Latest / Cosmic Peach / The FIDELIO Experiment (Feat. Sean McCann)

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The FIDELIO Experiment (Feat. Sean McCann) · Cosmic Peach

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  Speaker 1: Baby, I'm a gangsta too. It takes a lot of tangle.
• 0:05
  Speaker 1: Mess with me, baby, I'm a gangsta. Touch baby, you
• 0:15
  Speaker 1: a game.
• 0:15
  Speaker 2: Statoo for good warning. This podcast is designed to take
• 0:26
  Speaker 2: you outside of your comfort zone and make you question reality.
• 0:30
  Speaker 2: Listener Discretion is a vibe talk with the fellas. This
• 0:41
  Speaker 2: ain't my first time.
• 0:43
  Speaker 3: At the rodeos.
• 0:51
  Speaker 4: All right, everyone, you know what it is. We have
• 0:54
  Speaker 4: Sean mckeann back. He is one of your favorites in
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  Speaker 4: mine too, And I'm really excited because last time we
• 1:01
  Speaker 4: got together, we were talking about the Fidelio experiment, but
• 1:04
  Speaker 4: we didn't get to dive into any of the details.
• 1:08
  Speaker 4: And that's what we're doing today and I am beyond excited. Sean,
• 1:12
  Speaker 4: how are you.
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  Speaker 3: I'm very good, thank you, and I'm delighted to be
• 1:16
  Speaker 3: here again. This is a home away from home here
• 1:20
  Speaker 3: in your show.
• 1:23
  Speaker 4: For sure, for sure. And so we're both big Qubrick fans.
• 1:29
  Speaker 4: And if you could for the listeners kind of tell
• 1:32
  Speaker 4: us how this project came into being, because I'm so curious.
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  Speaker 3: Well, I guess I have always been the fan Kubrick
• 1:43
  Speaker 3: a long time, and I'm a photographer, and so I
• 1:47
  Speaker 3: would instead of just like I'm gonna sit down and
• 1:52
  Speaker 3: watch a movie like I would put it on while
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  Speaker 3: I'm doing something else, like music, you know, and I
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  Speaker 3: would take in from from a sidereal perspective, and that
• 2:02
  Speaker 3: way it goes into my brain in a different way.
• 2:05
  Speaker 3: I'm not like absorbed in the story. I'll notice more.
• 2:08
  Speaker 3: And I got like this lightning bolt kind of whoa
• 2:13
  Speaker 3: when I saw the paintings in Eyes Wide Shut and
• 2:18
  Speaker 3: I started down this rabbit hole of how the paintings
• 2:22
  Speaker 3: were in Eyes White Shut relate to the painting in Lolita,
• 2:27
  Speaker 3: and I just fell into it, you know, and digging
• 2:31
  Speaker 3: up all this information. And a friend of mine was
• 2:36
  Speaker 3: putting on a event where he and he asked me
• 2:41
  Speaker 3: to do a presentation and it was kind of up
• 2:45
  Speaker 3: in the air whatever I wanted to talk about, and
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  Speaker 3: I was like, well, I got all this information. So
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  Speaker 3: I kind of coalesced it into a thing and made
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  Speaker 3: a video, and you know, then it was finally all
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  Speaker 3: this that I've been talking of people at the fire
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  Speaker 3: like hanging out. You know, It's finally a thing, and
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  Speaker 3: I was so proud and like I could share it.
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  Speaker 3: And ever since then, I still keep learning more, you know,
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  Speaker 3: and like it keeps unfolding. And that's the beauty of
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  Speaker 3: a Kubrick film. It's not like subjective, it's like actual
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  Speaker 3: elements from the real world that we can see on
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  Speaker 3: the screen to give us more information on the whole thing,
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  Speaker 3: the whole picture, you know. And so it's just everybody
• 3:32
  Speaker 3: that is a fan of Kubrick should know. It's these
• 3:34
  Speaker 3: deep rabbit holes of information. And while I was there,
• 3:39
  Speaker 3: I discovered, like I was learning at the same time
• 3:44
  Speaker 3: about trauma based mind control and satanic ritual abuse and
• 3:49
  Speaker 3: Kathy O'Brien and reading I was reading a Sue Ford's
• 3:53
  Speaker 3: book there Thanks for the Memories, and Kurth Barker and
• 3:57
  Speaker 3: like these stimonias of people that had grown up in
• 4:02
  Speaker 3: generational ritual abuse, and so like my my brain was
• 4:09
  Speaker 3: like it had all that in there already. And then
• 4:14
  Speaker 3: I then I saw that Room two thirty seven and
• 4:20
  Speaker 3: that it's a documentary everybody's probably familiar with. It was
• 4:23
  Speaker 3: on Netflix for a lot of years and John fell
• 4:27
  Speaker 3: Ryan is one of the one of the people who
• 4:30
  Speaker 3: was interviewed for that film, and he says that Helena
• 4:36
  Speaker 3: is stolen at the end, and I was like, oh
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  Speaker 3: my god, yeah, and everything clicked and I was like,
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  Speaker 3: holy crap. That is they are stealing the next generation
• 4:47
  Speaker 3: of maiden and that's the intergenerational monarch programming. And that's
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  Speaker 3: what they did to Kathy O'Brien. That's what they did
• 4:56
  Speaker 3: to you know. They they breed them and take the
• 5:00
  Speaker 3: children because they're more apt to dissociate. Dissociation is a
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  Speaker 3: genetic trait. It's learned genetically, so like when they torture
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  Speaker 3: the parent, it affects the genetics of the baby, which
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  Speaker 3: makes them more readily able to endure that type of abuse.
