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Opal Special: Reclaiming Our Stolen Magic · Divine Dialogue

• 0:01
  SPEAKER_00: Welcome, listeners, to the Divine Dialogue Podcast, where we dig deeper into the trove of wisdom and guidance stories have to offer.
• 0:10
  SPEAKER_00: Have you ever watched a movie and felt moved?
• 0:13
  SPEAKER_00: Felt called to make a change or reflect more deeply on your own life?
• 0:17
  SPEAKER_00: If so, this podcast has a lot to offer you.
• 0:20
  SPEAKER_00: For today's special episode, I will be spending just this one week here on the movie Opal.
• 0:26
  SPEAKER_00: That's O P-A-L.
• 0:28
  SPEAKER_00: I've linked it in the show notes where to watch it.
• 0:31
  SPEAKER_00: It is free on YouTube if you have access to that.
• 0:33
  SPEAKER_00: It is an animated movie, and I'm going to use it because I have an extra week in between basically the end of Lion King and also the next movie that we're going to get into.
• 0:45
  SPEAKER_00: And I think Opal is a nice bridge into the next movie, especially since we're going to be getting into October.
• 0:52
  SPEAKER_00: So I'm going to be on theme with the season and do, you know, a scary movie essentially for October, one that is kind of horror-ish.
• 0:59
  SPEAKER_00: And then I will have another special for basically Halloween Eve and Halloween Day, which I will announce as we get closer.
• 1:08
  SPEAKER_00: But for today's episode, yep, it will be covering the movie Opal.
• 1:12
  SPEAKER_00: And I'm kind of just going to go through the movie linearly and kind of connect things.
• 1:16
  SPEAKER_00: I actually watched it not that long ago with my notebook and was making notes as I went and I just uh jotted down some things that I thought were really crucial to the episode.
• 1:28
  SPEAKER_00: So basically at the beginning of the movie, we see two people, a man and a woman, that are concerned about basically a dying flower, and they call the Iricos over.
• 1:42
  SPEAKER_00: They're like the spiritual messengers and teachers in the movie, and basically they're concerned about this dying flower.
• 1:49
  SPEAKER_00: And, you know, they they summon the Iroquois to or the Irocos to investigate what's going on.
• 1:57
  SPEAKER_00: And, you know, they ask, well, is this the only flower that looks like this?
• 2:01
  SPEAKER_00: And, you know, they show that there's quite a bit of the garden that is starting to die.
• 2:06
  SPEAKER_00: And so there's an investigation that's going to be held as to why essentially the garden is dying.
• 2:12
  SPEAKER_00: And basically, this is about this little girl Opal.
• 2:16
  SPEAKER_00: She has her own kingdom.
• 2:17
  SPEAKER_00: And essentially, because the reason why her garden is dying is because there's violations going on that people are unaware of, and especially Opal's mother, which we're going to get into here right now, because it cuts to the scene where basically they show us this castle, and there's only a few rooms that we actually see inside the castle, but the gist that we get from Opal's mother is that she really only cares about aesthetics.
• 2:46
  SPEAKER_00: Like when she walks in, for example, she wants white flowers.
• 2:51
  SPEAKER_00: I believe their orange flowers are in her room, and she doesn't like that.
• 2:55
  SPEAKER_00: She wants white.
• 2:56
  SPEAKER_00: And, you know, not realizing that white is lacking because purity is being violated, and she's a woman of tradition, so she wants to keep things the same.
• 3:05
  SPEAKER_00: She likes the look of things, and she likes, you know, the aesthetics, the image.
• 3:11
  SPEAKER_00: As long as everything looks good, she's fine with, you know, whatever's going on, essentially.
• 3:17
  SPEAKER_00: That's kind of what we learn from her.
• 3:18
  SPEAKER_00: And she kind of keeps this wall between her and the truth up for quite a bit of the movie.
• 3:25
  SPEAKER_00: And we see that, you know, essentially the king, who is the villain in this movie, his appearance changes.
