
• 24:41
  Speaker 3: they said that the Air Force, out of all of
• 24:43
  Speaker 3: the military branches, was the most interested in MK ultra.
• 24:50
  Speaker 3: So they're all doing it.
• 24:52
  Speaker 1: Yeah, I mean I think that they're up to something
• 24:55
  Speaker 1: else too with Lookout Mountain, because if you look at
• 24:58
  Speaker 1: who had top secrets clearance to get into that place,
• 25:01
  Speaker 1: It's like Marilyn Monroe, Why the fuck does she have
• 25:04
  Speaker 1: top secret anything to get in there? They're filming, like
• 25:07
  Speaker 1: what nuclear test footage? Why does Marilyn Monroe need to
• 25:12
  Speaker 1: be up in there. I mean, it's just it's odd
• 25:14
  Speaker 1: to me. And then I spoke with a woman. She's
• 25:18
  Speaker 1: a doctor, she's a psychiatrist. Now her name is doctor
• 25:22
  Speaker 1: Juliette Engel, and she said that she was taken there
• 25:27
  Speaker 1: as a child as part of these kind of like
• 25:30
  Speaker 1: Kathy O'Brien like ritual sex abuse type of thing, and
• 25:35
  Speaker 1: that she said that she went to Lookout Mountain Studio
• 25:40
  Speaker 1: and that they were filming snuff films there and she
• 25:44
  Speaker 1: said that, like with one certainty, that that's like part
• 25:48
  Speaker 1: of the things that they were doing there. And it
• 25:50
  Speaker 1: just makes you wonder because of all of the ritualism,
• 25:54
  Speaker 1: and we know that they they do have to traumatize
• 25:56
  Speaker 1: you in order to get your mind in a certain
• 26:00
  Speaker 1: in place. I think if you look at Stanley's work,
• 26:04
  Speaker 1: it's like sprinkled throughout it. I would say probably low
• 26:07
  Speaker 1: lita and eyes wide shut, kind of our closer look
• 26:12
  Speaker 1: at maybe some of the sexual side of things. But clockwork,
• 26:15
  Speaker 1: orange and the shining are like the military side of things.
• 26:20
  Speaker 3: Does that make sense, well, yeah, absolutely. But also with
• 26:25
  Speaker 3: Stanley Kubrick, we were really nice to Stanley Kubrick. But
• 26:30
  Speaker 3: after he died, one of his best friends came had
• 26:34
  Speaker 3: was only had one key to his office, right he
• 26:37
  Speaker 3: was the only other person that had a key to
• 26:39
  Speaker 3: his office. So then he shows up at Kubrick's house,
• 26:42
  Speaker 3: goes to open up his closet, and whenever he rolls
• 26:44
  Speaker 3: up to his house, there's these men in suits bet
• 26:47
  Speaker 3: are there and they're going through all of Kubrick' stuff
• 26:53
  Speaker 3: and they're taking a lot of his things out of
• 26:57
  Speaker 3: his office. Okay, now who else had all the the
• 27:03
  Speaker 3: almost that exact same thing happened to them like Diddy?
• 27:10
  Speaker 3: Okay the place, yeah, given he wasn't dead whenever they
• 27:17
  Speaker 3: did it, he was still alive, but they raided his place.
• 27:19
  Speaker 3: Epstein mm hmmm, Yeah, what's the other what's the other
• 27:24
  Speaker 3: filmmaker the filmmaker producer that got caught up in the
• 27:29
  Speaker 3: me too movement? Then?
• 27:31
  Speaker 1: Why?
• 27:32
  Speaker 3: Uh what? Harvey Harvey Weinstein, Harvey West. So when you
• 27:37
  Speaker 3: put two or two together here, it's not looking too
• 27:39
  Speaker 3: good for Kubrick. But also it could be that because
• 27:44
  Speaker 3: he had to have known about Lookout Mound because he
• 27:46
  Speaker 3: lived in LA during the time that Lookout moundin was
• 27:48
  Speaker 3: in operation. And if you're a filmmaker, you're directing movies.
• 27:53
  Speaker 3: He had a rich uncle that lived in LA, so
• 27:54
  Speaker 3: he moved to LA for like two or three years.
• 27:57
  Speaker 3: He had to know about Lookout Mount and if and
• 27:59
  Speaker 3: if what you're saying is true that they were doing
• 28:01
  Speaker 3: like snuff films and like really weird operation. But there's
• 28:04
  Speaker 3: another thing too, is like but like crisis actors as well.
• 28:08
  Speaker 3: We know the crisis actors are one hundred percent of
• 28:10
  Speaker 3: real thing. Okay, so Marilyn Monroe could have had a
• 28:16
  Speaker 3: job up there to play different people that are essentially
• 28:21
  Speaker 3: like because a lot of people look like Marilyn Monroe, right,
• 28:23
  Speaker 3: a lot of these people look very similar to other
• 28:27
  Speaker 3: people throughout it. They're just modernized. So and not only that,
• 28:32
  Speaker 3: like with people like Britney Spears, a lot of these
• 28:35
  Speaker 3: people have body doubles. Okay, they have body doubles that
• 28:40
  Speaker 3: are used for their music videos and famous musicians have them.
• 28:46
  Speaker 3: Actors all have them. Actors have stump stunt people body doubles.
• 28:50
  Speaker 3: They all use them. And so if you can get
• 28:53
  Speaker 3: somebody that looks similar to somebody else, then they can
• 28:57
  Speaker 3: be used as like a like an actor, and that's
• 29:00
  Speaker 3: like that would be like the ultimate acting role, right,
• 29:05
  Speaker 3: Like if you're if you're a famous actor and you're
• 29:07
  Speaker 3: trying to take your acting to the pinnacle of where
• 29:10
  Speaker 3: you want it to be. What would be the greatest
• 29:13
  Speaker 3: acting achievement. The greatest acting achievement would be to completely
• 29:19
  Speaker 3: impersonate somebody else in reality make people believe that you
• 29:25
  Speaker 3: are someone else. Now, I'm not saying that everybody is
• 29:28
  Speaker 3: doing this. I'm not saying that everybody is like somebody else. Right,
• 29:33
  Speaker 3: but throughout history, this has to have happened at some point, right,
• 29:38
  Speaker 3: Someone definitely had the idea was like, Okay, well what
• 29:42
  Speaker 3: if we took you know, someone like Marilyn Monroe and
• 29:48
  Speaker 3: then we turn them and turn them into a completely
• 29:53
  Speaker 3: different actor in reality and not give them the same
• 29:57
  Speaker 3: name as Marilyn in Roe? Would people buy it? But
• 30:01
  Speaker 3: people believe that that is a completely separate other person.
• 30:07
  Speaker 3: And I believe that they would because they would have
• 30:09
  Speaker 3: no reason to believe that it wasn't. So do you
• 30:13
  Speaker 3: have made different people in many different roles throughout history
• 30:16
  Speaker 3: that is literally the same person?
• 30:19
  Speaker 1: Like for me, sometimes I question if people really die
• 30:26
  Speaker 1: in the way that they say, Like I don't know
• 30:29
  Speaker 1: if Jim Morrison really died or if they just repurposed him,
• 30:33
  Speaker 1: you know, or if Taylor Swift has been swapped out,
• 30:39
  Speaker 1: you know, there's a lot of talk about her. I
• 30:42
  Speaker 1: don't know, Sharon Tate really died, or if she's just
• 30:45
  Speaker 1: playing a new character. I mean, sometimes I think sensationalism,
• 30:49
  Speaker 1: especially coming out of the Laurel Canyon scene. I don't
• 30:53
  Speaker 1: know that those weren't just all actors who got repurposed
• 30:57
  Speaker 1: in some other unspecified capacity, because as they are useful,
• 31:02
  Speaker 1: why would you kill them?
• 31:03
  Speaker 3: You know, it's not out of the ram of possibility.
• 31:06
  Speaker 3: But then there's another possibility that people just randomly die too.
• 31:10
  Speaker 3: I mean, that definitely is a thing. But when you
• 31:14
  Speaker 3: have parents that are high ranking military officials. Jim Morrison's
• 31:19
  Speaker 3: dad was a high ranking naval intelligence officer that was
• 31:22
  Speaker 3: responsible for the Gulf of Tonkin incident, to false fly
• 31:25
  Speaker 3: Golf of Tonkin incident that got us into the Vietnam War.
• 31:27
  Speaker 3: Sharance Tate dad was a high ranking military officer. Bob
• 31:33
  Speaker 3: Marley's dad was a British naval commander. Like, all of
• 31:37
  Speaker 3: these people have ties to military intelligence, so you can't
• 31:44
  Speaker 3: put much past them and what they would do to
• 31:50
  Speaker 3: get away with something. And it makes so much sense
• 31:53
  Speaker 3: as to the reason why Jim Morrison was like so
• 31:56
  Speaker 3: wild and like crazy and was kind of just doing
• 31:59
  Speaker 3: whatever he wanted to do. M And he was actually
• 32:02
  Speaker 3: an actor before he became like a musician and formed
• 32:07
  Speaker 3: the Doors. Okay, several of these people, Tupac was an actor, right, Yeah,
• 32:13
  Speaker 3: people are actors and then they get into it's it's
• 32:18
  Speaker 3: it's insanity, it's really insanity. But it makes sense with
• 32:23
  Speaker 3: Jim Morrison in the way that he acted. He acted
• 32:25
  Speaker 3: like he could do whatever he wanted to do and
• 32:27
  Speaker 3: that he wasn't going to get in trouble, and he
• 32:29
  Speaker 3: never did get in trouble. Yeah, he got arrested a
• 32:31
  Speaker 3: few times and maybe thrown in jail for a couple
• 32:34
  Speaker 3: of days or maybe a week or whatever, but he
• 32:36
  Speaker 3: was always let out. And the same with Charles Manson. Charles,
• 32:39
  Speaker 3: how many times was Charles Manson incarce rated whenever he
• 32:42
  Speaker 3: was growing up? How many psych wars did Charles Manson
• 32:44
  Speaker 3: go into m H and he was just immediately let out? Right.
• 32:51
  Speaker 1: It makes you think kind of along those same lines,
• 32:54
  Speaker 1: like with Program to Kill when Dave McGowan talks about
• 32:58
  Speaker 1: how many times serial killers were caught but they weren't caught,
• 33:01
  Speaker 1: they were let back out, or they escaped or some
• 33:05
  Speaker 1: in some way they got back out on the streets,
• 33:08
  Speaker 1: And it just makes me wonder, I mean, a lot
• 33:12
  Speaker 1: of this is just a big movie in and of itself.
• 33:18
  Speaker 1: I mean, we're living in a movie, I think. But
• 33:23
  Speaker 1: like with Lookout Mountain, laboratory is what it's called in
• 33:28
  Speaker 1: Dave McGowan's book. I don't know why they called it
• 33:32
  Speaker 1: a laboratory that. I don't know why that's significant. But
• 33:37
  Speaker 1: you compared it to Overlook Hotel because of how it
• 33:43
  Speaker 1: looks in the name. So I thought that was really
• 33:47
  Speaker 1: interesting and I had never considered that before. Did Stanley
• 33:50
  Speaker 1: have anything to do with where they picked to film
• 33:55
  Speaker 1: the movie.
• 33:56
  Speaker 3: Yeah, he sent a whole entire research to try and
• 34:02
  Speaker 3: scout location to film the movie, but he ultimately landed
• 34:07
  Speaker 3: on just building a set. But the external shots of
• 34:12
  Speaker 3: the hotel within the shining is at the lodge in Oregon.
• 34:18
  Speaker 1: Right around where you are.
• 34:20
  Speaker 3: Timberline Lodge is where the external shots of the hotel
• 34:24
  Speaker 3: is filmed, which creates continuity errors within the Shining as well,
• 34:30
  Speaker 3: because the exterior shots of the hotel is from the
• 34:34
  Speaker 3: Timberline Lodge and the rest of the shots is on
• 34:39
  Speaker 3: a set. So in the opening shot of the hotel,
• 34:42
  Speaker 3: which I have some slides here that I'm going to
• 34:44
  Speaker 3: show here a little bit later on it goes over
• 34:46
  Speaker 3: some of this, but I think it's important to mention
• 34:48
  Speaker 3: now it creates a continuity are because there's no maze
• 34:52
  Speaker 3: in behind the hotel in that first establishing shot of
• 34:57
  Speaker 3: the Overlook Hotel with than the movie, but then later
• 35:01
  Speaker 3: on there is a maze back there because they're filmed
• 35:04
  Speaker 3: in two different There's also a ski what is it
• 35:12
  Speaker 3: the ski line or whatever that's going up the wet
• 35:15
  Speaker 3: side of the mountain. Whenever Olmens says that there's no
• 35:18
  Speaker 3: skiing up here, it creates these problems when he decided
• 35:25
  Speaker 3: not to film it on an actual location, he found
• 35:27
  Speaker 3: it on a set, but yeah, he again, I think
• 35:32
  Speaker 3: that this goes back to him being aware of Lookout
• 35:37
  Speaker 3: Mountain Air Force Base or Lookout Mountain Laboratories and wanting
• 35:44
  Speaker 3: to kind of design the same type of structure for
• 35:50
  Speaker 3: the hotel in the Shiny. It's just a coincidence that
• 35:56
  Speaker 3: has named almost the exact same thing. And like the
• 36:00
  Speaker 3: military was running definitely running experiments that Lookout Mountain base,
• 36:06
  Speaker 3: and you know, what are they doing within the Shining.
• 36:10
  Speaker 3: It's a it's an experiment on the people within the Shining.
• 36:14
  Speaker 3: It's an experiment on the audience, and it's an experimental
• 36:18
  Speaker 3: movie in a hole, so it's like a triple whammy.
• 36:21
  Speaker 3: You know, it's not only psychological within the person that's
• 36:25
  Speaker 3: watching the movie, it's psychological to the actors within the
• 36:31
  Speaker 3: movie as well. The giant psychological operation. And in the
• 36:35
  Speaker 3: way that Kubrick is treating Shelley Duvall within the filming
• 36:42
  Speaker 3: of is something that a handler, an MK ultra handler
• 36:50
  Speaker 3: would do to a victim mm hmm. And we see
• 36:53
  Speaker 3: that within the documentary that Kubrick is like berating her.
• 36:57
  Speaker 3: He's telling the the staff and the people that are
• 37:01
  Speaker 3: working on the movie to not listen to her, to
• 37:04
  Speaker 3: not you know, tend to her needs.
• 37:08
  Speaker 1: And her hair was falling out. She was all fucked up.