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  Speaker 3: Like dissociation is like a it's like a safety valve
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  Speaker 3: or it's like a safety switch for your brain, Like
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  Speaker 3: when you're getting eaten by a tiger, all of a sudden,
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  Speaker 3: you get adrenaline to like run away and not feel pain.
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  Speaker 3: Kind of the same thing with dissociation. If a child
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  Speaker 3: is held down like or like circumcision we talked about
• 5:49
  Speaker 3: before on your show, like the baby's held down and
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  Speaker 3: then abused so that it can't fight or run, its
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  Speaker 3: only choice is to dissociate. And so anyway, that's a
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  Speaker 3: genetic trait. And these dark occultists who do these ritual
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  Speaker 3: abuse to these for generations, which I also is what
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  Speaker 3: I discovered in the paintings is that it's generational for
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  Speaker 3: the people wearing the masks too, like they've been doing
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  Speaker 3: that for generations, and of course, and that all fits
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  Speaker 3: in with the whole thesis. So that was like another
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  Speaker 3: lightning bolt. And so like I've been going on to
• 6:31
  Speaker 3: Williams show, William Ramsey, you mentioned him earlier. William Ramsey investigates.
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  Speaker 3: He's a friend of both of ours, and he was
• 6:40
  Speaker 3: interested in the eyes Watch shut thesis that I had
• 6:43
  Speaker 3: about how the movie's not really really my thesis. Right
• 6:47
  Speaker 3: here we go, the movie's not really about Bill Bill Harford,
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  Speaker 3: the main character, Tom Cruise. Tom Cruise is the vehicle
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  Speaker 3: that we get to learn about the story. He's just
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  Speaker 3: a bumbling fool who is stumbling across all of these
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  Speaker 3: facts are in his general vicinity. But really the story
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  Speaker 3: is about Alice, the wife of Bill Harford. Alice Harford,
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  Speaker 3: and she's named Alice because of the reference to Alice
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  Speaker 3: in Wonderland, which is right, you know yourself as a
• 7:27
  Speaker 3: trauma based my control programming set like that, So that
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  Speaker 3: right there is a clue. Kuprick is giving us many
• 7:36
  Speaker 3: clues and the very first shot, the very first image
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  Speaker 3: that we see of this film is Alice naked. Well,
• 7:46
  Speaker 3: she's disrobing. She's wearing a black dress like a black robe,
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  Speaker 3: and she drops it off her body the same way
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  Speaker 3: that the women do at the ritual, and then she
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  Speaker 3: steps out of it with her high heels. Whe's she
• 7:59
  Speaker 3: wearing heels forget, but anyway, she steps out of the
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  Speaker 3: dress and it's the same way they do it the ritual.
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  Speaker 3: So right there, like coobrig is showing us she used
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  Speaker 3: to be at the ritual. She was trained to do that, see,
• 8:12
  Speaker 3: and we also see that she's in front of her
• 8:16
  Speaker 3: her closet doors are mirrors and one of the doors
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  Speaker 3: is open and it's Alice, and that's a looking glass
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  Speaker 3: like to go be you know, behind the looking glass.
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  Speaker 3: All of that's right there, and she's between two pillars,
• 8:32
  Speaker 3: which is in Anna. That is like if you look
• 8:38
  Speaker 3: at the tarot High Priestess. I think it's like the
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  Speaker 3: number three, like the number zero is the fool, number
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  Speaker 3: one is the magician, and then I forget how it goes.
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  Speaker 3: I think the next one after that is the High Priestess.