• 3:33
  SPEAKER_00: Like he looks old and then he looks young.
• 3:35
  SPEAKER_00: And the mother doesn't question that.
• 3:37
  SPEAKER_00: She just likes, again, the look of it, just like she looks, she likes the white flower aesthetic over the orange flower aesthetic.
• 3:43
  SPEAKER_00: And essentially, Opal is confined to her room.
• 3:47
  SPEAKER_00: She has a tutor that comes in that teaches her things, like we see her doing math, but she's confined to her room.
• 3:54
  SPEAKER_00: And it kind of reminded me of Tangled, how you know the the mother keeps uh, I forget her name, but the the princess entangled up in the tower.
• 4:02
  SPEAKER_00: It's kind of similar to that because she wants to harvest her hair.
• 4:05
  SPEAKER_00: And we find out in Opal that the king wants to harvest her magic, so it's kind of similar there.
• 4:10
  SPEAKER_00: But you know, the the king and opal's dad, so same same person, instills this fear of basically false monsters to justify his violations.
• 4:20
  SPEAKER_00: And this energy lands in Opal as guilt, pressure, and shame.
• 4:25
  SPEAKER_00: He grooms her essentially, telling her that she's special.
• 4:29
  SPEAKER_00: And, you know, the words and actions mismatch creates this really conflicting thing inside of Opal because he's like, You're special and I love you, is the words.
• 4:39
  SPEAKER_00: But the actions are taking, violating, pressuring, forcing, and guilting because he literally harvests her magic from her.
• 4:47
  SPEAKER_00: And we see what this does to her because she has to carry all of that energy.
• 4:51
  SPEAKER_00: Like he essentially dumps that onto her, and then he takes, you know, the appearance.
• 4:56
  SPEAKER_00: He looks younger after he takes her magic.
• 4:58
  SPEAKER_00: He says that he needs her magic to go fight the monsters in the underground.
• 5:03
  SPEAKER_00: And so we basically have, you know, him lying about these monsters.
• 5:09
  SPEAKER_00: He's actually the monster in the underground, but he says that he's fighting monsters.
• 5:13
  SPEAKER_00: And Opal's mother is totally fine, you know, with these clues that are in the movie that like his appearance changes.
• 5:20
  SPEAKER_00: She just likes the aesthetic.
• 5:22
  SPEAKER_00: So she is willing to overlook, you know, these things.
• 5:26
  SPEAKER_00: And we even see placed on the different rooms.
• 5:28
  SPEAKER_00: So like Opal's room has the word ego, the parents' room has the word super ego, and then the underground has the word id.
• 5:35
  SPEAKER_00: So, of course, if you're familiar with Freudian psychology, those are three very, you know, understood words.
• 5:41
  SPEAKER_00: So they're not even being, you know, subtle about it.
• 5:44
  SPEAKER_00: They're talking about layers of psychology in this movie quite a bit.
• 5:48
  SPEAKER_00: But after we see Opal's father and the king uh violate her by taking her magic, um, she has this red energy emanating from her chest, a bleeding heart of sorrow is what I would call it.
• 6:02
  SPEAKER_00: And Opal still thinks that her escape is externally based.
• 6:06
  SPEAKER_00: Like she has a list of how to escape this because she doesn't really know how to go from victim to empowered.
• 6:12
  SPEAKER_00: I mean, she's a little girl, so obviously that's a pretty much impossible task, especially when your parents are violating you, or in this case, her father is, and then her mother is essentially a co-conspirator in that just through ignorance and being blinded.
• 6:28
  SPEAKER_00: But we see after this scene, you know, she's crying and she's in sorrow, that the father gets up from bed and he's young and he stands in front of a mirror, and you know, he essentially is kind of like narcissus in terms of being in love with his own reflection and his appearance, which I really think is what link him and and the queen together, his wife, because she's in love with appearances, she's in love with the illusion that everything is fine and looks good, and he's in love with the illusion of his, you know, false appearance by stealing his daughter's magic.