• 37:12
  Speaker 1: And then I think the scene with like the baseball bat,
• 37:15
  Speaker 1: like as she's coming up the stairs, he made her
• 37:17
  Speaker 1: do that like one hundred and twenty seven times or
• 37:19
  Speaker 1: something like that, and her hands were raw and bleeding
• 37:23
  Speaker 1: and she was exhausted, And I mean, that is an
• 37:26
  Speaker 1: MK to me, Like, that's that's MK. Like you, Jack Nicholson,
• 37:32
  Speaker 1: I think got off the hook. Other than the fact
• 37:34
  Speaker 1: that he Stanley pretty much rewrote the script every day
• 37:37
  Speaker 1: and everybody had to keep relearning everything. He was like
• 37:40
  Speaker 1: writing the movie as he was going. But I think
• 37:43
  Speaker 1: it's interesting that he picked that location because there is
• 37:47
  Speaker 1: a hotel that The Shining the book is based on,
• 37:50
  Speaker 1: that you can go and stay at and visits in Colorado.
• 37:54
  Speaker 1: I went and stayed there with my husband for Halloween
• 37:58
  Speaker 1: one year. I mean, there's nothing special other than the
• 38:00
  Speaker 1: fact that Stephen King used it as the inspiration for
• 38:03
  Speaker 1: the book or whatever. But Stephen King hated everything about
• 38:08
  Speaker 1: The Shining so much that he went back and made
• 38:11
  Speaker 1: like a shitty like TV show called The Shining. I'm
• 38:16
  Speaker 1: pretty sure, and it was an epic failure. But it's
• 38:19
  Speaker 1: like Stanley purposely changed everything. He changed everything about the
• 38:23
  Speaker 1: story and even the location, so everything was picked very
• 38:28
  Speaker 1: specifically to his standard of what he was trying to do.
• 38:34
  Speaker 1: So yeah, I mean I thought that was when he
• 38:38
  Speaker 1: showed the side by side of like Lookout Mountain and
• 38:41
  Speaker 1: the Overlook and how the names are so similar, I
• 38:44
  Speaker 1: was like, what the actual fuck, Like that's so crazy.
• 38:49
  Speaker 3: And why would you be writing a script as you're
• 38:52
  Speaker 3: shooting a movie, Like nobody in their right mind would
• 38:57
  Speaker 3: ever do that. It would never be greenlit, like that
• 39:01
  Speaker 3: unless you're you know, doing it on your own, unless
• 39:04
  Speaker 3: you're funding it yourself, then you can do whatever you want.
• 39:07
  Speaker 3: But no studio is gonna dish out money to make
• 39:12
  Speaker 3: a movie where a script hasn't been written. And we
• 39:17
  Speaker 3: believe that Kubrick turned in a script that was more
• 39:23
  Speaker 3: aligned to Stephen King's novel okay and then so that
• 39:31
  Speaker 3: the movie would get approved because he just came off
• 39:34
  Speaker 3: of a really bad movie, a really bad flop, which
• 39:36
  Speaker 3: was Barry and Berry Linden and I Go Over Good.
• 39:39
  Speaker 3: It lost some money. Warner Brothers was probably like, okay,
• 39:42
  Speaker 3: let's you know, let's take Let's do something that's gonna
• 39:47
  Speaker 3: that's been proven to work, because they just had a
• 39:50
  Speaker 3: big hit with The Exorcist in William freaking directing a
• 39:54
  Speaker 3: novel and it was a really big movie for them,
• 39:57
  Speaker 3: made them a lot of money. So they were like, Okay, well,
• 40:00
  Speaker 3: here's this new book by Stephen King, The Shining Uh,
• 40:05
  Speaker 3: why don't you do a film adaptation of that? So
• 40:07
  Speaker 3: then he wrote them a script that was more a
• 40:09
  Speaker 3: keen to Stephen King's book. Then he decided to change
• 40:16
  Speaker 3: it as they were filming it, which would be a
• 40:22
  Speaker 3: complete and total nightmare. I could not imagine as a
• 40:28
  Speaker 3: director having to rewrite something as you're filming it. It
• 40:34
  Speaker 3: doesn't make any sense to do, like you're looking at
• 40:38
  Speaker 3: a disaster of a movie, which toward the end of
• 40:44
  Speaker 3: the movie, there was an original ending to the shining
• 40:47
  Speaker 3: that I was going to.
• 40:48
  Speaker 1: Ask you about that the alternative ending.
• 40:53
  Speaker 3: So there was an alternative ending that doesn't that is
• 40:57
  Speaker 3: not the same ending to the Indian that we're familiar
• 41:01
  Speaker 3: with with Jack just h He's out in the maze,
• 41:04
  Speaker 3: he's kind of going catatonic or whatever, and then the
• 41:06
  Speaker 3: next scene is you know, him dead, he's frozen in
• 41:10
  Speaker 3: the ice, and then it zooms up to the picture
• 41:13
  Speaker 3: on the wall. July fourth, nineteen twenty one. Right, So
• 41:18
  Speaker 3: Cubic originally had another Indian in there, where Wendy wakes
• 41:22
  Speaker 3: up in the hospital, Almand comes to visit and there's
• 41:26
  Speaker 3: this is one hundred percent real. The script is online,
• 41:28
  Speaker 3: you can. We showed the script in the documentary, but
• 41:32
  Speaker 3: that's all that we have of it. And Whndy waking
• 41:35
  Speaker 3: up in the hospital, Almond coming to visit her in
• 41:38
  Speaker 3: the hospital, Danny is there. Almond pretty much explains to
• 41:42
  Speaker 3: her and is like, hey, we went up to the hotel.
• 41:45
  Speaker 3: We checked it out. Nothing like what you said happened.
• 41:51
  Speaker 3: We didn't find any evidence for okay, almost making it
• 41:56
  Speaker 3: seem like that it's a one operation. They just went
• 42:01
  Speaker 3: up there and cleaned everything out, right, They cleaned it
• 42:04
  Speaker 3: all up and made it seem like that it didn't
• 42:06
  Speaker 3: happen because Wendy has been traumatized to like no end.
• 42:09
  Speaker 3: So it's like, Oh, who's gonna believe this very traumatized woman.
• 42:13
  Speaker 3: She's gonna mix things up in her mind and whatever.
• 42:16
  Speaker 3: And then he meets Danny in the hallway and then
• 42:18
  Speaker 3: throws Danny the tennis ball that Jack was bouncing off
• 42:22
  Speaker 3: of the wall in the movie, and also is the
• 42:25
  Speaker 3: tennis ball that rolled toward Danny while he's in the
• 42:28
  Speaker 3: hallway before he goes in the room two thirty seven.
• 42:31
  Speaker 3: Okay and qbreak cut that section out of the movie. Now,
• 42:36
  Speaker 3: there's a few people that do remember seeing it, because
• 42:38
  Speaker 3: it did run in some of the test screenings in
• 42:43
  Speaker 3: California and I believe in New York, so some very
• 42:48
  Speaker 3: few people got to see the original ending to the Shining.
• 42:52
  Speaker 1: It's one of the.
• 42:55
  Speaker 3: Most infamous long lost pieces of film media ever. And
• 43:01
  Speaker 3: Stanley Kubrick. He's, you know, famous for destroying all of
• 43:07
  Speaker 3: his outtakes of movies, all of the footage that he
• 43:13
  Speaker 3: didn't use any had deleted scenes or whatever. He just
• 43:15
  Speaker 3: destroyed them.
• 43:17
  Speaker 1: Why do you think he took that ending off though?
• 43:19
  Speaker 1: Do you think it gave too much away? Like this
• 43:23
  Speaker 1: was all in your mind?
• 43:25
  Speaker 3: There was another scene that was also cut out that
• 43:28
  Speaker 3: was Jack going into the boiler room in the basement
• 43:32
  Speaker 3: and finding a scrap book of all the tragedies that
• 43:38
  Speaker 3: happened at the Overlook Hotel, and that's how he knew
• 43:42
  Speaker 3: who Grady was. So remember whenever he's in the bathroom
• 43:49
  Speaker 3: and talking to Grady and he was like, I know you,
• 43:52
  Speaker 3: I have seen you around here someplace before. He's referring
• 43:56
  Speaker 3: to the scrap book that he found in the base
• 44:00
  Speaker 3: and he's looking through all the photos and seeing the
• 44:03
  Speaker 3: tragedy that all men talked to him about whenever he
• 44:06
  Speaker 3: was there for the interview that a man named Charles Grady.
• 44:12
  Speaker 3: But then later he's referred to as Dubber Grady, which
• 44:15
  Speaker 3: we believe that there's two different Grady's running around. But
• 44:22
  Speaker 3: he finds a scrapbook and then that's how he knows
• 44:24
  Speaker 3: and that remnant of that scene being in there is
• 44:28
  Speaker 3: prominent because we get that interaction with Grady and we
• 44:33
  Speaker 3: don't know what Jack is talking about because the scene
• 44:36
  Speaker 3: was cut it out. But yeah, the end, it definitely
• 44:40
  Speaker 3: gave too much away because in our examination of the movie,
• 44:45
  Speaker 3: it's an mk Ultra program and this is setting up
• 44:49
  Speaker 3: the fact that the entire thing is a giant operation.
• 44:54
  Speaker 3: But they had all this stuff happen. They drug Jack
• 44:58
  Speaker 3: with the alcohol that was spiked with LSD or some
• 45:03
  Speaker 3: concoction of drugs. He goes up in the room two
• 45:05
  Speaker 3: thirty seven. He hallucinates the woman that's out there. It's
• 45:09
  Speaker 3: either an actor or a woman. So you can if
• 45:12
  Speaker 3: you think of the movie Shutter Island. Have you seen
• 45:16
  Speaker 3: the movies where within the movie, all of these people
• 45:22
  Speaker 3: are like LARPing their roles within them to convince Leonardo
• 45:29
  Speaker 3: DiCaprio's character that he's in like a mental institution.
• 45:35
  Speaker 1: Unlike he's a detective, and yes.
• 45:39
  Speaker 3: To ultimately trigger his memories of exactly what was going
• 45:43
  Speaker 3: on for therapy purposes. Right, Well, that's essentially what's going
• 45:47
  Speaker 3: on within the shining. These people that are supposedly ghosts
• 45:53
  Speaker 3: are not really ghosts that's why they're not prominently portrayed
• 45:58
  Speaker 3: as ghost like with Stephen King's version of the Horrible
• 46:03
  Speaker 3: TV series that he did, or like in Stephen King's
• 46:06
  Speaker 3: novel where things are all like mystical and like swing
• 46:10
  Speaker 3: sets are haunted. There's a haunted bush outside the concerns
• 46:13
  Speaker 3: and the monsters and all this wacky weirdo paranormal garbage,
• 46:18
  Speaker 3: which is one garbage. Kubric decided to make the most
• 46:25
  Speaker 3: realistic version of this, so he made actual people playing
• 46:30
  Speaker 3: these roles within the movie. So Grady is a person.
• 46:34
  Speaker 3: Whenever Jack goes into the the Gold Room and all
• 46:40
  Speaker 3: the people are there having a party, all those people
• 46:42
  Speaker 3: are real people. Within the movie. There are real people.
• 46:47
  Speaker 3: They're actors LARPing this situation to convince Jack to murder
• 46:55
  Speaker 3: and kill his family. That's what it's all about. And
• 46:59
  Speaker 3: then Whenever goes in there and takes the drink of alcohol,
• 47:02
  Speaker 3: whenever Amens said that there's no alcohol in the premise,
• 47:05
  Speaker 3: they remove all the alcohol. Then he goes in and
• 47:08
  Speaker 3: talks to Lloyd the bartender, and Lloyd the Bartender poison
• 47:11
  Speaker 3: a blast. It is laced with LSD. It's laced with
• 47:15
  Speaker 3: some kind of drug. And then Wendy comes in and
• 47:18
  Speaker 3: says that Danny was attacked by a lady upstairs, which
• 47:24
  Speaker 3: was probably a real lady right in the building that's
• 47:31
  Speaker 3: in that's a part of this operation. I mean, the
• 47:33
  Speaker 3: hotel is freaking huge. He probably really was attacked by
• 47:37
  Speaker 3: a lady because he stumbled across the room that one
• 47:40
  Speaker 3: of these agents, one of these CIA agents was actually in,
• 47:44
  Speaker 3: which then correlates to the end of the movie whenever
• 47:48
  Speaker 3: the Bear and the man, the bear is giving the
• 47:50
  Speaker 3: blow drop to the man and no one understands us
• 47:53
  Speaker 3: seeing no one really knows exactly what's going on other
• 47:55
  Speaker 3: than all the other teddy bear symbolism, which teddy bear
• 47:57
  Speaker 3: symbolism is linked to pedophilia, right, which, and then you
• 48:01
  Speaker 3: have Lolita mm hmmm, which is all about pedophilia very much.
• 48:06
  Speaker 3: So those two people were actors within the movie playing
• 48:11
  Speaker 3: other actors LARPing to try and get Jack to kill
• 48:14
  Speaker 3: his family, Okay, And whenever Whindy stumbles across them, they
• 48:19
  Speaker 3: think that the operation is like over right, they're on
• 48:22
  Speaker 3: their freaking lunch break here.
• 48:26
  Speaker 1: Right, Yeah. But you only see it through his perspective though,
• 48:30
  Speaker 1: which is why it's such a mind fuck and that's
• 48:34
  Speaker 1: why at the end of the movie, you're like, what
• 48:36
  Speaker 1: did I just even watch? Like what happened? Like what
• 48:41
  Speaker 1: is going on here? Because it's meant to show you
• 48:44
  Speaker 1: his journey but also take you on it too, So
• 48:47
  Speaker 1: like by the end of the movie, you're like, why
• 48:49
  Speaker 1: do I feel like I just got mkid Like it's crazy.
• 48:54
  Speaker 3: Well, because there's so many continuity errors within the movie,
• 48:58
  Speaker 3: which is the psychologically mess with the viewer's mind of
• 49:02
  Speaker 3: exactly what's going on in the movie. Because if you
• 49:05
  Speaker 3: just watch this for the first time, like try and
• 49:08
  Speaker 3: go back to the very first time that you ever
• 49:12
  Speaker 3: watched the movie, did you know about any of these
• 49:15
  Speaker 3: continuity years?
• 49:16
  Speaker 1: I had absolutely no idea.