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  Speaker 3: And it shows even in the right weight deck it
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  Speaker 3: shows the maiden in a throne between two pillars, and
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  Speaker 3: I think she has two cat beasts like at her
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  Speaker 3: flanking her. And that's in Anna has always been depicted
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  Speaker 3: with cats, large cats, and we see that in Eyes
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  Speaker 3: Wide Shut, with the stuffed tiger or the stuffed lion
• 9:20
  Speaker 3: or whatever. We see that multiple times with Domino's bed,
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  Speaker 3: and in the toy store at the end. So and
• 9:28
  Speaker 3: we also have so those are the pillars of Jaquim
• 9:31
  Speaker 3: and bo Az of Freemasonry. And behind her is pomegranates,
• 9:40
  Speaker 3: and these pomegranates are in the shape of the cepha
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  Speaker 3: Roth of the Tree of Life. So this is a
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  Speaker 3: huge lots of information. And on her lap she has
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  Speaker 3: a book and I think it's the Tarot, but it's
• 9:57
  Speaker 3: like a it's like information, but any where the taro
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  Speaker 3: is a book that's considered a book of images. And
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  Speaker 3: so anyway, this is like the first image. This is
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  Speaker 3: what the movie is really about. And so she is Inana,
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  Speaker 3: like the pomegranates relate to Anana because of Demeter and Persephone.
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  Speaker 3: Persephone was stolen by Hades, brought down in the underworld.
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  Speaker 3: You know that whole story. Yeah, yeah, But like she
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  Speaker 3: eats six pomegranate seeds, and that is the the Greek
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  Speaker 3: or Roman I think it's the Greek one with Persephone.
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  Speaker 3: That's the Greek version of the Inana story of the
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  Speaker 3: Sumerians and the Babylonians had the same story and her
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  Speaker 3: name was Ishtar, so it's the same goddess like you know,
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  Speaker 3: and it's the same story even like Inana goes into
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  Speaker 3: the underworld and she's made to be trapped there, but
• 10:56
  Speaker 3: she finagles her way out of being able to get
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  Speaker 3: out every six months and then she makes Tamus, her
• 11:04
  Speaker 3: male counterpart, goes in her place, so like while she's
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  Speaker 3: you know, in the summer months, so while while she's
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  Speaker 3: on the earth, it's fertile, the land is fertile, you know,
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  Speaker 3: just like Persephone. So it's like a death rebirth fertility
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  Speaker 3: ritual and long before the Jesus myths and all of
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  Speaker 3: the male death and rebirth it so it's like the
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  Speaker 3: old religion, you know. So, uh, that's what. And then
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  Speaker 3: we see like later she goes into the party and
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  Speaker 3: she there's all these Ishtar stars eight pointed stars and
• 11:47
  Speaker 3: surrounding her head like framed around her, and we see
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  Speaker 3: at the party she slips into the altar of being
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  Speaker 3: one of the maidens and zandor Zavos like will he
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  Speaker 3: he accesses her through a certain series of motions and
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  Speaker 3: words that unlocks the programming within her. That's one of
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  Speaker 3: the phenomenon of these trauma based mind controlled slaves is
• 12:17
  Speaker 3: that their altars are programmed in different ways, and the
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  Speaker 3: altars can be called up to the foe to the front,
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  Speaker 3: while the main alt the main persona has to sit
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  Speaker 3: in the back seat, you know, while the other one
• 12:31
  Speaker 3: takes control of the body. So like, uh, this kind
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  Speaker 3: of like this revelation that I learned from Room two
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  Speaker 3: thirty seven, Like why didn't I see it before? Oh?
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  Speaker 3: My god? And so it all unfolded from there. And
• 12:49
  Speaker 3: and so I was talking with William Ramsey a bunch,
• 12:51
  Speaker 3: and we were I was going to do a show
• 12:55
  Speaker 3: about Troum novell which you can find on my Wake
• 12:59
  Speaker 3: the Dead Roster of shows and Williams as well, where
• 13:04
  Speaker 3: we talked about trom Novelle and how that is different
• 13:08
  Speaker 3: from Eyes Wide Shut and comparing contrast the original. The
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  Speaker 3: film was based on trom novell As, the book by
• 13:15
  Speaker 3: Arthur Schnitzler, and some of the elements were not in
• 13:20
  Speaker 3: the book but the film, so Ziggler was not in
• 13:26
  Speaker 3: the book. Xandor Zavost was not in the book. Ziggler
• 13:33
  Speaker 3: means builder in jail, which means mason. So there's a
• 13:38
  Speaker 3: lot like hung on these elements. And so the guy
• 13:45
  Speaker 3: with the costume shop was in the book, and the Maiden,
• 13:49
  Speaker 3: the young girl who was Ley Sobieski's character, she was
• 13:54
  Speaker 3: in the book too, so that is a continuation. Nightingale,
• 13:59
  Speaker 3: the guy's name being Nightingale is was originally in the book.