• 7:06
  SPEAKER_00: And we see in the next scene or a scene very close to this that you know Opal brings this up and tries to confide in her and asks, Well, how come, you know, he's taking my magic?
• 7:19
  SPEAKER_00: And she gets slapped.
• 7:22
  SPEAKER_00: And, you know, no opal knows how to recite the health of the kingdom because she she repeats what she's being tutored to understand, like that it relies on her being joyous and and being happy because if she's sad and she's anxious and the kingdom starts to die.
• 7:40
  SPEAKER_00: And so she's kind of learning through both the tutoring and her mother, because she can tell that her mother likes the image of things.
• 7:49
  SPEAKER_00: So she's learning more how to perform joy than to how to actually embody joy.
• 7:54
  SPEAKER_00: And she, you know, she's given like sweets, for example, after she's violated, like they they tell her, Oh, we brought you your favorite sweets.
• 8:02
  SPEAKER_00: And it kind of made me think of like husbands who beat their wives and then buy them flowers afterwards, and the wife is supposed to be like thankful, even though the violation took place because there was compensation for it.
• 8:13
  SPEAKER_00: And that's kind of the the cycle that she's in.
• 8:16
  SPEAKER_00: Like she gets violated, then she gets, you know, praised because she's sad, and the mother's clueless as to why she's sad.
• 8:21
  SPEAKER_00: And when Opal brings up why she's sad, then she gets punished for it again.
• 8:25
  SPEAKER_00: And her mother is, you know, very male-centered.
• 8:29
  SPEAKER_00: Basically, because she tell tells Opal that your magic will be given to your husband as mine was to your father.
• 8:36
  SPEAKER_00: And, you know, feminine, as we've talked about in this podcast, is a multiplier.
• 8:40
  SPEAKER_00: So her anger and rage just amplifies Opal's pain and trauma because she reacts to her daughter trying to confide in her for emotional safety with violence of her own.
• 8:52
  SPEAKER_00: And they they reference the kingdom a lot in this movie.
• 8:56
  SPEAKER_00: And I really do think that the kingdom is just a metaphor for you.
• 9:00
  SPEAKER_00: If your magic is being siphoned, you will see it show up in sadness, anxiety, depression, perpetual, you know, are proportional to the degree in which the violation's happening.
• 9:11
  SPEAKER_00: And, you know, the mother still tries to influence Opal to protect her father, which is essentially image over truth.
• 9:18
  SPEAKER_00: And, you know, we see the Iroquois come to investigate what's going on, and she prepares, you know, Opal to basically say, Well, they already don't like your father, so you better not be telling them, like spinning all these lies that you've been telling me.
• 9:35
  SPEAKER_00: And she kind of plants in her head what she should say, and so Opal doesn't tell them what's going on, but they give her a three-legged horse, which has a red spot on his chest, just like Opal had before when we first see her violated.
• 9:50
  SPEAKER_00: And, you know, Opal lies.
• 9:53
  SPEAKER_00: So when she's, you know, asked for help, she basically doesn't know that the three-legged horse is essentially like a security camera that they gave her because it can talk and it can see.
• 10:06
  SPEAKER_00: But Opal starts also seeing herself as an adult in mirrors, and we find out later that she's essentially doing parts work, parts work, which we're gonna get into more.
• 10:16
  SPEAKER_00: But we see her adult self show up in mirrors throughout this movie, and it I think it's essentially like she's because we know at the end of the movie she's in a therapist's office.
• 10:25
  SPEAKER_00: Um, she's getting counseling, so this is essentially her visiting her child self and trying to reclaim her because she was lost in the past because of this trauma.
• 10:38
  SPEAKER_00: And then we see another scene where the father, you know, steals her magic again.