• 49:19
  Speaker 3: But it still messed with your mind subconsciously. And Kubrick
• 49:24
  Speaker 3: was very interested in subconscious manipulation. He was actually very
• 49:33
  Speaker 3: interested in advertising, like cigarette company. We know that the
• 49:37
  Speaker 3: companies put like little flashes of images within their movie
• 49:41
  Speaker 3: to subconsciously get the viewer to think something else to
• 49:46
  Speaker 3: buy more products. Which that's the very simple version of it,
• 49:51
  Speaker 3: that's like the surface layer of it. But Kubrick was
• 49:55
  Speaker 3: very interested in that. And then at the end of
• 49:57
  Speaker 3: our movie, during the credit he also talks about that.
• 50:01
  Speaker 3: He says, well, it's interesting to me whenever I make
• 50:07
  Speaker 3: a movie for the audience to think, oh, well, was
• 50:13
  Speaker 3: that on purpose or was that a mistake? All Right,
• 50:18
  Speaker 3: so he wants to mess with the audience, which makes
• 50:23
  Speaker 3: you believe that all of these continuity errors and everything
• 50:27
  Speaker 3: that's wrong with the movie was one done on purpose.
• 50:33
  Speaker 1: Yeah, let me see some of these continuity ears. I
• 50:38
  Speaker 1: actually had it in my notes to ask you about that,
• 50:40
  Speaker 1: because I feel like I caught one, But maybe it's
• 50:45
  Speaker 1: in your slides. If it's not, then I'll be surprised.
• 50:52
  Speaker 3: Okay, can you see it?
• 50:53
  Speaker 1: Yes?
• 50:54
  Speaker 3: Okay, all right? This is a clockwork shining. And some
• 50:57
  Speaker 3: of these are in the movie. Some of them are
• 51:01
  Speaker 3: not in the movie because if we just focused on
• 51:04
  Speaker 3: all these, it would be the movie would have to
• 51:06
  Speaker 3: be like four hours long, and it was almost two
• 51:10
  Speaker 3: hours long, so it was already kind of rough. Okay.
• 51:14
  Speaker 3: So the first one which is in the movie is
• 51:19
  Speaker 3: this handprint on whenever Jack is at the bar, he
• 51:26
  Speaker 3: gets up, this lady walks past. She's actually the one
• 51:29
  Speaker 3: that bumps into Grady to have him spill the alcoholic
• 51:34
  Speaker 3: drink on Jack's shirt. Okay, and it looks like that
• 51:40
  Speaker 3: she has a handprint like on her ass, right, it
• 51:47
  Speaker 3: looks like a four fingered handprint. And people have contested this.
• 51:52
  Speaker 3: They're like, oh, well, it's a part of the dress.
• 51:54
  Speaker 3: It's baked into the drug. Well, it doesn't matter if
• 51:56
  Speaker 3: it's baked into the dress. It still looks like a
• 51:58
  Speaker 3: freaking bloody handprint.
• 52:00
  Speaker 1: Yeah.
• 52:01
  Speaker 3: I think that they think that I'm saying that someone
• 52:03
  Speaker 3: literally covered their handpat hand in red paint and then
• 52:07
  Speaker 3: put it on her ass. That's not what I'm saying.
• 52:09
  Speaker 3: I'm saying that whatever is on the back of her
• 52:12
  Speaker 3: dress looks like a freaking handprint.
• 52:14
  Speaker 1: It sure does.
• 52:18
  Speaker 3: And if you think of what this kind of relates to,
• 52:23
  Speaker 3: which then you get into Castaway with Tom Hanks. Right,
• 52:28
  Speaker 3: you have a four fingered bloody handprint on Wilson the volleyball.
• 52:33
  Speaker 3: Mm hmm, all right, so that's the like proove and
• 52:38
  Speaker 3: show that, you know, the four fingered handprints do exist.
• 52:44
  Speaker 3: It's on Wilson. Now, granted this movie came out in
• 52:47
  Speaker 3: two thousand, uh, you know, two decades after the Shining,
• 52:51
  Speaker 3: but still.
• 52:52
  Speaker 1: It's a thing.
• 52:54
  Speaker 3: Then when you connect the stuff about Tom Hanks, okay
• 53:00
  Speaker 3: and Stanley Cube break you can put two and two
• 53:04
  Speaker 3: together on your own there. So this one is one
• 53:08
  Speaker 3: of the ones that we showed in the documentary, which
• 53:10
  Speaker 3: is a light switch disappearing whenever blinking on his name
• 53:17
  Speaker 3: right now, Yes, whenever Hollerin is giving them.
• 53:23
  Speaker 1: A tour of the.
• 53:25
  Speaker 3: Hotel Windy and Danny, there's a light switch that's above
• 53:29
  Speaker 3: the storage room. Whenever Wendy is carrying Jack's body to
• 53:36
  Speaker 3: put him inside the storage room, the light switch is gone.
• 53:41
  Speaker 3: Here's another light switch that is disappearing and reappearing.
• 53:44
  Speaker 1: This is whatever one is so crazy, like why where
• 53:51
  Speaker 1: did it go?
• 53:54
  Speaker 3: Yep in, Yeah, it's wild. So this is the top
• 53:59
  Speaker 3: frame of this. The top panel is whenever Jack is
• 54:04
  Speaker 3: walking into Almend's office to do the interview in the
• 54:07
  Speaker 3: beginning of the movie, there's not a light switch. And
• 54:09
  Speaker 3: then when Jack is walking back into Almend's office later
• 54:14
  Speaker 3: on to destroy the radio to prevent Wendy and Danny
• 54:17
  Speaker 3: from leaving the hotel, there appear as a light switch
• 54:20
  Speaker 3: underneath the picture frame. This is the maze that I
• 54:25
  Speaker 3: was talking about earlier. In the establishing shot, there's not
• 54:30
  Speaker 3: a maze, and then later on, obviously there is a
• 54:34
  Speaker 3: maze behind it. This one's interesting. The pattern on Jack's
• 54:39
  Speaker 3: tie during the interview looks like the identical pattern to
• 54:46
  Speaker 3: the over establishing foods.
• 54:51
  Speaker 1: Oh my god, that's crazy.
• 54:56
  Speaker 3: This one is the dwarf sticker disappearing off of Danny's door,
• 55:05
  Speaker 3: So whenever Danny has the visions, there's a adope the
• 55:08
  Speaker 3: dwarf sticker on the outside of his door, and then
• 55:11
  Speaker 3: whenever the doctor comes to visit Danny and check on him,
• 55:15
  Speaker 3: the adope the dwarf sticker is missing. This one is
• 55:19
  Speaker 3: when Wendy is telling the doctor about how This one's
• 55:28
  Speaker 3: a dialogue error, So whenever Wendy is telling the doctor
• 55:35
  Speaker 3: how long it was that Danny was having these episodes
• 55:41
  Speaker 3: between the time that he abused Danny doesn't add up
• 55:46
  Speaker 3: to the same amount of time that Jack said to
• 55:51
  Speaker 3: Lloyd the bartender of how long it was, Jack says
• 55:55
  Speaker 3: that it was two years ago, so whenever he abused
• 55:59
  Speaker 3: Danny and injured his arm, which then made Danny like
• 56:03
  Speaker 3: through trauma, start having these quote unquote psychic abilities, because
• 56:09
  Speaker 3: that's how the psychic abilities are developed, They're developed through trauma,
• 56:12
  Speaker 3: and that was one of the things through that they
• 56:15
  Speaker 3: discovered through the MK Ultra programs, is that that is
• 56:19
  Speaker 3: a like a byproduct of trauma and putting people through
• 56:26
  Speaker 3: these programs is that it unlocks abilities within the person
• 56:31
  Speaker 3: that you're traumatizing. This one was the kool Aid that's
• 56:35
  Speaker 3: on top of the fridge, which you know, drink the
• 56:38
  Speaker 3: kool Aid. You got the the Jim Jones incident that
• 56:42
  Speaker 3: was happened during the filming of this movie, which is
• 56:48
  Speaker 3: the Jim Jones wasn't actual kool aid though, but it
• 56:51
  Speaker 3: came synonymous with kool aid.
• 56:53
  Speaker 1: I think it was flavory, the Flavory aid.
• 56:56
  Speaker 3: And the Jim Jones cult drinking ning of but the
• 57:01
  Speaker 3: incident has become synonymous with cool. This one's interesting. This
• 57:08
  Speaker 3: is a clear plastic tarp that is seen on the
• 57:12
  Speaker 3: set as Danny is driving his tricycle through the hotel.
• 57:18
  Speaker 3: This one is a chair that disappears, a chair and
• 57:22
  Speaker 3: a coffee table that disappears. Behind Jack. Windy is talking
• 57:28
  Speaker 3: to him about the sandwich. I'll make you a sandwich,
• 57:32
  Speaker 3: and he's like, oh, well, when I'm in here, you
• 57:35
  Speaker 3: know that I'm working and you don't bother me when
• 57:40
  Speaker 3: I'm working. The first shot has a chair and behind
• 57:45
  Speaker 3: it it cuts to Windy the chair. When it goes
• 57:48
  Speaker 3: back to Jack, the chair and the coffee table is gone,
• 57:50
  Speaker 3: it cuts back to Windy and then in this bottom
• 57:52
  Speaker 3: right hand corner panel, when it cuts back to Jack,
• 57:54
  Speaker 3: the chair and the table is back into the shop.
• 57:59
  Speaker 1: Do you think this significance is because like this, it's
• 58:03
  Speaker 1: when you look at it like this, it's like blatantly
• 58:05
  Speaker 1: obvious and you wonder why you haven't noticed it before.
• 58:11
  Speaker 3: You'd think that you would really notice this, And how
• 58:13
  Speaker 3: many people had to check this before it ever was released,
• 58:20
  Speaker 3: Like how many editors and how many production design sud
• 58:24
  Speaker 3: designer people did he how many eyes did this stuff
• 58:31
  Speaker 3: pass through before it was ever.
• 58:34
  Speaker 1: Published?
• 58:35
  Speaker 3: Right of This is a really really obvious one that
• 58:39
  Speaker 3: because it's there, it disappears and then it reappears again.
• 58:44
  Speaker 3: This is one of the first ones that I noticed.
• 58:47
  Speaker 3: This one is whenever Olman is talking to Jack, it
• 58:53
  Speaker 3: doesn't make sense. He says that the hotel is shut
• 58:56
  Speaker 3: down from a certain period of time to another period
• 59:00
  Speaker 3: of time, which then doesn't correlate with how many months
• 59:05
  Speaker 3: Jack and his family will actually be staying at the hotel,
• 59:09
  Speaker 3: which is another dialogue air. This one is almon. This
• 59:14
  Speaker 3: is one that Jay Widner has pointed out several times.
• 59:17
  Speaker 3: It's also in our movie. It's also in Room two
• 59:21
  Speaker 3: thirty seven as well. It's whenever Jack goes to meet
• 59:25
  Speaker 3: Almond and shake his hand. The paper tray on the
• 59:28
  Speaker 3: desk makes it look like Almond has a heart on
• 59:34
  Speaker 3: This one is another interesting one that Jay Widner has
• 59:36
  Speaker 3: pointed out that the Teddy Bear in the background with
• 59:39
  Speaker 3: the fire truck in the background shot of Danny and
• 59:44
  Speaker 3: Wendy before Wendy goes down to confront Jack and she
• 59:51
  Speaker 3: finds out that he's not actually writing a novel, and
• 59:54
  Speaker 3: he's just writing the same phrase over and over again,
• 59:56
  Speaker 3: which is psychic driving, psyche driving. That's exactly what they
• 1:00:02
  Speaker 3: did with.
• 1:00:04
  Speaker 1: Sir Hans Sir Ham.
• 1:00:08
  Speaker 3: If you look at his notebooks, it says RFK must die,
• 1:00:11
  Speaker 3: r f G must die over and over and over again.
• 1:00:13
  Speaker 3: It's the same type of psychic driving programming that they're
• 1:00:17
  Speaker 3: doing to Jack within the Shining. They're just having him
• 1:00:19
  Speaker 3: write the same sentence over and over and over again.
• 1:00:21
  Speaker 3: And then when Windy comes down and discovers that he's
• 1:00:25
  Speaker 3: not actually writing a novel, he's just writing the same sentence,
• 1:00:29
  Speaker 3: he then gets triggered and tries to you know, kill her,
• 1:00:34
  Speaker 3: to commit violence against her. But also this is where
• 1:00:39
  Speaker 3: Windy picks up the baseball bat. They see the baseball
• 1:00:43
  Speaker 3: bat that's right beside of the teddy bear. He gets
• 1:00:48
  Speaker 3: the baseball bat. So, but the baseball bat changes from
• 1:00:53
  Speaker 3: where it is in the shots so earlier in the movie. Well,
• 1:00:58
  Speaker 3: there's a whenever the doctor comes to visit Danny in
• 1:01:02
  Speaker 3: the movie, there's a cartoon character that is holding a
• 1:01:07
  Speaker 3: baseball bat in the background here on this curtain. And
• 1:01:12
  Speaker 3: then also goofy figure. This is obviously goofy, but people
• 1:01:15
  Speaker 3: have pointed out that this goofy person is dressed exactly
• 1:01:19
  Speaker 3: like Wendy.
• 1:01:21
  Speaker 1: Wendy, Yeah, okay.
• 1:01:23
  Speaker 3: So then whenever Jack goes to look at the maze,
• 1:01:29
  Speaker 3: remember that the really famous scene, whenever he goes to
• 1:01:31
  Speaker 3: look at the model of the maze, and then the
• 1:01:34
  Speaker 3: shot fades into the shot of Wendy and Danny outside
• 1:01:39
  Speaker 3: in the maze. It's one of the most perfect shots
• 1:01:41
  Speaker 3: of the entire movie. But there's the baseball bat is
• 1:01:47
  Speaker 3: sitting on the couch downstairs right beside the model of
• 1:01:52
  Speaker 3: the maze, and then it appears later on right beside
• 1:01:55
  Speaker 3: the teddy Bear. In the fire truck upstairs in their apartment.
• 1:02:02
  Speaker 3: Then that's where she picks up the baseball bat off
• 1:02:05
  Speaker 3: of the couch upstairs in the apartment that she strikes
• 1:02:10
  Speaker 3: Jack in the head with. This one's interesting. This is
• 1:02:14
  Speaker 3: a door that this is all in the same shot.