• 14:03
  Speaker 3: And that goes back to Avid, who was also mentioned
• 14:08
  Speaker 3: by Xandor's Avast. He was talking to there was a
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  Speaker 3: scene where there's a string of lights from his mouth
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  Speaker 3: to her ear, from Xandor's to Alice's ear, and he's
• 14:21
  Speaker 3: telling her about Avid and Avid's poetry. And Avid wrote
• 14:27
  Speaker 3: a book Metamorphosis, and Metamorphosis is all about like what
• 14:31
  Speaker 3: a butterfly does, like the monarch, right, and so yeah,
• 14:35
  Speaker 3: and there's another reference to another book named Metamorphosis, The
• 14:42
  Speaker 3: story of Psyche and Psyche and Aros, that whole story
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  Speaker 3: where Psyche is a human woman who was turned into
• 14:53
  Speaker 3: a goddess and was given butterfly wings. That story is
• 14:58
  Speaker 3: in another book, ancient book titled Metamorphosis, and the other
• 15:03
  Speaker 3: the other title is called the Golden Ass No like
• 15:07
  Speaker 3: ironic and humorous, but this is true, yes, and I
• 15:14
  Speaker 3: talk about it on my like, So there's all these
• 15:17
  Speaker 3: references to metamorphosis and butterflies, and when we first see
• 15:22
  Speaker 3: helen Us, she's wearing white butterfly wings. So all of
• 15:25
  Speaker 3: these are evidence of this theory, right, Yeah, And so
• 15:32
  Speaker 3: on my show, I talked to a lot of people
• 15:34
  Speaker 3: and I've been digging into some real good topics and
• 15:38
  Speaker 3: some of them are pretty nasty stuff. But I want
• 15:40
  Speaker 3: to learn the truth and I want to understand the
• 15:42
  Speaker 3: mind control. And we got to know, you know, we
• 15:44
  Speaker 3: can't just be like, oh, that's gross, I don't want
• 15:47
  Speaker 3: to know, Like, we have to know if you if
• 15:49
  Speaker 3: you if it's gross, then that's occulting it, Like you
• 15:53
  Speaker 3: are occulting it from yourself on purpose, and like that
• 15:56
  Speaker 3: is occultism.
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  Speaker 4: Right, So that's the best way of ever heard it
• 16:00
  Speaker 4: put like you're a goulding it because you don't want
• 16:04
  Speaker 4: to hear about it, you don't want to look at
• 16:05
  Speaker 4: But that's fine. Well, you you're making it worse by
• 16:10
  Speaker 4: not digging in That's how I've always been, like, I
• 16:13
  Speaker 4: get it, it grosses people out, but at the same time,
• 16:16
  Speaker 4: you need to know this stuff.
• 16:17
  Speaker 3: That's right, that's right. So like when when a grown
• 16:22
  Speaker 3: person says they're having recovered memories of being forced to
• 16:26
  Speaker 3: eat feces or being buried in a coffin alive, or
• 16:30
  Speaker 3: you know, like all of these like being raped by
• 16:33
  Speaker 3: Jesus or these are the most horrendous things you can
• 16:36
  Speaker 3: think of, and other people are like, that's crazy, and
• 16:41
  Speaker 3: they just like, no, not real. People still don't believe it.
• 16:45
  Speaker 3: And like when I tell my theory about eyesweitch shud
• 16:47
  Speaker 3: and how it's related to trum based my control, satanic
• 16:50
  Speaker 3: racial abuse, other like Kubrick researchers and quotes, they're like, no, no,
• 16:57
  Speaker 3: I don't want to think that. They just don't even
• 17:00
  Speaker 3: want to.
• 17:01
  Speaker 4: Like even there, what is their grand theory about it? Then?
• 17:06
  Speaker 4: What it's about?
• 17:08
  Speaker 3: It's they it's about a lot of well, different people
• 17:13
  Speaker 3: think different things. So the rob Aeger online he thinks that,
• 17:19
  Speaker 3: like he'll talk about the book that Kubrick used that
• 17:23
  Speaker 3: describes occultism and the rituals and child sacrifice and all
• 17:26
  Speaker 3: that stuff. He'll show the cover of the book. He
• 17:29
  Speaker 3: bought the book, but then he won't open it and read,
• 17:32
  Speaker 3: like what and relate the information to the movie.
• 17:35
  Speaker 4: Wow.
• 17:36
  Speaker 3: Yeah, he's like, I don't go for that stuff. Like
• 17:39
  Speaker 3: he'll say it in his video. I don't like to.
• 17:41
  Speaker 3: I don't go for that stuff. And like another researcher,
• 17:45
  Speaker 3: Julie Kerns, who's phenomenal, she's great. She does idolopus press
• 17:51
  Speaker 3: dot com is her website, and she was featured in
• 17:54
  Speaker 3: Room two thirty seven as well, and she's very smart
• 17:56
  Speaker 3: and she has very intelligent theories and goes in very
• 18:01
  Speaker 3: depth on her website. Everybody should check it out. I
• 18:05
  Speaker 3: asked her too about the paintings and generational abuse, and
• 18:08
  Speaker 3: she was like, I don't I don't want to. She's like,
• 18:12
  Speaker 3: I don't believe it. I don't want to think about it.