• 10:44
  SPEAKER_00: He has this like horn that comes out of his forehead, and he basically like puts the pointy part towards her chest and siphons her magic out.
• 10:54
  SPEAKER_00: And then we see, you know, there's there's these white flower petals that turn red as they're falling because of her sadness.
• 11:02
  SPEAKER_00: And the mother gets enraged by change in the appearance rather than violation of her daughter.
• 11:08
  SPEAKER_00: You know, she's just so focused on I want the flowers to look like this, and I'm happy that my king looks like this, but she doesn't stop to pause and ask, what is the price being paid for this image?
• 11:19
  SPEAKER_00: What is the price, you know, what's the denial essentially that what's the cost of it?
• 11:24
  SPEAKER_00: She doesn't really stop to think about that.
• 11:26
  SPEAKER_00: But I think that the three-legged horse, you know, essentially is Opal's inner truth externalized, and she has no validation outside of her.
• 11:34
  SPEAKER_00: You know, she re she's already starting to repeat lies that she's embodying.
• 11:39
  SPEAKER_00: Like I said, the practice joy.
• 11:40
  SPEAKER_00: And so that three-legged horse is really her only mirror that has the truth because her parents are in the are, you know, well, her dad is blatantly violating her and her mom is turning a blind eye to it for the sake of appearance.
• 11:54
  SPEAKER_00: So she really only has this three-legged horse to help validate her experiences.
• 12:00
  SPEAKER_00: And the three-legged horse shows, because it basically is watching and is also, like I said, like just an externalization of Opal's inner world in a way.
• 12:12
  SPEAKER_00: So the mother sees this because the three-legged horse lets Opal out of her room, and the mother is walking towards her room, and the horse shows that Opal's magic is being taken.
• 12:26
  SPEAKER_00: But because she's so, you know, image obsessed, she doesn't understand how dangerous the king really is, even after she's shown directly what's going on, because she decides to stand between Opal and the king, and she gives Opal a magic key, and she tells her, you know, no one can access your room, and I'm gonna deal with your father.
• 12:51
  SPEAKER_00: And she says, you know, he won't hurt me, he's a coward, I can handle it, and she's warned not to do this.
• 12:56
  SPEAKER_00: Like the three-legged horse tells her, like, this is a really bad idea.
• 13:00
  SPEAKER_00: Like, you shouldn't, you know, push this, you should be careful and and kind of know who you're dealing with.
• 13:06
  SPEAKER_00: But she's again, I think because she was in denial, she doesn't really understand how dangerous he is.
• 13:15
  SPEAKER_00: But she so she like stands between, you know, the king and her daughter.
• 13:21
  SPEAKER_00: And she even says before she sends Opal to her room with the magic key, like to keep the door locked until the Iroquois get there to protect her that her protecting her is it's still an act of guilt because she says, like, and it's the right thing to do, because she's like, It's my duty to protect my daughter, and I want to redeem myself.
• 13:43
  SPEAKER_00: And Divinity would have told her that the king is too dangerous and to protect her another way, but she's still very much in a well, I need to correct this mistake, and she tries to do the right thing, but it's not the divine thing, because she ends up dying.
• 13:58
  SPEAKER_00: Because he basically tries to gaslight her, and then he ends up walking towards her and stabs her with the horn, and he asks her right before he does, Are you afraid?
• 14:09
  SPEAKER_00: And she says, No, or of course not, and then he says, You should be, and then she dies.
• 14:15
  SPEAKER_00: And you know, so her mom died essentially through non-divine action, and this creates another wound part in Opal that she blames herself for, and we get into the parts in a little bit here, but she has parts that we meet later, very soon in the the underground.
• 14:34
  SPEAKER_00: And Opal sees herself again as an adult after this, after she walks past her mother because her father does get in the room, but the horse casts a spell to essentially put him to sleep, and then Opal's able to escape her room, but she's still not ready for integration because the underground hasn't been confronted yet, because her dad's been spinning these webs of lies that there's monsters in the underground, and so that's why he's needed to take her magic to go fight the monsters.