• 1:02:18
  Speaker 3: So for people that's just listening, I'm showing photos of
• 1:02:24
  Speaker 3: what's going on here, like the actual photos to give
• 1:02:27
  Speaker 3: you a good description, but I'm gonna explain it because
• 1:02:30
  Speaker 3: it's important for you to hear. So this is whenever
• 1:02:34
  Speaker 3: Danny is rolling up to room two thirty seven for
• 1:02:37
  Speaker 3: the first time, there's a door in this right hand
• 1:02:40
  Speaker 3: corner panel that's shut, and then it then it cuts
• 1:02:45
  Speaker 3: to the door of room two thirty seven, and then
• 1:02:48
  Speaker 3: when it cuts back to Danny, the door that same
• 1:02:50
  Speaker 3: door is now open. The carpus switches patterns when Danny
• 1:02:58
  Speaker 3: is playing with the ball and the ball rolls toward Danny,
• 1:03:01
  Speaker 3: and then in the next establishing shot the carpet is different,
• 1:03:05
  Speaker 3: which people have said that they just moved him over
• 1:03:09
  Speaker 3: one hexagonal carpet pattern, which would make sense, but why
• 1:03:16
  Speaker 3: would you do that? Right? This is the Teddy Bear
• 1:03:22
  Speaker 3: stuff is like setting up a lot of the teddy
• 1:03:25
  Speaker 3: bear symbolism. There's also a painting of two Teddy Bears
• 1:03:32
  Speaker 3: within the shining a lot of the artwork on the
• 1:03:34
  Speaker 3: walls within the overlook, there's teddy bear symbolism. And then
• 1:03:40
  Speaker 3: in the beginning of the movie, when the doctor is
• 1:03:42
  Speaker 3: visiting Danny and Wendy in their apartment in Boulder, Danny
• 1:03:45
  Speaker 3: is laying on a Teddy Bear. In this bottom quarter
• 1:03:49
  Speaker 3: panel is what we were just talking about a few
• 1:03:51
  Speaker 3: minutes ago. When Wendy is traumatized by seeing Haller and
• 1:03:55
  Speaker 3: Dad on the ground, she then goes upstairs and she
• 1:03:59
  Speaker 3: sees this man and the other man in the Teddy
• 1:04:02
  Speaker 3: Bear costume supposedly blowing this student's suit. Tang is spotted
• 1:04:11
  Speaker 3: next to other kool Aid bottles. Tang was a very
• 1:04:16
  Speaker 3: important drink for astronauts during the Apollo missions. They said
• 1:04:21
  Speaker 3: that this was the only type of drink that they
• 1:04:23
  Speaker 3: could use because of like some kind of gravity thing
• 1:04:29
  Speaker 3: or whatever, so they had to they had to use
• 1:04:32
  Speaker 3: the Tang mix.
• 1:04:36
  Speaker 1: So this is like another clue.
• 1:04:42
  Speaker 3: Yes, it's another clue, and the Tang is what became
• 1:04:47
  Speaker 3: super popular after this after it became the official.
• 1:04:53
  Speaker 1: Drink for the astronauts, right next to the mk kool aid. Yep, man,
• 1:05:00
  Speaker 1: it's got to be on purpose. That is so crazy.
• 1:05:05
  Speaker 3: This one is more about the moon landing. Jay Widener
• 1:05:08
  Speaker 3: has talked about this several times. It's in his Tuber's
• 1:05:11
  Speaker 3: Odyssey one and two movies that Danny is wearing the
• 1:05:14
  Speaker 3: Apollo eleven shirt. He stands up with the carpet potter
• 1:05:18
  Speaker 3: and the hexagonal carpet pattern which looks like the launch
• 1:05:20
  Speaker 3: pad to Apollo eleven. He then goes in the room
• 1:05:23
  Speaker 3: two thirty seven. The room was switched to two seventeen
• 1:05:28
  Speaker 3: in Stephen King's novel and cubric changed it. The room
• 1:05:32
  Speaker 3: two thirty seven and two thirty seven was the amount
• 1:05:37
  Speaker 3: of miles that people thought that the moon was away
• 1:05:41
  Speaker 3: from Earth.
• 1:05:43
  Speaker 1: Definitely on purpose.
• 1:05:46
  Speaker 3: This this is the Shining Toy Story reference. They got
• 1:05:51
  Speaker 3: the same carpet and that they have the shining carpet
• 1:05:54
  Speaker 3: in toy story that they have in the Shining and
• 1:05:59
  Speaker 3: What's Your Toy Story is about a fake astronaut. Mm hmm.
• 1:06:04
  Speaker 1: And Tom tom Hanks heeado, yeah.
• 1:06:08
  Speaker 3: Yep, Tom Hanks is Woody. Just the coincidence. Tom Hanks
• 1:06:12
  Speaker 3: is playing a character named Woody.
• 1:06:15
  Speaker 1: Right, and the Wilson Ball. I'm telling you that that
• 1:06:17
  Speaker 1: stuff is definitely not an accident.
• 1:06:23
  Speaker 3: And then that print being like a that type of
• 1:06:29
  Speaker 3: print is like synonymous for like pedophilia.
• 1:06:35
  Speaker 1: Right, Yeah, that's so crazy.
• 1:06:40
  Speaker 3: It's one of the CIA's one of the things that
• 1:06:43
  Speaker 3: they said is like a not a trigger, but like
• 1:06:47
  Speaker 3: a symbolic thing to let people know about pedophilia.
• 1:06:54
  Speaker 1: Right, Is it like a moniker?
• 1:06:56
  Speaker 3: Yes?
• 1:06:58
  Speaker 1: So wild.
• 1:06:59
  Speaker 3: Okay, so the next one is a TV not being
• 1:07:02
  Speaker 3: plugged into anything. Several TVs throughout the movie are not
• 1:07:07
  Speaker 3: being shown to be plugged into any outlet TV, no
• 1:07:11
  Speaker 3: power source to any of these TVs. Okay, so what
• 1:07:16
  Speaker 3: are they watching? This is an mk ultra program. This
• 1:07:18
  Speaker 3: would be exactly like what Kubrick would put in here
• 1:07:22
  Speaker 3: if he did fake the moon landing footage, and that
• 1:07:25
  Speaker 3: was because it would be like people are watching nothing
• 1:07:28
  Speaker 3: on their TVs because it's a pre planned, pre filmed
• 1:07:34
  Speaker 3: mm hmm, that's what I think. Anyway.
• 1:07:39
  Speaker 1: It almost makes me wonder if he didn't like put
• 1:07:44
  Speaker 1: whatever they're watching on like after like post, you know,
• 1:07:52
  Speaker 1: like whatever. They're just staring at blank screens, and then
• 1:07:55
  Speaker 1: he chose like this specific scene or this specific talk
• 1:08:00
  Speaker 1: show for them to be watching. Do you think that
• 1:08:03
  Speaker 1: that's significant at all? Like what he chose for them
• 1:08:06
  Speaker 1: to be watching.
• 1:08:08
  Speaker 3: Some people have found a significance in the movie that's
• 1:08:12
  Speaker 3: being played appearing. I think that this is a cooking
• 1:08:15
  Speaker 3: show down here in the bottom But this top movie
• 1:08:19
  Speaker 3: that they're watching here in the top panel is I believe,
• 1:08:22
  Speaker 3: the Summer of sixty nine. I think some people have
• 1:08:28
  Speaker 3: put some connections to together for it. This one is
• 1:08:35
  Speaker 3: the differences and names of Charles Grady and Delbert Grady.
• 1:08:38
  Speaker 3: So Allman says that his name is Charles Grady, and
• 1:08:44
  Speaker 3: then Charles Grady refers to himself as Delbert Grady.
• 1:08:50
  Speaker 1: So Jack, Okay.
• 1:08:52
  Speaker 3: So there's not only like connuity errors between like the
• 1:08:57
  Speaker 3: like things appearing disappearing, things being there and then real,
• 1:09:01
  Speaker 3: but there's also a lot of dialogue there's as well,
• 1:09:06
  Speaker 3: which I think, uh pass over a lot of people's heads.
• 1:09:11
  Speaker 1: Well, actually, in that last one, this this one right here,
• 1:09:16
  Speaker 1: I have in my notes and I just wanted to
• 1:09:20
  Speaker 1: get your your thoughts on it because the main guy,
• 1:09:24
  Speaker 1: the manager guy, he says that there was a caretaker
• 1:09:28
  Speaker 1: who had a girl one was eight and one was ten,
• 1:09:32
  Speaker 1: and that he hacked him up with an axe. But
• 1:09:36
  Speaker 1: when they're shown, they're clearly twins, not one being eight
• 1:09:41
  Speaker 1: and one being ten. So I just wanted to get
• 1:09:44
  Speaker 1: your thoughts on that too, because I felt like that
• 1:09:46
  Speaker 1: was another like why would you mention that one was
• 1:09:48
  Speaker 1: eight and one was ten, but then when you show
• 1:09:51
  Speaker 1: them they're identical twins, And then you have like that
• 1:09:54
  Speaker 1: monarch poster in the background on the first siding of
• 1:09:57
  Speaker 1: the twins and stuff, It's like, what really, why put
• 1:10:01
  Speaker 1: that in there and then show twins? You know what
• 1:10:04
  Speaker 1: I mean?
• 1:10:05
  Speaker 3: Yeah, that's what we were going to put together. In
• 1:10:08
  Speaker 3: the We had to cut a few things out because one,
• 1:10:11
  Speaker 3: we didn't want this movie to be super ridiculously long.
• 1:10:15
  Speaker 3: I don't know if people have ever edited a almost
• 1:10:18
  Speaker 3: two hour long movie. It becomes a.
• 1:10:23
  Speaker 1: Pain daunting, yeah, I'm sure.
• 1:10:25
  Speaker 3: Dunting, Like there was times I just wanted to bang
• 1:10:27
  Speaker 3: my head up against.
• 1:10:28
  Speaker 1: The freaking war, I'm sure.
• 1:10:31
  Speaker 3: But we had a whole section in there that ended
• 1:10:34
  Speaker 3: up getting acts because Almond does say that they were
• 1:10:40
  Speaker 3: eight and ten, right, And we had a whole section
• 1:10:43
  Speaker 3: that was about the experimentations that the Nazis were doing
• 1:10:49
  Speaker 3: on twins, and we were going to connect a bunch
• 1:10:55
  Speaker 3: of things to the twins within the movie. But then
• 1:10:59
  Speaker 3: we thought like that people would come at us because
• 1:11:03
  Speaker 3: they would say, well, they're not really twins, and then
• 1:11:05
  Speaker 3: that would just discount the entire you know, ten minutes
• 1:11:08
  Speaker 3: that we had on all the twins stuff.
• 1:11:11
  Speaker 1: But they were twins like that, like you could tell
• 1:11:14
  Speaker 1: that's what he was going for.
• 1:11:17
  Speaker 3: You know, Yes, it is odd, it is really odd.
• 1:11:23
  Speaker 3: It was it was Hitler's right hand man, blinking on.
• 1:11:29
  Speaker 1: His name right now, but he was Mangola.
• 1:11:32
  Speaker 3: Joseph Manglo. Yes, Joseph Mangola was responsible for a lot
• 1:11:37
  Speaker 3: of the early mind control operations that Nazi Germany was doing,
• 1:11:44
  Speaker 3: and he was doing a lot of experimentation on twins.
• 1:11:50
  Speaker 1: Wasn't there also like a Project Gemini or something like
• 1:11:54
  Speaker 1: that too. That kind of like went along with Monarch
• 1:11:57
  Speaker 1: because when the fighting, when Danny sees the first sighting
• 1:12:02
  Speaker 1: of the twins, it's like the twins standing there, identical
• 1:12:05
  Speaker 1: dress everything, and then in the background is like the
• 1:12:08
  Speaker 1: Monarch poster on the wall, and it almost makes you think,
• 1:12:12
  Speaker 1: like Jim and I Twins Monarch, Like there's so much
• 1:12:17
  Speaker 1: going on just in that one little flash of a
• 1:12:19
  Speaker 1: scene and if you're not paying attention, you'd never know.
• 1:12:23
  Speaker 1: But then Olman, when he's talking about Grady or whatever,
• 1:12:28
  Speaker 1: he says that they were just sisters eight and ten.
• 1:12:31
  Speaker 1: So Stanley Kuber definitely is trying to say something with
• 1:12:36
  Speaker 1: just visual work of the of the twins too, in
• 1:12:39
  Speaker 1: my opinion at least.
• 1:12:42
  Speaker 3: And not only don't there's two of them that makes eleven?
• 1:12:45
  Speaker 3: There's eleven symbolism?
• 1:12:46
  Speaker 1: All oh right, right, yeah, yeah, I remember you mentioned
• 1:12:50
  Speaker 1: in that all the doors are double doors.
• 1:12:56
  Speaker 3: Evens you have the candle olders in the like around
• 1:13:02
  Speaker 3: the hotel that looked like eleven's the lights hanging from
• 1:13:06
  Speaker 3: the walls look like there's just eleven twin type symbolism
• 1:13:13
  Speaker 3: throughout the entire movie. And then when you think of, okay, well,
• 1:13:16
  Speaker 3: why is all this like point eleven stuff in there?
• 1:13:20
  Speaker 3: And if you look at like this might be a stretch.
• 1:13:25
  Speaker 3: But some people believe that Hubert didn't actually die, that
• 1:13:30
  Speaker 3: he like faked his us so that he could work
• 1:13:33
  Speaker 3: for the intelligence world and the military as like a
• 1:13:38
  Speaker 3: deep black budget filmmaker. Wow, okay, so damn what better
• 1:13:49
  Speaker 3: person could you think of to completely fake something that
• 1:13:57
  Speaker 3: probably faked something before with nineteen sixty nine moonlanding footage.
• 1:14:06
  Speaker 3: Did you do something like that with nine to eleven?
• 1:14:09
  Speaker 1: Damn man, Stanley Kubrick is one of the deepest Pandora's box.
• 1:14:16
  Speaker 1: I mean, that is just why. I mean, I feel
• 1:14:21
  Speaker 1: like not the entire story is being told with eyes
• 1:14:26
  Speaker 1: white shut and then him dying shortly afterwards. Was he repurposed?
• 1:14:32
  Speaker 1: I think that could be very likely, because maybe they
• 1:14:37
  Speaker 1: were mad at him for whatever that he was trying
• 1:14:41
  Speaker 1: to say with eyes white shut. Were they mad enough
• 1:14:43
  Speaker 1: at him to kill him? I don't know. I don't
• 1:14:48
  Speaker 1: think he'd died of a heart attack, that's for damn sure.
• 1:14:53
  Speaker 3: Yeah, they don't normally.
• 1:14:58
  Speaker 1: Kill assets, right, That's what I'm saying. It's like, so
• 1:15:01
  Speaker 1: what he made this movie Eyes Wide Shut? Like, did
• 1:15:07
  Speaker 1: you do you really think it was so bad that
• 1:15:09
  Speaker 1: they should that they would have killed him? I don't know,
• 1:15:15
  Speaker 1: I mean, And.