• 18:15
  Speaker 3: And that's something I just don't want to look at.
• 18:17
  Speaker 3: And so like this leaves the road wide open for
• 18:21
  Speaker 3: me to just stroll down and like I'm the only
• 18:24
  Speaker 3: one saying it, but I'm not afraid to say it.
• 18:27
  Speaker 4: It's the fucking elephant in the room. Yeah, Yeah, somebody's
• 18:32
  Speaker 4: got to talk about it.
• 18:33
  Speaker 3: Yeah.
• 18:34
  Speaker 4: I've said for the longest that that's what it's about.
• 18:37
  Speaker 4: But then again, I'm not afraid to talk about those
• 18:40
  Speaker 4: kind of things.
• 18:40
  Speaker 3: So God bless you. That's why we're friends. That's why
• 18:44
  Speaker 3: we do yeh yeah. So, like I mean, this is
• 18:50
  Speaker 3: it's it's a wide open and it's and it's like
• 18:53
  Speaker 3: everything that I learned, it all fits in the story.
• 18:57
  Speaker 3: And it's not because I'm crazy and I'm seeing whatever
• 18:59
  Speaker 3: I want to see. Other people corroborated. Like I spoke
• 19:05
  Speaker 3: with on my show. Like I said, it was pretty
• 19:07
  Speaker 3: deep topics and pretty nasty stuff. But we go deep
• 19:12
  Speaker 3: and we talk it out. And one of my friends
• 19:15
  Speaker 3: now and she's been on the show many times, is
• 19:18
  Speaker 3: Carrie A. La Hey, and she is an experiencer of this.
• 19:24
  Speaker 3: She as she was abused ritually by dark cult members
• 19:34
  Speaker 3: of the military, and she was forced into her altars
• 19:41
  Speaker 3: were used to in the rituals. She would wear the
• 19:47
  Speaker 3: robes and be in the performance and when they did
• 19:50
  Speaker 3: the things, she would be used to assist, right, and
• 19:58
  Speaker 3: she had no will of her own. She her she
• 20:03
  Speaker 3: was trained. Basically, she had an altar up who was
• 20:07
  Speaker 3: proud to be that, you know, And she talks all
• 20:10
  Speaker 3: about it on my show. But God, oh, my god. Yeah,
• 20:16
  Speaker 3: oh my god. She's really a warrior. Amazing. She talked
• 20:19
  Speaker 3: about there's another episode that we did about her New
• 20:22
  Speaker 3: World Order Programming where they expected her cult expected that
• 20:28
  Speaker 3: by this time the world would have been taken over
• 20:32
  Speaker 3: by the One World Government and those of and her
• 20:35
  Speaker 3: job was to track down the people trying to escape
• 20:39
  Speaker 3: and kill them. She was talking all about it on
• 20:42
  Speaker 3: the show New World Order Hunter Tracker New World Order Programming,
• 20:45
  Speaker 3: that's one of my episodes I talked to her about it.
• 20:48
  Speaker 3: So like she she's been able to recover her memories
• 20:51
  Speaker 3: and she's done the study to understand what it means, right,
• 20:55
  Speaker 3: she she knows she studies the same stuff I do,
• 20:58
  Speaker 3: and like she understands what the symbol means instead of
• 21:02
  Speaker 3: being like, oh this happened to me, and but she
• 21:05
  Speaker 3: can comprehend why and what it did. And so on
• 21:09
  Speaker 3: her show, she has a YouTube channel desert Dakini Da
• 21:16
  Speaker 3: k I n I, and she explains the mechanics of
• 21:22
  Speaker 3: the SRA, what the mechanics of how she does this
• 21:27
  Speaker 3: for other people like herself, to help find their way
• 21:30
  Speaker 3: out of this dissociated identity disorder. Journaling is important and
• 21:38
  Speaker 3: she like helps for people to understand the mapping in
• 21:42
  Speaker 3: their heads and why why they have these you know,
• 21:47
  Speaker 3: she can tell them what their symptoms are and this
• 21:50
  Speaker 3: is why it's you know, because people can't think. They
• 21:54
  Speaker 3: their brains have been trained to not recognize what is
• 21:58
  Speaker 3: actually wrong and they block it. It's like, uh, the
• 22:04
  Speaker 3: trauma makes them not look same with certain decision, right
• 22:08
  Speaker 3: we can. I mean the trauma of the circumcision makes
• 22:11
  Speaker 3: the father not deny it happened as trauma. Oh it's
• 22:14
  Speaker 3: not just a little cut, no big deal, because he
• 22:17
  Speaker 3: wants to deny. So like his consciousness is like won't
• 22:22
  Speaker 3: accept that it's torture because it doesn't want to accept
• 22:26
  Speaker 3: that it's been tortured. You know, it's there's it's weird
• 22:29
  Speaker 3: the way the mind works. And she can help to
• 22:31
  Speaker 3: elucidate un She helps people and everybody should check in her,
• 22:37
  Speaker 3: should check out our show, and she did. She also
• 22:40
  Speaker 3: did many episodes on the Imagination podcast with Emma Catherine
• 22:46
  Speaker 3: and Emma talks to many SRA survivors. It's like her
• 22:49
  Speaker 3: whole show is just and it's like one after another,
• 22:54
  Speaker 3: it's all the same, Like it's it is a pattern.