• 15:01
  SPEAKER_00: But after being, you know, a scared victim, this is this is really the part of the story that's very interesting because Opal is trying to get to like the front door of the castle, but it won't open because the king's locked the front door, and you know, she's been kind of a scared victim up to this point, and it's something I've definitely experienced as well.
• 15:22
  SPEAKER_00: Anxiety can turn to self-consuming rage after a while because Opal wants to use her magic from pain because she has not yet discovered divinity, so she uses magic, like she actually creates a force field essentially between her and her father.
• 15:41
  SPEAKER_00: But what happens is the three-legged horse's red spot gets bigger and takes over essentially his whole lower body, and Opal's like, Oh, I can do magic, I can use this against him, but she's using it from the same, the same energy field that her father's using to violate her, and so it hurts her.
• 16:00
  SPEAKER_00: But she finally feels some kind of power, but it's still external power because she hasn't discovered her inner divinity yet.
• 16:08
  SPEAKER_00: So she kind of gets a little bit enamored with the idea that she can do this kind of magic, and then essentially they're instructed to go to the underground because the the forces that are gonna help her need more time to get there, so they run to the underground, and then we see the king follow her there, and then we're in this place where Opal kind of goes unconscious.
• 16:33
  SPEAKER_00: She wakes up, there's two of her looking over her, essentially color-coded versions.
• 16:40
  SPEAKER_00: Like I think they think they're like outlined in blue and green, but those are parts for her.
• 16:46
  SPEAKER_00: And it's just the two of them so far.
• 16:48
  SPEAKER_00: But I love this part of the movie because this is essentially what it looks like, you know, in a literal sense when they show you that they go to the underground because the underground actually has the word it on it, which is kind of like the place, like the unconscious or the subconscious, like the place that things go on that we aren't really aware of.
• 17:11
  SPEAKER_00: Um, and that's where she goes because her parts are in the background, you know, absorbing things and doing things, and they were fragmented because of this trauma.
• 17:19
  SPEAKER_00: So she has to go literally underground.
• 17:22
  SPEAKER_00: And like a bunch of stories refer to this, or like if you like religious stories refer to this as like going descending into hell and then ascending back up.
• 17:29
  SPEAKER_00: So that's essentially what she's doing here.
• 17:32
  SPEAKER_00: She meets her parts, and essentially they tell her that the jewelry, because they they all wear jewelry like earrings and necklaces, that the jewelry dims with distance.
• 17:43
  SPEAKER_00: So the more essentially fragmented and further your parts are from your core self, the more likely they are to be corrupted or consumed by external forces, which is what we see happen because the two parts of her that met her in essentially this room in the underground do get consumed by her father.
• 18:01
  SPEAKER_00: And then she's pulled into this other room by her remaining parts.
• 18:05
  SPEAKER_00: And I believe she has seven parts, so two of them get consumed pretty quickly, so she has five left, and then the rest, you know, return to her in this one room.
• 18:17
  SPEAKER_00: And I think that this is very telling because, you know, we have to reclaim our parts to be whole.
• 18:22
  SPEAKER_00: And I think that this is what we learn Opal is doing in therapy because this whole movie we find out at the end that she's essentially doing some kind of therapy, and it kind of looks to me like it might be internal family systems therapy plus hypnosis work that her therapist is doing.
• 18:40
  SPEAKER_00: But, you know, they essentially come up with a plan to trap the king in light, and they do get him trapped, but he's able to throw his horn at the light switch and destroys the light.
• 18:52
  SPEAKER_00: And so Opal becomes overwhelmed because then her parts are picked off one by one, like consumed by her father, and essentially return to her.
• 19:01
  SPEAKER_00: And the thing is, like, that's when you can really fragment more because it's very overwhelming.
• 19:07
  SPEAKER_00: Even when she loses the first two parts, she feels very overwhelmed, but then she loses all the other ones.