• 1:15:15
  Speaker 3: Then there's also the the thought and their idea that
• 1:15:19
  Speaker 3: he could have had a heart attack. But it is
• 1:15:23
  Speaker 3: really suspicious how soon it was after he showed as
• 1:15:28
  Speaker 3: Wide Shot to the producers and the actors, they had
• 1:15:33
  Speaker 3: like a private screening, and then like six days later
• 1:15:36
  Speaker 3: he's dead. It's pretty right then they supposedly recut the film.
• 1:15:41
  Speaker 3: Mm hmmm mm hm. The only people that would be
• 1:15:46
  Speaker 3: able to know if that wasn't the original film that
• 1:15:51
  Speaker 3: they saw would be like Nicole Kidman, Tom Cruise and.
• 1:15:57
  Speaker 1: The executives and there scientologists slash occultists. They're definitely not
• 1:16:03
  Speaker 1: gonna say anything, right but you know, okay, so.
• 1:16:08
  Speaker 3: That's even if they would remember, because you know how
• 1:16:10
  Speaker 3: like you're just watch a movie one time there is
• 1:16:13
  Speaker 3: there for a party or whatever. I would like to
• 1:16:16
  Speaker 3: talk to I would like to talk to Tom Cruse.
• 1:16:18
  Speaker 3: I would definitely talk to Tom Cruise. There's a footage of
• 1:16:23
  Speaker 3: him of Tom Cruise being interviewed about Stanley Kubrick and
• 1:16:26
  Speaker 3: he's like crying, Wow, there's weird. There's weird stuff about
• 1:16:32
  Speaker 3: Tom Cruise and Stanley Kubrick as well. Apparently, whenever Kubrick
• 1:16:37
  Speaker 3: was filming Eyes White Shot, the movie went on for
• 1:16:39
  Speaker 3: way longer or it was ever intended, Like Tom Cruise
• 1:16:43
  Speaker 3: had to turn down several projects just to continue to
• 1:16:46
  Speaker 3: work with Stanley Kubrick on Eyes White Shot. But reportedly
• 1:16:52
  Speaker 3: there was a day of filming that Kubrick made Tom
• 1:16:59
  Speaker 3: Cruise put on a dress and come out on set
• 1:17:06
  Speaker 3: to be berated by everybody.
• 1:17:09
  Speaker 1: What literally?
• 1:17:15
  Speaker 3: What? Then when you get into the all the dress stuff,
• 1:17:21
  Speaker 3: you know what I mean?
• 1:17:23
  Speaker 1: God good actors that are.
• 1:17:26
  Speaker 3: You know, made to wear dresses?
• 1:17:29
  Speaker 1: Oh one hundred.
• 1:17:32
  Speaker 3: Is the dress ritual? Right?
• 1:17:35
  Speaker 1: The humiliation and the Okay, okay, let me get your
• 1:17:38
  Speaker 1: thoughts on this because I want to kind of tie
• 1:17:41
  Speaker 1: it in with this scene here when Jack goes for
• 1:17:47
  Speaker 1: the interview. This was definitely in your documentary. Almond mentions
• 1:17:54
  Speaker 1: the people in Denver several times, but we don't know
• 1:17:56
  Speaker 1: who the fuck he's talking about. They'd never specify who
• 1:17:59
  Speaker 1: who are the people in Denver? And I find it
• 1:18:06
  Speaker 1: interesting that he filmed Eyes Wide Shut in Colorado. I
• 1:18:12
  Speaker 1: believe it was near Denver. And then Dave McGowan wrote
• 1:18:19
  Speaker 1: all this stuff about how when the Wonderland Pedophilia raids
• 1:18:22
  Speaker 1: broke through, a lot of people had pictures of John
• 1:18:25
  Speaker 1: Benet Ramsey like on, like naked pictures of her and
• 1:18:29
  Speaker 1: weird stuff like that. And she was from Colorado as well,
• 1:18:35
  Speaker 1: so and in Program to Kill he mentions how there
• 1:18:38
  Speaker 1: are these elitist people Eyes Wide Shutters living in Colorado,
• 1:18:44
  Speaker 1: Denver Boulder area that they're all involved in this stuff,
• 1:18:49
  Speaker 1: and I find it interesting that the Shining Eyes Wide Shut,
• 1:18:58
  Speaker 1: the Wonderland Raids, the Eyes wide chet parties and stuff
• 1:19:02
  Speaker 1: like that. We're all are all kind of connected. And
• 1:19:08
  Speaker 1: there's like the weird pageant queen that dies and eyes
• 1:19:12
  Speaker 1: Wide Shut, and Jaba A. Ramsey was like a little
• 1:19:15
  Speaker 1: pageant queen or whatever. But it's almost like he's he.
• 1:19:19
  Speaker 1: Everything is so layered with like ritualism. I guess you
• 1:19:24
  Speaker 1: would say, like, what actually is going on with this stuff?
• 1:19:32
  Speaker 3: Well, Colorado has been known to be heavily intelligence, like
• 1:19:39
  Speaker 3: especially Denver. I'm pretty sure Denver has a CIA headquarters
• 1:19:46
  Speaker 3: mm currently, and a lot of colts come out of Colorado.
• 1:19:55
  Speaker 1: All of.
• 1:19:57
  Speaker 3: Stephen King's novels is basically based out of Colorado.
• 1:20:06
  Speaker 1: Coloraile to me, it's like they're telling you without telling you,
• 1:20:12
  Speaker 1: but I just wanted to.
• 1:20:13
  Speaker 3: It's supposedly supposed to be set up as like the
• 1:20:16
  Speaker 3: New World Order headquarters. That's where That's why everybody wants
• 1:20:20
  Speaker 3: to go to.
• 1:20:22
  Speaker 1: Colorado.
• 1:20:23
  Speaker 3: That's why they love going. Why everybody in California is like,
• 1:20:27
  Speaker 3: go to Colorado.
• 1:20:28
  Speaker 1: That's why all the colorado Ons are.
• 1:20:31
  Speaker 3: Pissed off at whenever people come in and they have
• 1:20:34
  Speaker 3: a California idea or they have California tags on their car.
• 1:20:37
  Speaker 3: They're like, what, get the fuck out of here. But everybody,
• 1:20:43
  Speaker 3: everybody looks that lives and has been born and raised
• 1:20:47
  Speaker 3: in California look at Colorado as California. Like other people
• 1:20:55
  Speaker 3: that's not born in California look at California. M Well,
• 1:21:01
  Speaker 3: that are born in other states, they look at like
• 1:21:04
  Speaker 3: California as like the I'm not everyone, but most people
• 1:21:08
  Speaker 3: look at California as like the pinnacle, like that's where
• 1:21:12
  Speaker 3: you want to live. Well in California, look at Colorado
• 1:21:18
  Speaker 3: as the pinnacle, like I've I lived in Colorado for
• 1:21:22
  Speaker 3: around three years, and then I moved back to California.
• 1:21:26
  Speaker 3: So I had lived in California for about five years,
• 1:21:29
  Speaker 3: moved to Colorado, lived there for about three and then
• 1:21:32
  Speaker 3: moved back to California. And then when a new city
• 1:21:36
  Speaker 3: in a new area more north than where I was
• 1:21:41
  Speaker 3: in southern California before. And whenever people ask me like, oh, well,
• 1:21:46
  Speaker 3: where are you from, and I normally just say, you know,
• 1:21:49
  Speaker 3: I'm from college. Because I just recently moved back to California,
• 1:21:54
  Speaker 3: I normally don't say all I'm lived in California before
• 1:21:57
  Speaker 3: and I'm just back here again, and because just recently came.
• 1:22:01
  Speaker 1: From Colorado, and then they're like, oh, well.
• 1:22:03
  Speaker 3: Why did you decide to move to California. Wouldn't have
• 1:22:07
  Speaker 3: done that, So they look at like, I would.
• 1:22:12
  Speaker 1: Never have.
• 1:22:14
  Speaker 3: Left Colorado. So it's like they all look at Colorado
• 1:22:18
  Speaker 3: as like this great, amazing right that is going to
• 1:22:22
  Speaker 3: be set up as like the essentially New World Order headquarters.
• 1:22:30
  Speaker 1: So people have been.
• 1:22:30
  Speaker 3: Talking about for a really long time that they moved
• 1:22:32
  Speaker 3: everything to Colorado.
• 1:22:36
  Speaker 1: I would agree with you with that, because it's like
• 1:22:38
  Speaker 1: after the Laurel Canyon stuff and like all the weirdness
• 1:22:42
  Speaker 1: came up out of California, it did seem to kind
• 1:22:46
  Speaker 1: of shift over. And then it was like in the
• 1:22:49
  Speaker 1: nineties with like the Wonderland raids and stuff like what
• 1:22:53
  Speaker 1: David McGowan was writing about. All that stuff was coming
• 1:22:56
  Speaker 1: up out of Colorado. So those two places are like
• 1:23:01
  Speaker 1: the epicenters for a lot of this.
• 1:23:06
  Speaker 3: And think about it. Colorado is landlocked, Okay, the coasts
• 1:23:11
  Speaker 3: aren't safe states to be in. If if another country attacks,
• 1:23:19
  Speaker 3: then they're going to hit the coast. They're not going
• 1:23:21
  Speaker 3: to be able to hit the freaking center of the
• 1:23:25
  Speaker 3: United States.
• 1:23:26
  Speaker 1: Right, Yeah, they're.
• 1:23:28
  Speaker 3: Going to come on boats. Then they're gonna hit one
• 1:23:32
  Speaker 3: of the coasts. They're going to be the coast for
• 1:23:35
  Speaker 3: the West coast, so Washington, Oregon, California, Florida, Oregon, Florida, uh,
• 1:23:47
  Speaker 3: North Carolina, South Carolina, Virginia. Right, that's where the attacks
• 1:23:53
  Speaker 3: are going to come from. So they used to be
• 1:23:57
  Speaker 3: more on like the East Coast was like their high
• 1:24:00
  Speaker 3: out in there, you know, where they planned all of
• 1:24:03
  Speaker 3: their operations, unlike the East, like northeast. But I think
• 1:24:11
  Speaker 3: that they have switched it and they have just gone
• 1:24:13
  Speaker 3: to the pretty much the Midwest. They're right in the center,
• 1:24:20
  Speaker 3: because that would also say from you'd be safe from
• 1:24:24
  Speaker 3: any kind of cataclysm, like if there was a giant tsunami,
• 1:24:27
  Speaker 3: you'd be safe. In Colorado. There's there's actually a CIA
• 1:24:32
  Speaker 3: document I don't know if you've read it. It's called
• 1:24:35
  Speaker 3: the it's called Adam and Eve. It's called the Adam
• 1:24:39
  Speaker 3: and Eve Story, and it's a document that talks about
• 1:24:44
  Speaker 3: that there is going to be a giant cataclysm that's
• 1:24:47
  Speaker 3: going to come that's basically going to eradicate the entire population.
• 1:24:53
  Speaker 3: They don't know when it's going to be but when
• 1:24:56
  Speaker 3: it happens, the only place in North America that you
• 1:25:04
  Speaker 3: could go to survive it is the Rocky Mountains.
• 1:25:09
  Speaker 1: Really yep? Oh, okay, that makes a lot of sense.
• 1:25:16
  Speaker 1: I mean, so they're predicting like John Cusack twenty twelve movie,
• 1:25:21
  Speaker 1: but like in real life.
• 1:25:25
  Speaker 3: Yeah. There, it's a legitimate, legitimate it's CIA documents on
• 1:25:30
  Speaker 3: the CIA website. I think it's called oh this is
• 1:25:36
  Speaker 3: trying to pop this up on my other screen here,
• 1:25:38
  Speaker 3: but it's called the Adam and Eve. Let me get
• 1:25:42
  Speaker 3: out of this. We'll come back to that in a minute,
• 1:25:44
  Speaker 3: okayt me google real quick. Adam and Eve the IA
• 1:25:54
  Speaker 3: docy Adam and Eve story.
• 1:25:58
  Speaker 1: Yep, this is it. And what a name too? How cryptic?
• 1:26:06
  Speaker 3: Okay, so I want to get rid of this. Okay.
• 1:26:09
  Speaker 3: So Adam and Eves Story by Chan Thomas. It's a
• 1:26:13
  Speaker 3: declassified CIA document on the CIA website. It's a pretty
• 1:26:19
  Speaker 3: long document. There's a lot of pages to it. There's
• 1:26:23
  Speaker 3: fifty seven pages. But it gives you like a timeline
• 1:26:27
  Speaker 3: of like all of the great supposed catastrophes in the
• 1:26:32
  Speaker 3: past and then that we are going to experience a
• 1:26:38
  Speaker 3: here's the contents the next cataclysm, the Great Flood, the story,
• 1:26:42
  Speaker 3: the event, genesis, and the conclusion. It's a very fascinating wow.
• 1:26:49
  Speaker 3: Does that Noah's flood happened six thousand and five hundred
• 1:26:54
  Speaker 3: years ago? There was another flood like Adam and Leaves
• 1:27:00
  Speaker 3: flood that happened eleven thousand and five hundred years ago,
• 1:27:05
  Speaker 3: So it seems like it's kind of working in like
• 1:27:07
  Speaker 3: five thousand to six thousand year.
• 1:27:09
  Speaker 1: Cycles, right, So it's like we're due for one.
• 1:27:14
  Speaker 3: Yeah, fuck, let me see, Okay. So, within three hours
• 1:27:26
  Speaker 3: of the fantastic wall of water moves across the continent,
• 1:27:29
  Speaker 3: burying wind, ravage land under two miles of seething water
• 1:27:33
  Speaker 3: coast to coast. In the all the vicinities of civilizations
• 1:27:37
  Speaker 3: are gone. The great cities Los Angeles, San Francisco, Chicago, Donallas,
• 1:27:43
  Speaker 3: New York are nothing but legends. Barely a stone is
• 1:27:46
  Speaker 3: left for millions walk just a few hours before, a
• 1:27:49
  Speaker 3: few lucky ones who managed to find shelter from the
• 1:27:52
  Speaker 3: screaming wind and lee landslide of Pike's Peak, which the
• 1:27:57
  Speaker 3: sea is molten fire, breakthrough the quaking valleys below. The
• 1:28:01
  Speaker 3: raging waters flow, appeeling higher and higher, streaming over the
• 1:28:04
  Speaker 3: moulten earth fire and rising almost to their feet. Only
• 1:28:10
  Speaker 3: great mountains such as this can withstand the cataclysmic onslaught.