• 22:57
  Speaker 3: It's a science that they have been doing for generation,
• 23:00
  Speaker 3: you know. Anyway, So Carrie's talking to me one day
• 23:03
  Speaker 3: on the phone and we're like scheduling one of the
• 23:05
  Speaker 3: shows that we did, and she tells me, Hey, I
• 23:09
  Speaker 3: saw that Ice White Shut thing you did. That's real.
• 23:14
  Speaker 3: I was like what. She's like, yeah, I said, oh,
• 23:18
  Speaker 3: my god, can we talk about it. Let's do a show,
• 23:21
  Speaker 3: and she's like, yeah, okay, And that's recently the last
• 23:24
  Speaker 3: time she was on my show. We talked about the
• 23:27
  Speaker 3: name of the episode was Survivor Speaks the Truth of
• 23:31
  Speaker 3: Ice White Shut. And she tells the story she like
• 23:37
  Speaker 3: years after her recovering and like trying to get better,
• 23:40
  Speaker 3: she thought she was strong enough to watch this film
• 23:43
  Speaker 3: and when the music started going and the backwards chanting
• 23:47
  Speaker 3: and the lighting, and she started to feel messed up
• 23:53
  Speaker 3: and she ran to the bathroom and all of a sudden,
• 23:56
  Speaker 3: she was on her knees, paralyzed, couldn't move ready for programming.
• 24:02
  Speaker 3: She calls it slave pose, and that's what the women
• 24:06
  Speaker 3: were doing in the on the TV screen.
• 24:08
  Speaker 4: They were on these my god.
• 24:12
  Speaker 3: Right, So like she said that that ritual, she's seen
• 24:15
  Speaker 3: that in real life, and she was when she said
• 24:18
  Speaker 3: she had to recover from She was describing it like
• 24:21
  Speaker 3: it was like being in the sunken place of get out,
• 24:24
  Speaker 3: Like she couldn't have no control of her body anymore.
• 24:27
  Speaker 3: And she described like another movie Kill Bill, like when
• 24:31
  Speaker 3: Uma Thurman's like move your big toe, like really concentrate
• 24:34
  Speaker 3: on trying to move her body again. She had to
• 24:36
  Speaker 3: do that to regain control of her body again. She
• 24:39
  Speaker 3: had enough consciousness to know what's happening at the time,
• 24:43
  Speaker 3: but still it was doing this automatically, like this is
• 24:46
  Speaker 3: what so like we did this whole show where she's
• 24:50
  Speaker 3: telling me, like she's telling me things that I didn't
• 24:53
  Speaker 3: know that I didn't right, Oh my god, like the
• 24:55
  Speaker 3: double headed eagle in the chair. That relates to the
• 24:59
  Speaker 3: programming itself where they even they try to split the
• 25:02
  Speaker 3: minds of the victims. Some victims have total split mind
• 25:07
  Speaker 3: programming where they destroy the corpus colosum, and then the
• 25:11
  Speaker 3: left brain and the right brain can be thinking two
• 25:13
  Speaker 3: things at once, and the two arms can be doing
• 25:15
  Speaker 3: two different things at once, and it's like one of
• 25:18
  Speaker 3: the different programs. And it's related to Philimila programming, which
• 25:23
  Speaker 3: is the which relates to Nightingale, which we were already
• 25:27
  Speaker 3: talking about and Philimla was She's in Avid's book a
• 25:33
  Speaker 3: metamorphosis the stories and Avid's book. And she was raped
• 25:39
  Speaker 3: and the rapist cut her tongue out so she couldn't speak,
• 25:43
  Speaker 3: and she was able to weave a loom that told
• 25:46
  Speaker 3: her story to her sister. And she prayed to become
• 25:50
  Speaker 3: a knight. She prayed to become a bird to get
• 25:51
  Speaker 3: away from this man who's trying to kill her. She
• 25:55
  Speaker 3: was turned by the gods, turned her into a nightingale.