• 19:13
  SPEAKER_00: They all return to her essentially.
• 19:15
  SPEAKER_00: And at this stage, like, people can fragment again, or they can reclaim and use their energy for inward healing versus outward revenge, and that's kind of the crux of what we see here.
• 19:28
  SPEAKER_00: So the initial trap doesn't work precisely because Opal is fragmented.
• 19:33
  SPEAKER_00: I mean, they show this as the king hurling his horn at the light switch, but I think the deeper meaning is she is fragmented, so she's not her parts have not been collected and they need to be returned to her, as they never should have been, you know, broken off to begin with.
• 19:49
  SPEAKER_00: And it's interesting because they have this scene because they the Iroquois are, I know I'm butchering that name.
• 19:54
  SPEAKER_00: I think Iroquois or Iroquois, I don't know.
• 19:56
  SPEAKER_00: But anyway, they're outside and it looks like it's like a dark, you know, orb, it almost looks like an egg, which is like, you know, mimics the original state, the darkness, the womb, the rebirth.
• 20:08
  SPEAKER_00: Like when you descend to the underground hell, you know, you have to face that darkness and you start essentially all over because depending on the severity of the trauma and the fracturing, like that can be a very difficult journey back.
• 20:23
  SPEAKER_00: It just depends on what it is.
• 20:25
  SPEAKER_00: But we see then when she I believe the last part that's consumed is her hatred.
• 20:30
  SPEAKER_00: So the part that was carrying her hatred.
• 20:32
  SPEAKER_00: And then we see Opal stand up and there's like a red background behind her, and we see this very brief battle between what I would say is good ego and bad ego, and her father's obviously bad ego, and in this state, she's good ego because of course she's rightfully, you know, upset because he's violated her, and she she says, like, I hate you, you know, and the three-legged horse is trying to pull her back from that because she is able to get the horn, and then she just starts attacking him, pushing him back.
• 21:01
  SPEAKER_00: And, you know, the thing is, but with good and bad ego, when you enter into that same energy that violated you, and you try to redirect that energy onto who violated you, they are so much more practiced in darkness and evil than you are.
• 21:19
  SPEAKER_00: Like, because for people who do that kind of stuff and don't care, they don't have any rules.
• 21:24
  SPEAKER_00: Like, they do whatever they want.
• 21:26
  SPEAKER_00: And we've seen that in other series, like how Steel is in Balto and Scar is in Lion King.
• 21:31
  SPEAKER_00: You know, they will stop at nothing.
• 21:33
  SPEAKER_00: But Opal is just a very hurt, but still very innocent girl.
• 21:40
  SPEAKER_00: But she tries to reverse engineer fear and rage against the king, but fighting from pain and from lack cuts you up.
• 21:48
  SPEAKER_00: And we see this because the horse tells her, you know, look at your body, and you see, like, there's scars and scratches and cuts on her from using this magic this way, and right before.
• 22:00
  SPEAKER_00: He's consumed the three-legged horse says you have to use the power of love, which is essentially your divinity.
• 22:07
  SPEAKER_00: And what I love about this is so she, you know, lays down, she apologizes, she's defeated, she's depressed, she's essentially that that's kind of what happens right before you surrender.
• 22:20
  SPEAKER_00: We see Balto do this as well when he's at the bottom of the mountain, he's he climbs out of the snow and then he's just laying on the ground because he's done everything right.
• 22:29
  SPEAKER_00: You know, he's tried so hard to be right in such a wrong system.
• 22:35
  SPEAKER_00: And we kind of see Opal do this very briefly where she tries to rectify and kind of gain some kind of justice from all the terrible things that have happened to her, but she's doing it from a place that feeds the very energy that violated her.