• 1:28:15
  Speaker 3: The North America is not alone in her death throws.
• 1:28:18
  Speaker 3: Central America suffers the same concaid wind, earth and fire.
• 1:28:24
  Speaker 3: South America finds the andes not high enough to stop
• 1:28:27
  Speaker 3: the cataclysmic violence pounded out by the nature of her
• 1:28:31
  Speaker 3: berserk rage. In less than a day, Alsalvador, Peru and
• 1:28:36
  Speaker 3: Western Brazil are shaken madly by the devastating earthquake, burned
• 1:28:39
  Speaker 3: by molten earthfire, buried under a two big miles of
• 1:28:44
  Speaker 3: Pacific seas and turned into a frozen hell. Everything freezes, man, beast, plant, mud,
• 1:28:49
  Speaker 3: all rock hard in less than four hours. They're talking
• 1:28:52
  Speaker 3: about a very big, giant cataclysm that within the matter
• 1:28:56
  Speaker 3: of hours everything is just completely destroyed. Sotern Africa, Siberia.
• 1:29:03
  Speaker 3: The Earth is left unfrozen in the entire Eastern Asian continent,
• 1:29:07
  Speaker 3: most of which remains below sea level east of the
• 1:29:10
  Speaker 3: Royals in western Siberia, a few lucky people survive the
• 1:29:13
  Speaker 3: fantastic winds and quakes. Antarctica and Greenland, with their ice
• 1:29:17
  Speaker 3: caps now rotate around the Earth into the tory Roid zone.
• 1:29:21
  Speaker 3: The Fury of the Winding Foundation match for six days
• 1:29:23
  Speaker 3: and nights. Six days and knights. This is supposed to
• 1:29:26
  Speaker 3: go on. During the sixth day, the ocean starts to
• 1:29:28
  Speaker 3: settle and the new homes running off of high grounds.
• 1:29:31
  Speaker 3: The seventh day, horrendous rampages over the Arctic ice is
• 1:29:35
  Speaker 3: ended and a new stone age begins. So this is
• 1:29:38
  Speaker 3: basically a let's make reset that is predicted in the future. Okay,
• 1:29:44
  Speaker 3: So have deep layer existing over the Great Plains and
• 1:29:48
  Speaker 3: exposed in the Grand Canyon, painted desert and bad lands.
• 1:29:53
  Speaker 3: The Bay of the Basin in the east of India
• 1:29:56
  Speaker 3: is now the North Pole. So this is like a
• 1:29:59
  Speaker 3: big you like a tectonic plate shift, like a huge
• 1:30:06
  Speaker 3: thing that kicks off these big natural disasters. I'm just
• 1:30:10
  Speaker 3: trying to find where it says the safe places to
• 1:30:13
  Speaker 3: be where. But it was like the rocky mountains, and
• 1:30:16
  Speaker 3: then like the part of the mountains and the springs
• 1:30:23
  Speaker 3: like Colorado Springs. Wow, but it's in this document. I
• 1:30:27
  Speaker 3: don't want to waste too much time on it. But
• 1:30:29
  Speaker 3: that's just a part of the whole thing. They I
• 1:30:33
  Speaker 3: think that they believe that Colorado is going to be
• 1:30:37
  Speaker 3: like a safe haven for not only cataclysmic disaster, but
• 1:30:42
  Speaker 3: they can set up their operations here as well.
• 1:30:46
  Speaker 1: That's horrific.
• 1:30:48
  Speaker 3: Yeah, I would recommend looking at that document, that Adam
• 1:30:52
  Speaker 3: and U story.
• 1:30:53
  Speaker 1: Are you scared?
• 1:30:55
  Speaker 3: No, because I don't think it's going to be for
• 1:30:57
  Speaker 3: a really long time.
• 1:30:57
  Speaker 1: I think, like, really, like if you had, if you
• 1:31:00
  Speaker 1: a ballpark it are we going to be old or
• 1:31:02
  Speaker 1: are we gonna be young enough to suffer?
• 1:31:08
  Speaker 3: I think I'll be way dead and gone by the
• 1:31:11
  Speaker 3: time anything, really, but I might be back. I mean,
• 1:31:16
  Speaker 3: if reincarnation's real, we're probably all.
• 1:31:18
  Speaker 4: Going to be.
• 1:31:20
  Speaker 1: Right. Yeah.
• 1:31:22
  Speaker 4: Yeah.
• 1:31:22
  Speaker 1: I mean if I'm like in a nursing home and
• 1:31:24
  Speaker 1: I have Alzheimer's, who cares, right, But if it's gonna
• 1:31:27
  Speaker 1: be in like ten years, twenty years, that's gonna suck.
• 1:31:33
  Speaker 1: I don't want to be in the apocalypse.
• 1:31:36
  Speaker 3: No, it won't be.
• 1:31:37
  Speaker 1: Okay.
• 1:31:38
  Speaker 3: This next one is a really crazy connuity are that
• 1:31:41
  Speaker 3: a lot of people don't even catch. I didn't even
• 1:31:45
  Speaker 3: catch this one. This one's really important though. Okay, So,
• 1:31:49
  Speaker 3: when Hollerin is giving a tour to the UH to
• 1:31:53
  Speaker 3: Danny and Wendy, the first door that he opens before
• 1:31:57
  Speaker 3: the storage room is the freezer room. Right, he opens
• 1:32:01
  Speaker 3: the freezer room and he says, this is the freezer room.
• 1:32:03
  Speaker 3: This is where we keep the He asks Danny if
• 1:32:07
  Speaker 3: he likes pork or something like that, or checking. And
• 1:32:12
  Speaker 3: when he opens the door, you can see on this
• 1:32:14
  Speaker 3: top quarter panel on the left, the handle is on
• 1:32:18
  Speaker 3: the right side of the door. Okay, and they enter
• 1:32:22
  Speaker 3: into the freezer room. This is the next quarter panel
• 1:32:26
  Speaker 3: at the bottom of the screen is when they exit
• 1:32:30
  Speaker 3: the freezer room. The handle to the door is on
• 1:32:35
  Speaker 3: the opposite side of the freezer room door, and the
• 1:32:41
  Speaker 3: background is a completely different background.
• 1:32:45
  Speaker 1: Dude, that's not even the same location. And we never noticed,
• 1:32:52
  Speaker 1: never noticed. Why that is a fucking blower.
• 1:33:02
  Speaker 3: And what's really interesting about this one is that people
• 1:33:05
  Speaker 3: will claim that he just shot it from the other side. No,
• 1:33:10
  Speaker 3: but even if you shot it from the other side,
• 1:33:12
  Speaker 3: that doesn't change the side that of the.
• 1:33:17
  Speaker 5: Door handle, right, Oh my god, Yep, that's not even
• 1:33:31
  Speaker 5: the same room.
• 1:33:33
  Speaker 3: Nope, completely different room. Whenever they walk in, it has
• 1:33:36
  Speaker 3: the kitchen in the background. Whenever they walk out, it's like,
• 1:33:39
  Speaker 3: you know, it's a completely different thing. You have these
• 1:33:43
  Speaker 3: dishes and these these utensils and everything. Whenever they first
• 1:33:47
  Speaker 3: go in, you can see the background of the kitchen.
• 1:33:49
  Speaker 3: You can see the ventilation system that's above the stove.
• 1:33:53
  Speaker 1: There.
• 1:33:54
  Speaker 3: You have a chalkboard in the background. When they walk out,
• 1:33:57
  Speaker 3: the whole background is different. There's these two double why doors,
• 1:34:00
  Speaker 3: which is the eleven doors here the eleven symbolism of
• 1:34:05
  Speaker 3: the door. You have like some kind of switchboard here
• 1:34:08
  Speaker 3: on the right. The chalk board is completely gone. You
• 1:34:11
  Speaker 3: have to You have a fire alarm and then a
• 1:34:15
  Speaker 3: fire alarm bell above it, and two windows.
• 1:34:19
  Speaker 1: But why it rider? If Stanley is a perfectionist, which
• 1:34:25
  Speaker 1: we know that he was, why did he do this?
• 1:34:33
  Speaker 3: I believe that he did this to make the viewer
• 1:34:38
  Speaker 3: start to question their reality subconsciously unknowingly, just lag Jack
• 1:34:45
  Speaker 3: is starting to question his reality within the movie. So
• 1:34:50
  Speaker 3: you feel like that you're going down this downward spiral,
• 1:34:54
  Speaker 3: and you don't really know why you're going down this
• 1:34:57
  Speaker 3: downward spiral because it's a subconscious layering to the movie.
• 1:35:02
  Speaker 1: But that's that transcendence I was talking about. Every time
• 1:35:06
  Speaker 1: I watch it, that's how I feel.
• 1:35:11
  Speaker 3: So it's affecting your subconscious mind to get you on
• 1:35:14
  Speaker 3: the same page as Jack as he's going through his
• 1:35:19
  Speaker 3: delusions and essentially going crazy by the CIA operation to
• 1:35:26
  Speaker 3: try and get him to kill his family. But you
• 1:35:28
  Speaker 3: don't know why because you don't pick up these things
• 1:35:32
  Speaker 3: on the first view or even through the twentieth of view,
• 1:35:37
  Speaker 3: maybe even the fiftieth of view. You're not going to
• 1:35:40
  Speaker 3: see a lot of this stuff. Hey, but you get
• 1:35:43
  Speaker 3: an uneasy.
• 1:35:46
  Speaker 1: Feeling when you're definitely and.
• 1:35:50
  Speaker 3: That is the reason why, because he's subconsciously training your
• 1:35:55
  Speaker 3: mind to go to take this journey along with the
• 1:36:02
  Speaker 3: characters in the movie.
• 1:36:04
  Speaker 1: Wow, and that and there's the proof right there. I
• 1:36:10
  Speaker 1: mean that's too much. I mean it is insanity.
• 1:36:20
  Speaker 3: So this is the Beatles Connections to abbey Road. The
• 1:36:24
  Speaker 3: top photo is of the Beatles Abbey Road album cover
• 1:36:32
  Speaker 3: and this is Almond, Wendy Jack, and Bill Watson, which
• 1:36:38
  Speaker 3: was Allman's assistant, which we didn't really get too much
• 1:36:42
  Speaker 3: into Bill Watson in the documentary. We had a lot
• 1:36:46
  Speaker 3: more things on Bill Watson. We might end up doing
• 1:36:49
  Speaker 3: a like a director's cut of this movie and including
• 1:36:53
  Speaker 3: a lot more stuff in it, but we had this
• 1:36:56
  Speaker 3: whole section on Bill Watson and how we related him
• 1:36:59
  Speaker 3: to Sydney gott Lead, which was head of the MK
• 1:37:01
  Speaker 3: Ultra programs. They even look similar, but it was difficult
• 1:37:07
  Speaker 3: to do because very few photos exist of Sydney gott
• 1:37:12
  Speaker 3: leeb out there, but they looked strikingly similar. And then
• 1:37:19
  Speaker 3: the beatle, this white beetle that's in the background of
• 1:37:21
  Speaker 3: the Abbey Road photo. So in Stephen King's novel, the
• 1:37:27
  Speaker 3: beatle is a red beetle, but the beatle that the
• 1:37:32
  Speaker 3: Volkswagen Beetle that Jack drives in the shining is a
• 1:37:35
  Speaker 3: yellow beetle. And then when Allman is driving up to
• 1:37:38
  Speaker 3: the Overlook hotel whenever he flies in from Florida, which
• 1:37:42
  Speaker 3: is another really strange I don't know if it's a
• 1:37:46
  Speaker 3: connuity error or a dialogue era story or writing error,
• 1:37:49
  Speaker 3: but if you remember when Hallerin is lean in the
• 1:37:54
  Speaker 3: hotel room in Florida for his vacation, the news said
• 1:38:00
  Speaker 3: that the weather was so bad that all flights had
• 1:38:04
  Speaker 3: been canceled, but somehow he got a flight into.
• 1:38:09
  Speaker 1: Called oh shit, I never caught that, Oh my god.
• 1:38:18
  Speaker 3: So then whenever he's trying to the overlook, there's the
• 1:38:22
  Speaker 3: red Volkswagen Beetle that had been crushed underneath a semi
• 1:38:27
  Speaker 3: which many have described this as being a stab at
• 1:38:32
  Speaker 3: Stephen King by Stanley Kubrick, like you know this is
• 1:38:37
  Speaker 3: this is him showing him that you know you didn't
• 1:38:39
  Speaker 3: write this. I wrote this. I'm the man. You might
• 1:38:43
  Speaker 3: be a good author, you might sell millions of copies
• 1:38:46
  Speaker 3: of your books, but I'm a filmmaker and this is
• 1:38:49
  Speaker 3: a film and I'm going to do what I want
• 1:38:52
  Speaker 3: with this film.
• 1:38:53
  Speaker 1: It's like a like a fuck you.
• 1:38:56
  Speaker 3: Yep.
• 1:38:57
  Speaker 1: Wow, that is so crazy.
• 1:39:01
  Speaker 3: So you got the beatle, you got Stephen King's beadle
• 1:39:06
  Speaker 3: being changed from a red budle to a yellow beatle.
• 1:39:09
  Speaker 3: You have the beatle in.
• 1:39:10
  Speaker 1: The background of the Abbey Road photo.
• 1:39:11
  Speaker 3: Then you have them looking like that they are and
• 1:39:14
  Speaker 3: this is John Lennon's.
• 1:39:16
  Speaker 1: Uh beatle in the background. Really yep.
• 1:39:22
  Speaker 3: And then you have them looking like this doing the
• 1:39:28
  Speaker 3: exact same walk as the Abbey Road photo. And Stephen
• 1:39:36
  Speaker 3: King was inspired the name the book, The Shining, based
• 1:39:41
  Speaker 3: off of a John Lennon song instinct Karma.
• 1:39:47
  Speaker 1: What you didn't put that in the documentary, did you?
• 1:39:54
  Speaker 1: I was gonna say that is Oh, you gotta do
• 1:39:57
  Speaker 1: a director's cut. This stuff is too good. That is wild.
• 1:40:06
  Speaker 3: We all shine on?
• 1:40:08
  Speaker 1: Uh huh.
• 1:40:10
  Speaker 3: The how the song instant karma goes and Stephen King
• 1:40:14
  Speaker 3: got that inspiration to call the novel The Shining based
• 1:40:17
  Speaker 3: off of that John Lennon song.
• 1:40:20
  Speaker 1: And was it the original script like that they gave
• 1:40:23
  Speaker 1: or like Kubrick was. They basically said, hey, you're gonna
• 1:40:27
  Speaker 1: make this movie because he turned down The Exorcist and
• 1:40:31
  Speaker 1: they were like, well, you're gonna do this one. And
• 1:40:33
  Speaker 1: it was called The Shine.