• 25:57
  Speaker 3: And so now as a nightingale, she sings hers. She
• 26:01
  Speaker 3: sings all night telling the story, and then you know,
• 26:03
  Speaker 3: like and the bird sings its its biggest, most important
• 26:08
  Speaker 3: song right before dawn, right right at the end of
• 26:10
  Speaker 3: the night. So it's like a and anything that relates
• 26:13
  Speaker 3: to nightingale, any story, even Shakespeare, like it relates to
• 26:20
  Speaker 3: some of Titus Andronicus, relates to that story of Filamilo.
• 26:24
  Speaker 3: Is anything where they mentioned nightingale, it's a it's a
• 26:29
  Speaker 3: sorrowful lament. They're hinting that this story is a sorrowful
• 26:33
  Speaker 3: lament of violent abuse and sexual torture. So that's why
• 26:40
  Speaker 3: it was in the original book of Schnitzler, and that's
• 26:45
  Speaker 3: why Kubrick kept it for the film, and he accentuated
• 26:48
  Speaker 3: by making Tom Cruise exclaim Nightingale, Nightingale a bunch of times,
• 26:53
  Speaker 3: like every time the guy showed up on screen, Tom
• 26:56
  Speaker 3: would be like, oh, Nightingale, So like it goes into
• 26:59
  Speaker 3: your head, you know you anyway, So she corroborated basically
• 27:06
  Speaker 3: like my whole theory, right, And in that show she
• 27:11
  Speaker 3: was kind of talking about how, oh yeah, that extra
• 27:14
  Speaker 3: twenty three minutes of that was cut, right, and everybody
• 27:21
  Speaker 3: there's this rumor that there's this extra twenty five minutes
• 27:25
  Speaker 3: cut from the film that had like the really naughty stuff, right,
• 27:30
  Speaker 3: And in honesty, there's like maybe maybe like one or
• 27:35
  Speaker 3: one minute like something like that during the sex scenes.
• 27:38
  Speaker 3: In order to get like a different rating, they wanted
• 27:40
  Speaker 3: NC R instead of NC seventeen. I forget, but it
• 27:44
  Speaker 3: was not like a whole scene. And the way that
• 27:48
  Speaker 3: it was cut, I don't know. I don't even know.
• 27:52
  Speaker 3: If they did, they might have added something else to
• 27:55
  Speaker 3: something else so that the timing was the same, because
• 28:00
  Speaker 3: I don't believe that they cut anything out of Eyes
• 28:04
  Speaker 3: Wide Shut, And there's no missing twenty three minutes twenty
• 28:08
  Speaker 3: five minutes because I discovered that this film synchronizes with
• 28:15
  Speaker 3: itself at one hour intervals. Long ago. I discovered that
• 28:25
  Speaker 3: in the bathroom, Ziggler says one hour and he looks
• 28:28
  Speaker 3: at his watch, and then I was like, on a lark,
• 28:32
  Speaker 3: I was like, I'll skip ahead one hour and see.
• 28:35
  Speaker 3: And that's the moment when Mandy is kissing Bill at
• 28:38
  Speaker 3: the ritual mask to mask and I'm like, whoa, that's
• 28:40
  Speaker 3: the same girl that's there on the couch who's passed out.
• 28:45
  Speaker 3: And it's like, this is more information, right because they're
• 28:49
  Speaker 3: related Like that, I can learn more about that character Mandy.
• 28:54
  Speaker 3: And I was like, that's interesting. And then there were
• 28:56
  Speaker 3: a couple other points where I was like, oh, weird,
• 28:58
  Speaker 3: I'll skip ahead and back and was trying to show
• 29:00
  Speaker 3: to William how it does that. And I wanted to
• 29:04
  Speaker 3: ast up one night before the Troum Novelle episode and
• 29:08
  Speaker 3: I was thinking, like, how can I show this to everybody?
• 29:13
  Speaker 3: And it just dawned on me. I was like, Oh,
• 29:14
  Speaker 3: I'll just play it right next to each other. And
• 29:18
  Speaker 3: I got into obs here and I took the movie
• 29:22
  Speaker 3: and I put it into one screen, two screens, and
• 29:25
  Speaker 3: three three screens, and what I did was I and
• 29:32
  Speaker 3: here I'm sharing with let's see share sound yes, sure?
• 29:40
  Speaker 3: And so this here is what I created. It's got
• 29:44
  Speaker 3: the top on the top left, we see the the beginning.
• 29:49
  Speaker 3: It's the first screen starting, and so this is uh, okay,
• 29:57
  Speaker 3: can you hear it? Oh, it hasn't started, okay, So
• 30:02
  Speaker 3: like we got it started here on the upper left,
• 30:05
  Speaker 3: and the other ones are waiting in the screen. So
• 30:10
  Speaker 3: I let it play all the way through, you know,
• 30:14
  Speaker 3: and then I go to about here. Let's see, this
• 30:18
  Speaker 3: is twenty three minutes here here at fifty nine minutes
• 30:30
  Speaker 3: here can you still see?