• 22:50
  SPEAKER_00: So we see her surrender, and her parts come to her as like little orbs of different colors, and they tell her different things, but then they feel that she has softened enough to, and this all happens very, very quickly, but they feel like she has surrendered and humbled herself enough that they can basically come back to her, and we see those orbs disappear, and you can kind of you know, it's implied, at least to me, that they re-enter her as reclaimed parts at this point, and they tell her that she's much more powerful inwardly than outwardly.
• 23:25
  SPEAKER_00: You know, outward power is her father's expression, but her expression of power is inward.
• 23:30
  SPEAKER_00: And, you know, the king attacking them actually helped them return to Opal for integration, which is that thing about, you know, kind of reversing the energy, but not stepping into the energy, but the just redirecting it back to the person who's trying to get you to essentially abandon your center to fight them.
• 23:54
  SPEAKER_00: That's a you know, a side effect of that the the evil ego doesn't think about, but happens in a lot of hero stories when the hero learns to essentially just redirect that back.
• 24:07
  SPEAKER_00: And the last thing that Opal hears before she stands up is you know that love is infinitely more powerful than magic, and they tell her, So shine, princess, shine like a sun.
• 24:21
  SPEAKER_00: And then we see her look up and we see, you know, the essentially the glow of sun take over her, and she stands up.
• 24:28
  SPEAKER_00: And when she stands up, she has a shield of light, and the attacks do not reach her because divinity essentially lets evil consume itself, and all the king does returns to him, and his horn breaks, and her inner light dissolves his power.
• 24:43
  SPEAKER_00: And then after she defeats him, she walks out of the underground, she goes back up to you know the main floor of the castle, there's a throne room, she steps up onto the the chair, and then we see the two people from the beginning: the the man and the woman that originally called for help because of the dying flowers in the garden, they are united and the flower is flourishing, and that's like literally masculine, feminine, and union for the flower to grow and to thrive.
• 25:19
  SPEAKER_00: So I thought that was a really cool touch.
• 25:20
  SPEAKER_00: And then we see the whole kingdom essentially bathed in like a golden light, and we see that she has returned to her throne, you know, in her within her soul, and she's taken control of her own kingdom.
• 25:35
  SPEAKER_00: And let's see here.
• 25:38
  SPEAKER_00: And like I said, with the kingdom, you know, she saved the kingdom, but the kingdom is you.
• 25:42
  SPEAKER_00: That's essentially the lesson of the movie.
• 25:45
  SPEAKER_00: And then we do see this kind of peculiar thing that we're not too sure, but then it brings together the little clips we had of her seeing her adult self in the mirror, but we see her count down from 10.
• 25:56
  SPEAKER_00: So she counts down from 10 to zero.
• 25:59
  SPEAKER_00: And then we see Opal in therapy, and her therapist is telling her that she's safe, which is the ultimate goal, I think, for all of us is that inner security and that your inner child trusts you.
• 26:13
  SPEAKER_00: And we see her, you know, about to leave therapy, and she asks when she needs to come back, and then her therapist tells her there's no need to come back, you know, this is the end of the journey.
• 26:25
  SPEAKER_00: Essentially, you've reclaimed yourself.
• 26:27
  SPEAKER_00: Now go in, live your life from your center and your creativity and your wholeness.
• 26:33
  SPEAKER_00: And so she walks out smiling, and we see her look down to her right, and we see, you know, little opal smile back up at her.
• 26:40
  SPEAKER_00: So essentially her inner child trusts her because she's done the work of integration via this therapy session.
• 26:48
  SPEAKER_00: And so the reason I wanted to talk about this movie, it's a brilliant animated movie, not very long, but full of you know great things.
• 26:57
  SPEAKER_00: And also I thought it was a fantastic bridge into the movie I'm gonna go into, which is essentially it's gonna be, I believe it's gonna be a four-episode series on Stephen King's Doctor Sleep.
• 27:10
  SPEAKER_00: So that's gonna be the sequel to The Shining, just because I think energetically that movie is fascinating, and I think that the concepts in Opal, which are essentially inner magic, in Doctor Sleep, that's called The Shining.