• 1:40:36
  Speaker 3: Yes, so that was the original Because Warner Brothers got
• 1:40:40
  Speaker 3: a pre published copy of The Shining and it was
• 1:40:47
  Speaker 3: titled The Shine. That was the original title for Stephen
• 1:40:53
  Speaker 3: King's novel. And when we and we show that in
• 1:40:56
  Speaker 3: the movie the the the pre published copy is The
• 1:41:02
  Speaker 3: Shining by Stephen King. Okay, so then he changed it
• 1:41:06
  Speaker 3: to The Shining. Okay, So that's all. The Beatles. The
• 1:41:14
  Speaker 3: Beatles thing is insane. But I don't know if I
• 1:41:17
  Speaker 3: have the slide in here or not. I'm I don't
• 1:41:22
  Speaker 3: think that I do, which is a shame. But shit,
• 1:41:27
  Speaker 3: I can't believe I didn't put this.
• 1:41:28
  Speaker 1: One in here. Is it a Beatles thing?
• 1:41:31
  Speaker 3: Yeah, it's a Beatles thing. So Cubric was asked to
• 1:41:40
  Speaker 3: direct J. R. R. Tolkien's Lord of the Rings movie No.
• 1:41:47
  Speaker 3: Sh and this was supposed to be like the Beatles
• 1:41:54
  Speaker 3: were going to be all the Hobbits.
• 1:41:58
  Speaker 1: What yeah, oh stop it.
• 1:42:07
  Speaker 3: So ultimately Stanley Kubrick turned it down because he said
• 1:42:11
  Speaker 3: that the technology wasn't right at the time, they didn't
• 1:42:17
  Speaker 3: have the technology to do it. And then it you know,
• 1:42:19
  Speaker 3: later on. Peter Jackson then picked it up and directed
• 1:42:24
  Speaker 3: the Lord of the Rings movie. But Stanley Kubrick was
• 1:42:29
  Speaker 3: in talks with the Beatles and with J. R. Tolkien
• 1:42:35
  Speaker 3: to direct the Lord of the Rings movies with the
• 1:42:38
  Speaker 3: Beatles acting as the Hobbits and the Lord of the
• 1:42:41
  Speaker 3: Rings movies.
• 1:42:42
  Speaker 1: So Laurel Canyon meets Tavis Stock and they fucking have
• 1:42:47
  Speaker 1: a Lord of the Rings baby, Oh my god. Can
• 1:42:52
  Speaker 1: you imagine rider what that would have been like?
• 1:42:57
  Speaker 3: Yep, yep. I don't know where that slide is. I
• 1:43:00
  Speaker 3: think it's in here somewhere. But that's what this slide
• 1:43:04
  Speaker 3: is about, is that Kubrick was being, uh, it's in
• 1:43:11
  Speaker 3: here somewhere. I don't know where it is.
• 1:43:12
  Speaker 1: But can you imagine even what The Exorcist would have
• 1:43:15
  Speaker 1: been like if it was a Kubrick film? I mean,
• 1:43:18
  Speaker 1: I love The Exorcist as it is, I mean I
• 1:43:21
  Speaker 1: think freakin nailed it, crushed it. It's going to be
• 1:43:25
  Speaker 1: an eternal movie. But I do wonder what it would
• 1:43:30
  Speaker 1: have been like as a Kubrick film, because his mind
• 1:43:35
  Speaker 1: just works so differently.
• 1:43:38
  Speaker 3: It probably would not have gone over well because he
• 1:43:40
  Speaker 3: would have made it very.
• 1:43:42
  Speaker 1: Practical and not be supernaturally. Yeah, freaking dead with it.
• 1:43:52
  Speaker 3: Because Kubrick didn't believe.
• 1:43:54
  Speaker 1: In the paranormal.
• 1:43:56
  Speaker 3: I mean, there's there's an interview with Stephen King talking
• 1:44:00
  Speaker 3: about how Cubric would call him up at like three
• 1:44:02
  Speaker 3: am or like in the morning and be like, hey,
• 1:44:06
  Speaker 3: do you believe in God?
• 1:44:11
  Speaker 1: Oh my god? Can you imagine? No wonder? Stephen King
• 1:44:15
  Speaker 1: was like, fuck this guy, I'm making my own movie.
• 1:44:20
  Speaker 1: Oh my god, poor Stephen King.
• 1:44:25
  Speaker 3: But yeah, that's uh, that's just super interesting to me.
• 1:44:29
  Speaker 3: All the Beatles stuff and all the connections.
• 1:44:31
  Speaker 1: Oh one hundred wild.
• 1:44:34
  Speaker 3: Then you have let me get to this other side. Okay.
• 1:44:41
  Speaker 3: So this is pretty much the smoking gun of our
• 1:44:46
  Speaker 3: entire synopsis of the movie At Clockwork Shining is that
• 1:44:51
  Speaker 3: Windy in the beginning of the movie is reading a
• 1:44:55
  Speaker 3: book by an intelligence officer named J. D. Salinger is
• 1:45:00
  Speaker 3: called Catcher in the Rye and the Catcher in the
• 1:45:03
  Speaker 3: Rye has been linked to two major assassinations Don Lennon,
• 1:45:15
  Speaker 3: which gets into the Beatles stuff. This was it, this happened.
• 1:45:22
  Speaker 3: Stephen King had this novel in his movie a year
• 1:45:24
  Speaker 3: before both of these assassinations happened. So John Lennon hadn't
• 1:45:27
  Speaker 3: been assassinated yet, neither had the attempted assassination on Ronald Reagan.
• 1:45:34
  Speaker 3: Those are the two assassinations that Catcher in the Rye
• 1:45:36
  Speaker 3: was reportedly on the scene with. Okay, so Mark David
• 1:45:43
  Speaker 3: Chapman was found on the scene of ah after he
• 1:45:50
  Speaker 3: show John Lennon that and he was reading the book.
• 1:45:54
  Speaker 3: He was sitting on the curb waiting for the police
• 1:45:56
  Speaker 3: to arrive, reading the book Catcher in the Rye. But
• 1:45:59
  Speaker 3: then there's a and in his defense, he stood up
• 1:46:03
  Speaker 3: and said, if you want to know the reason why
• 1:46:09
  Speaker 3: I did it, then all you have to do is
• 1:46:10
  Speaker 3: read the book The Catcher in the Rye. And then
• 1:46:12
  Speaker 3: when as a psychiatrist visited him in prison, he was
• 1:46:18
  Speaker 3: still reading the book like two years later. This book
• 1:46:21
  Speaker 3: has been synonymous with researchers talking about how The Catcher
• 1:46:27
  Speaker 3: in the Rye book by intelligence officer JD. Salinger, is
• 1:46:32
  Speaker 3: a trigger mechanism for MK ultra assassin. Whindy is reading
• 1:46:38
  Speaker 3: it in the shiny So how did Stanley Kubrick know
• 1:46:44
  Speaker 3: to put this book in this movie a year before
• 1:46:50
  Speaker 3: both of these assassinations would happen, where both of the
• 1:46:54
  Speaker 3: assailants was reading The Catcher in the Rack.
• 1:47:00
  Speaker 1: I want to say it's because he's CIA. I don't
• 1:47:04
  Speaker 1: think he was a prophet or anything like that, and
• 1:47:07
  Speaker 1: he had some kind of psychic ability. I think he
• 1:47:10
  Speaker 1: was in upper echelon type shit and they were cluing
• 1:47:16
  Speaker 1: him into some stuff. In my opinion, I mean, it makes.
• 1:47:23
  Speaker 3: Sense, right, makes sense. This is like the again, this
• 1:47:27
  Speaker 3: is a smoking gun that we connect to the entire
• 1:47:31
  Speaker 3: assassination and him being programmed to like Jack within the movie,
• 1:47:36
  Speaker 3: being programmed. And Jack is a writer too. I mean,
• 1:47:39
  Speaker 3: that's exactly what he says to Amend in the beginning
• 1:47:41
  Speaker 3: of the movie that he would love to be up
• 1:47:43
  Speaker 3: here because then you can focus on his novel. He's
• 1:47:46
  Speaker 3: a right right. Catcher in the Right was required reading
• 1:47:53
  Speaker 3: in school, and out of.
• 1:47:55
  Speaker 1: All the books, you know, like in this, in this
• 1:48:00
  Speaker 1: this scene right here, it's and as we talked about before,
• 1:48:04
  Speaker 1: Stanley is a perfectionist. He does everything on purpose. So
• 1:48:08
  Speaker 1: out of all those books back there that if it
• 1:48:10
  Speaker 1: was just to be random that they could have chosen,
• 1:48:14
  Speaker 1: it's it has to be this one. And even like
• 1:48:18
  Speaker 1: what she's wearing. And I mean, I've I've heard a
• 1:48:24
  Speaker 1: couple of presentations on how they think that there are
• 1:48:27
  Speaker 1: little Catcher in the Rye clues in the wardrobe and
• 1:48:33
  Speaker 1: other stuff throughout the shining that that go back to
• 1:48:37
  Speaker 1: the Catcher in the Rye, but definitely on purpose. One hundred.
• 1:48:45
  Speaker 3: Then you have John Hinckley Junior that was the attempt
• 1:48:47
  Speaker 3: at assassination on Ronald Reagan, that was had the same
• 1:48:51
  Speaker 3: thing on this person. He had the Catcher in the
• 1:48:53
  Speaker 3: Rye look. And both of these assassinations, one assassination on
• 1:48:58
  Speaker 3: John Lennon by Mark David Chapman and then the John
• 1:49:01
  Speaker 3: Hinckley at terms of assassination on Ronald Reagan both had
• 1:49:04
  Speaker 3: this book. So it's been discussed for a really long
• 1:49:08
  Speaker 3: time to Catcher in the Rye is a mk ultra
• 1:49:11
  Speaker 3: Manchurian candidate style trigger for assassins. And that's an abysmal book.
• 1:49:20
  Speaker 3: It doesn't make any sense. The book is awful, It's
• 1:49:22
  Speaker 3: a garbage book.
• 1:49:24
  Speaker 1: But it's garbage, for real garbage, but.
• 1:49:28
  Speaker 3: Like it's like an in cell book almost, right. That's
• 1:49:33
  Speaker 3: that's kind of like what the main character of the
• 1:49:37
  Speaker 3: story is. He's basically like an insult, right, which is
• 1:49:42
  Speaker 3: what we would you know, call people that you know,
• 1:49:48
  Speaker 3: don't have any kind of social life, that don't think
• 1:49:51
  Speaker 3: that they're accepted by society that they're in They're just
• 1:49:54
  Speaker 3: you know, in their mom's basement or whatever, playing video
• 1:49:57
  Speaker 3: games all day. And it's just a coincidence that this
• 1:49:59
  Speaker 3: was acquired reading in public schools for a really long time,
• 1:50:02
  Speaker 3: and then we get an explosion of the exact same
• 1:50:09
  Speaker 3: type of character within this book in real life. And
• 1:50:14
  Speaker 3: there's so much of that throughout Stanley Kubrick's movies. Just
• 1:50:17
  Speaker 3: like we mentioned Lolita earlier, the whole movie is about
• 1:50:23
  Speaker 3: pedophilia and how this girl is being essayed by this
• 1:50:30
  Speaker 3: older man. Okay, exactly what was happening to Sue Lyon,
• 1:50:35
  Speaker 3: the actor that's playing Lolita, was happening to her in
• 1:50:39
  Speaker 3: real life by Kubrick's producer, Hey James Harris. Yes, James
• 1:50:46
  Speaker 3: Harris was doing to her what she was portraying while
• 1:50:51
  Speaker 3: shooting the movie. About what was actually happening to her.
• 1:50:56
  Speaker 1: Oh my god, it's so crazy too. It's a mindful
• 1:51:00
  Speaker 1: and the mind fuck.
• 1:51:02
  Speaker 3: And not only that, like with a Clockwork Orange as well,
• 1:51:07
  Speaker 3: that same type of thing happened in like England and
• 1:51:10
  Speaker 3: the like in the UK and stuff, like whenever that
• 1:51:12
  Speaker 3: movie got released, we showed a bunch of newspaper clips
• 1:51:18
  Speaker 3: of like what was going on. Then whenever that movie
• 1:51:21
  Speaker 3: got released, like Crime Gone through the Roof, Like, there
• 1:51:27
  Speaker 3: was these gangs that formed in like the UK and
• 1:51:30
  Speaker 3: the like England and stuff. They were called like the
• 1:51:32
  Speaker 3: Clockwork Games.
• 1:51:34
  Speaker 1: There was like Clockwork Murders.
• 1:51:37
  Speaker 3: And then the point that Stanley Kubrick had to take
• 1:51:43
  Speaker 3: the movie out of theaters, you stopped really going in
• 1:51:47
  Speaker 3: the UK Clockwork Orange, Yes, I didn't know that.
• 1:51:54
  Speaker 1: Have you heard that the author of Clockwork Orange was
• 1:51:57
  Speaker 1: inspired by Stanley to ride it?
• 1:52:03
  Speaker 3: Yeah? I listened to a few interviews from him and
• 1:52:09
  Speaker 3: his relationship with Stanley Kubrick, and he said that after
• 1:52:12
  Speaker 3: the movie was made that Kubric never talked to him again. Really, yeah,
• 1:52:18
  Speaker 3: that You're trying to reach out to Cubric several times
• 1:52:21
  Speaker 3: and Kubrick didn't have anything to do.
• 1:52:24
  Speaker 1: With him after that. Wow, so interesting.
• 1:52:31
  Speaker 3: It is super fascinating. All right, let's get to this.
• 1:52:35
  Speaker 3: This is a really weird continuity are So whenever Wendy
• 1:52:40
  Speaker 3: and Danny is trying to escape from John co Affter
• 1:52:42
  Speaker 3: he busts down the first door, he says, Wendy, I'm home.
• 1:52:49
  Speaker 3: Whenever Wendy and Danny's a trying to escape into the bathroom,
• 1:52:55
  Speaker 3: the light on the table beside the door is crooked.
• 1:53:00
  Speaker 3: But in the very next scene, when Johack walks in
• 1:53:03
  Speaker 3: the light shade, the lampshade, this one is really wild.
• 1:53:13
  Speaker 3: This one's almost like the one with Hallerin and the it.
• 1:53:23
  Speaker 1: Is a completely the different background.