• 27:24
  SPEAKER_00: And in Opal, the King is essentially the same vampiric energy of Rose the Hat and her crew in Dr.
• 27:33
  SPEAKER_00: Sleep.
• 27:33
  SPEAKER_00: So I thought it was a really good bridge into that.
• 27:36
  SPEAKER_00: So I wanted to talk about Opal, but I really do think that going through this whole movie here threaded through what I kind of laid out for you in this episode.
• 27:44
  SPEAKER_00: The sole meaning of the movie is that, you know, especially when you're a child, when you're young, you definitely are vulnerable to your magic being taken, especially if your caregivers violate you in whatever way.
• 28:02
  SPEAKER_00: But that your path back is to reclaim your parts and to essentially parent your parts in a way that your parents couldn't parent your parts, and that when you're able to do that, essentially give yourself what they didn't give you and mend and do the healing that they couldn't give to you instead of trying to get that external because it can be external revenge, it can be external validation.
• 28:28
  SPEAKER_00: You know, I still struggle with this a little bit, especially with my mom still.
• 28:34
  SPEAKER_00: I did have an incident not too long ago where I went to her for support because I was having kind of like an anxiety break, actually.
• 28:45
  SPEAKER_00: And she was very much like the mother in this movie, actually, like very much focused on appearance, like almost like it wasn't really proper for me to be crying.
• 28:55
  SPEAKER_00: Like her reaction was pretty, like it just didn't feel very empathetic to me.
• 29:00
  SPEAKER_00: But you know, that's still something I even am trying to learn in terms of the personal mirror for this episode, is that she's really not someone I can go to who is gonna validate me and be safe, like as much as I because you know, there's a little part girl part of me that wants her to be that, but she's not, mostly because she's lived most of her life in denial, and that's a big chunk of why I've had the struggles I've had, because you know, generational trauma, like if if if your parents and your grandparents don't deal with stuff, like it gets passed on, it doesn't just disappear, it gets passed on to the next generation because especially if you remain unconscious of those things, it doesn't just disappear.
• 29:45
  SPEAKER_00: So I think that that's like a really crucial thing is she wanted her mom to see what was happening, and her mother does eventually acknowledge it, but even the way she goes about protecting her is still not divine.
• 29:57
  SPEAKER_00: So it's like you can't, even though you're supposed to be able to rely on your parents for things like that, sometimes you just you have to be a better parent to yourself than they were to you, as painful as that is, and you know, forgive them for their shortcomings.
• 30:12
  SPEAKER_00: But when you're in a triggered state, when your trauma gets activated, it can be really difficult to do that.
• 30:19
  SPEAKER_00: But, you know, it's kind of like what I've been talking about in my other episodes, like the power of returning and just trying to do it faster each time and more lasting each time.
• 30:29
  SPEAKER_00: The more you practice returning, the easier it will get.
• 30:33
  SPEAKER_00: So I just wanted to go ahead and go over that movie today because I thought it was a really good bridge into what we're going into with the Dr.
• 30:40
  SPEAKER_00: Sleep series.
• 30:42
  SPEAKER_00: And I think I'm just gonna go ahead and leave it there.
• 30:45
  SPEAKER_00: I don't have any divine dialogue questions today.
• 30:48
  SPEAKER_00: Didn't have any come to me, but I will be releasing Dr.
• 30:54
  SPEAKER_00: Sleep, the first episode of the series next Friday.
• 30:58
  SPEAKER_00: And then I will have a Halloween special, which I will announce as we get closer.
• 31:02
  SPEAKER_00: It's going to be a two parter that's gonna be released on the 30th and 31st, which I'm really excited about.
• 31:07
  SPEAKER_00: But until then, Divine Listeners, thank you so much for tuning in to the Divine Dialogue podcast, and I will see you next week for the start of the Doctor Sleep series.
• 31:16
  SPEAKER_00: Until next time.