• 1:53:28
  Speaker 3: So whenever Jack tries to bust down the bathroom door,
• 1:53:34
  Speaker 3: he sticks his head through and says, here's Johnny whatever.
• 1:53:38
  Speaker 1: Then whenever he turns around and.
• 1:53:41
  Speaker 3: He hears Hollering's SnowCat pulling up to the hotel, and
• 1:53:46
  Speaker 3: he's kind of alerted and he's like, what is that?
• 1:53:48
  Speaker 3: And he turns around, both of the quarter panels of
• 1:53:53
  Speaker 3: the door to the bathroom have been knocked out. He
• 1:54:01
  Speaker 3: never knocked out the left side of the quarter panel.
• 1:54:05
  Speaker 1: Right, but it makes it look like an eleven, it does.
• 1:54:12
  Speaker 3: There's your eleven again?
• 1:54:16
  Speaker 1: That's so crazy.
• 1:54:19
  Speaker 3: Step. So you literally only see him break the right
• 1:54:23
  Speaker 3: hand quarter panel of the door. That's the only one
• 1:54:26
  Speaker 3: that he put his axe through. Then whenever the shot
• 1:54:29
  Speaker 3: turns around, he hears and then you see the background
• 1:54:33
  Speaker 3: that both quarter panels have been knocked up.
• 1:54:37
  Speaker 1: Symbolism, man, it has to be.
• 1:54:41
  Speaker 3: Okay, And here is the other smoking gun that we've
• 1:54:46
  Speaker 3: mentioned already. But the first time that Danny encounters anything
• 1:54:54
  Speaker 3: strange in the hotel is when he's in the games
• 1:54:57
  Speaker 3: room and he sees the twin paying and then to
• 1:55:01
  Speaker 3: the left of the double doors, and now they're eleven here.
• 1:55:05
  Speaker 3: So you got the double doors, and behind the two
• 1:55:08
  Speaker 3: girls that are making an eleven, there's a poster to
• 1:55:15
  Speaker 3: the left of the door that says Monarch. And several
• 1:55:21
  Speaker 3: people have seen this before I seen it, okay, So
• 1:55:25
  Speaker 3: I'm not claiming that I'm the only person to have
• 1:55:30
  Speaker 3: ever seen this. Other people have seen it, but they've
• 1:55:33
  Speaker 3: misinterpreted what it means. They think that it's like.
• 1:55:38
  Speaker 1: Referring to like Monarch Mountain or like the.
• 1:55:41
  Speaker 3: Kubrick stare that all of them do in the Kubrick's movies,
• 1:55:46
  Speaker 3: like Full Metal Jacket, like a clockwork Orange and like
• 1:55:49
  Speaker 3: the shining they do that. You know, he's doing it
• 1:55:52
  Speaker 3: in this the photo for a pair of clockwork shining
• 1:55:57
  Speaker 3: and he's doing that downward stare. Because they think that
• 1:56:00
  Speaker 3: this thing back here is either a Sky's scheme or
• 1:56:04
  Speaker 3: maybe it looks like a menotaur or whatever. But they
• 1:56:07
  Speaker 3: never related the Monarch poster to MK Ultra Monarch.
• 1:56:16
  Speaker 1: That's the first thing I thought of, is monarch mind control.
• 1:56:22
  Speaker 1: But again I think it wouldn't make sense unless you
• 1:56:30
  Speaker 1: understood that's what the whole movie is about, you know
• 1:56:33
  Speaker 1: what I mean, Like, this is just another clue.
• 1:56:38
  Speaker 3: It's another clue, and he could have put any poster
• 1:56:41
  Speaker 3: there that could have been anything, right, but he chose
• 1:56:45
  Speaker 3: to put a Monarch poster.
• 1:56:49
  Speaker 1: In the background with a guy with like a lantern
• 1:56:53
  Speaker 1: over his face. It's like, it's almost like, I don't know.
• 1:56:56
  Speaker 1: To me, it's just there's just too much there for
• 1:56:59
  Speaker 1: that to be it a coincidence.
• 1:57:02
  Speaker 3: And then we have Kathy O'Brien, of course that's in
• 1:57:04
  Speaker 3: the documentary that you know, talks about her experiences in
• 1:57:08
  Speaker 3: the MK Ultra Monarch program at a white House Pentagon level.
• 1:57:14
  Speaker 3: So he's telling us within the movie with this poster
• 1:57:22
  Speaker 3: that the thing is about mind control, so giant mind
• 1:57:28
  Speaker 3: control operation. And then this has been discovered before. This
• 1:57:35
  Speaker 3: is the Hitler mustache. That is when the picture fades
• 1:57:42
  Speaker 3: to a close up picture of July nineteen ninety and
• 1:57:48
  Speaker 3: nineteen twenty one, July fourth, it fades into a close
• 1:57:52
  Speaker 3: up picture and then you can see like a little
• 1:57:54
  Speaker 3: Hitler mustache beginning of Jack space here. And this is
• 1:58:01
  Speaker 3: the one that is a really big deal. Whenever they
• 1:58:08
  Speaker 3: go through the Gold Room, whenever Alman is giving them
• 1:58:12
  Speaker 3: a tour, after they're walking outside with the they're doing
• 1:58:19
  Speaker 3: the Beatles walk, they walk inside, they have they're walking
• 1:58:24
  Speaker 3: through the Gold Room. Now. The only way that I've
• 1:58:27
  Speaker 3: seen this was because I got to see the shining
• 1:58:31
  Speaker 3: on a big like in the theater where I was
• 1:58:36
  Speaker 3: living before we started filming this movie. They did a
• 1:58:44
  Speaker 3: Shining replay in theaters for Halloween.
• 1:58:48
  Speaker 1: Wow. I would have loved to went to one of.
• 1:58:50
  Speaker 3: Those, so I got to see it on the big screen.
• 1:58:55
  Speaker 3: I would never have seen this if I didn't watch
• 1:58:59
  Speaker 3: it on a big screen because it's so in the background.
• 1:59:04
  Speaker 3: That is, you're gonna pass it every single time. Okay,
• 1:59:09
  Speaker 3: So in the background of when they're walking through the
• 1:59:12
  Speaker 3: Gold Room. If you look between Holman and Wendy, there's
• 1:59:17
  Speaker 3: a a swastika.
• 1:59:22
  Speaker 1: That's no doubt put.
• 1:59:24
  Speaker 3: Into the back of the wall, like faded into the
• 1:59:31
  Speaker 3: into the back of the wall. And when I seen this,
• 1:59:33
  Speaker 3: I was like, holy shit, I just see what I
• 1:59:39
  Speaker 3: thought that I seen.
• 1:59:43
  Speaker 1: Right, you had to do double take, triple take, like
• 1:59:45
  Speaker 1: what the hell was that?
• 1:59:47
  Speaker 3: But then as I was editing the well, then I
• 1:59:51
  Speaker 3: because I had it on my phone too, And then
• 1:59:53
  Speaker 3: after we watched it in the theater, I was like,
• 1:59:55
  Speaker 3: I gotta zoom in on this and see if it's real. Now,
• 2:00:00
  Speaker 3: to my knowledge, no one has ever seen this before
• 2:00:03
  Speaker 3: until I brought it up. Now people will claim that
• 2:00:07
  Speaker 3: other people have seen this, but.
• 2:00:10
  Speaker 1: Not to my recollection. And I, I mean, it's like
• 2:00:13
  Speaker 1: I said, before I watched Jay Widner's Kubrick's Odyssey, I
• 2:00:18
  Speaker 1: never saw it brought up there. I mean, I would
• 2:00:21
  Speaker 1: consider myself to be pretty pretty proficient researcher into Kubrick's stuff,
• 2:00:28
  Speaker 1: and I've never seen that. So yeah, I was surprised
• 2:00:33
  Speaker 1: for sure.
• 2:00:35
  Speaker 3: So that's uh. And that connects to the Hitler mustache,
• 2:00:39
  Speaker 3: It connects to the mimic, connect to the Twins, it
• 2:00:42
  Speaker 3: connects to mk Ultra, connects to mind control. You know,
• 2:00:46
  Speaker 3: he's trying to tell people that it's a giant MK
• 2:00:50
  Speaker 3: ultra mind control program. It's uh, you know, that's what's
• 2:00:56
  Speaker 3: going on here, and he's showing it for symbolism. He's
• 2:00:59
  Speaker 3: trying to tell you he has the TVs that are
• 2:01:01
  Speaker 3: not playing anything, it's not plugged into anything. It's mind control.
• 2:01:08
  Speaker 3: He's programming Jack to kill and murder his family. He's
• 2:01:13
  Speaker 3: been unknowingly drugged with an array of drugs. He goes
• 2:01:18
  Speaker 3: up and he he sees the woman turning, the very
• 2:01:21
  Speaker 3: attractive woman turning into an elderly woman. He then goes
• 2:01:26
  Speaker 3: up into his apartment and when he asked him, what
• 2:01:28
  Speaker 3: did you see anything? You see anything over there? He says,
• 2:01:32
  Speaker 3: I didn't see a goddamn thing. Right. All of it
• 2:01:40
  Speaker 3: adds up whenever you watch the movie, because the movie
• 2:01:43
  Speaker 3: goes into a lot more details than what I've gone
• 2:01:47
  Speaker 3: through here. But I think we've done a really good job.
• 2:01:50
  Speaker 3: And some of the things aren't that I showed in
• 2:01:53
  Speaker 3: the slides aren't actually in the movie, but a lot
• 2:01:56
  Speaker 3: of them are. And I just recommend for people to
• 2:02:01
  Speaker 3: watch the movie so that you can help support my
• 2:02:03
  Speaker 3: work and help me create my new documentary that I'm
• 2:02:08
  Speaker 3: getting ready to start on.
• 2:02:10
  Speaker 1: You want to give us any teasers about the new documentary?
• 2:02:16
  Speaker 3: Yes, it is going to be on the government's Psychic
• 2:02:21
  Speaker 3: Spy program.
• 2:02:22
  Speaker 1: Oh shit, that's gonna be amazing. I so if you
• 2:02:28
  Speaker 1: ever did do like a director's cut of a clockwork Shining,
• 2:02:33
  Speaker 1: I'd be very interested to see what that would look like,
• 2:02:35
  Speaker 1: because I feel that you, much like myself, are very
• 2:02:40
  Speaker 1: invested into this topic and it's just like never ending.
• 2:02:44
  Speaker 1: After you find one thing, it leads into another thing,
• 2:02:47
  Speaker 1: into another thing, and you could go on and on
• 2:02:48
  Speaker 1: about it. So, but for the listeners one more time,
• 2:02:54
  Speaker 1: where can they find a clockwork shining if they want
• 2:02:57
  Speaker 1: to watch it?
• 2:02:58
  Speaker 3: Oh? Really quickly, what is your thing that you found?
• 2:03:01
  Speaker 3: Was it in the slides?
• 2:03:03
  Speaker 1: It was, well, it was about the eight and ten
• 2:03:08
  Speaker 1: years old, and how he portrays them to be twins
• 2:03:13
  Speaker 1: and not an eight and a tent like two separate individuals,
• 2:03:17
  Speaker 1: but more as twins. And I thought, you know, if
• 2:03:21
  Speaker 1: he was going to visually give us twins, why did
• 2:03:25
  Speaker 1: he have the hotel manager make that distinction that one
• 2:03:29
  Speaker 1: was eight one was ten? Like he left that part
• 2:03:32
  Speaker 1: in there, but he showed us twins, so again, Stanley
• 2:03:36
  Speaker 1: Kubrick is a perfectionist. If he did that, it had
• 2:03:39
  Speaker 1: to have been on purpose. So I don't know. I
• 2:03:42
  Speaker 1: don't know.
• 2:03:45
  Speaker 3: Yeah, it's really odd, really strange, and I think that
• 2:03:48
  Speaker 3: we probably will do some kind of director's cut on
• 2:03:52
  Speaker 3: this in a few years, or we'll do some kind
• 2:03:56
  Speaker 3: of other maybe a Clockwork Shining.
• 2:03:58
  Speaker 1: Too, Oh that would be a cool one.
• 2:04:02
  Speaker 3: Yeah, we will see. But if people would like to
• 2:04:04
  Speaker 3: check out the movie, please do because it helps support
• 2:04:07
  Speaker 3: me and support my future projects. You can find it
• 2:04:10
  Speaker 3: on Amazon Prime, Apple TV Plus and to be just
• 2:04:15
  Speaker 3: type in a Clockwork Shining supers honestly three. You don't
• 2:04:19
  Speaker 3: even have to put in the whole title, just the
• 2:04:22
  Speaker 3: clockwork Shining and it'll pop up. And if you would
• 2:04:25
  Speaker 3: like to follow my podcast, I do two shows a
• 2:04:29
  Speaker 3: week on YouTube. It's called Raised by Giants. You can
• 2:04:34
  Speaker 3: find it on YouTube and any and all podcast platforms,
• 2:04:37
  Speaker 3: And if you would like to reach out to me personally,
• 2:04:40
  Speaker 3: you can find me on Twitter at Raised by Giants
• 2:04:43
  Speaker 3: eight and Instagram at Raised by Giants pod. Thanks so
• 2:04:48
  Speaker 3: much for having me on, really appreciate it.
• 2:04:50
  Speaker 1: Yeah, you've been super generous with your time. It's been
• 2:04:53
  Speaker 1: over two hours. I'm really appreciative of that because I
• 2:04:57
  Speaker 1: feel like we covered a lot of ground and I
• 2:04:58
  Speaker 1: asked pretty much all the questions I had for you.
• 2:05:01
  Speaker 1: So I would love to have you back on we
• 2:05:04
  Speaker 1: can cover something different. We did Virginia Giffrey on The
• 2:05:10
  Speaker 1: Occult Rejects and that was another mind blower, so I
• 2:05:15
  Speaker 1: know you're doing some good work over there. I hope
• 2:05:17
  Speaker 1: the listeners go and find you. But thanks so much
• 2:05:19
  Speaker 1: for joining me this evening.
• 2:05:22
  Speaker 3: Thank you very much. It was delightful and thanks for
• 2:05:25
  Speaker 3: your time as well. Appreciate it. Let's do it again
• 2:05:28
  Speaker 3: sometime soon, anytime, anytime you want.
• 2:05:32
  Speaker 1: Awesome. Thanks so much, and to all the listeners out there,
• 2:05:35
  Speaker 1: thank you. And we will catch you on the next one.
• 2:05:43
  Speaker 1: I'm not gonna hurt you.
• 2:05:46
  Speaker 3: I'm just gonna.
• 2:05:46
  Speaker 1: Bash your brains. I'm gonna bash right the fuck in