• 30:32
  Speaker 4: No?
• 30:33
  Speaker 2: Okay?
• 30:33
  Speaker 4: Here now you can see it?
• 30:35
  Speaker 3: Okay? So here one second, So this is the same
• 30:40
  Speaker 3: moment where we see Fidelio. So this is at play.
• 30:46
  Speaker 3: This is at like fifty nine minutes. This is at
• 30:49
  Speaker 3: one hour where Bill is at the debt at the
• 30:52
  Speaker 3: table in the Sonata cafe with Nightingale, and he's talking
• 30:58
  Speaker 3: about the ritual well and right about the time when
• 31:04
  Speaker 3: he gets the phone call. Oh see he gets the
• 31:07
  Speaker 3: phone call. I know where that is, right, he's writing
• 31:10
  Speaker 3: it down. Fidelio. Fidelio is the password right this moment
• 31:20
  Speaker 3: and we just saw, well, I'm on my way right
• 31:22
  Speaker 3: now on my way. Right now, when he says, now
• 31:27
  Speaker 3: is the exact moment when you push play on the
• 31:31
  Speaker 3: next screen, the name of Beethoven opera. The password. Now
• 31:45
  Speaker 3: we have entered the true understanding, right the password is
• 31:49
  Speaker 3: this one hour moment. So that's why I named it
• 31:53
  Speaker 3: Fidelio experiment. So now now we go. So now the
• 31:56
  Speaker 3: second screen is starting, and I'm playing the audio altogether, no.
• 32:00
  Speaker 5: Way, and so we've seen how these screens relate to
• 32:05
  Speaker 5: each other, and we are able to learn more informational
• 32:09
  Speaker 5: that way.
• 32:11
  Speaker 3: So now you're on a pause it and now I'll
• 32:14
  Speaker 3: skip ahead to uh now when we have okay, this
• 32:21
  Speaker 3: is the ritual scene. Okay, so we see the ritual
• 32:28
  Speaker 3: scene is the same time when xandor z Avost is
• 32:31
  Speaker 3: dancing with That.
• 32:34
  Speaker 4: Is the freaking chills because it's like literally lining up.
• 32:40
  Speaker 3: Dude, It's amazing. It's like way more than Wizard of
• 32:45
  Speaker 3: Oz and the Deck's Dark Side of the Moon. It's like,
• 32:49
  Speaker 3: it's amazing, and Kubrick created it this way. This is
• 32:53
  Speaker 3: on purpose. All kubric researchers, even if they don't like
• 32:56
  Speaker 3: my theory, they should see how it lines up. It's
• 32:59
  Speaker 3: at least this is true because I didn't make it up.
• 33:02
  Speaker 3: I just discovered it. And if you when the DVD
• 33:07
  Speaker 3: was released back in ninety nine or whatever, if you've
• 33:10
  Speaker 3: got three TVs, three DVD players, and three codies of
• 33:13
  Speaker 3: the DVD, you could have done this yourself. You could
• 33:15
  Speaker 3: have sat in a room pressed play when he says now,
• 33:19
  Speaker 3: and on the second one and the third and it
• 33:22
  Speaker 3: would all play together like this. Uh so, now we're
• 33:26
  Speaker 3: skipping ahead and when they when he when okay, listen
• 33:32
  Speaker 3: to this one. This one's amazing.
• 33:35
  Speaker 2: Death undressed?
• 33:36
  Speaker 3: What makes me? What makes you an exceptions? This is
• 33:40
  Speaker 3: the same moment. Uh this is when she's like, remove
• 33:49
  Speaker 3: your right, so he's found out like he's describing, right,
• 33:55
  Speaker 3: remove your clothes. And if you skipping ahead one hour
• 33:58
  Speaker 3: exactly from this point, we would. So anyway, this is
• 34:02
  Speaker 3: the danger on the other side of the gave it
• 34:05
  Speaker 3: up to me right when he's with the hooker. She
• 34:10
  Speaker 3: supposedly added aids right, so like she is, she's the
• 34:15
  Speaker 3: danger on the other side of the fence. Like when
• 34:17
  Speaker 3: they kiss. It's like another moment, right, All of these
• 34:21
  Speaker 3: moments line up. So yeah, this is when we're arriving
• 34:25
  Speaker 3: at the Sonata Cafe and this is when he goes
• 34:29
  Speaker 3: back to Domino's apartment and learns about the aides thing.
• 34:34
  Speaker 3: So this is all connected and he goes did ding
• 34:41
  Speaker 3: when they said Domino, Domino is Domino mask is the
• 34:47
  Speaker 3: mask of Zoro, the one that goes over their eyes.
• 34:50
  Speaker 3: That that's what a Domino is. Like the word Domino
• 34:53
  Speaker 3: relates to the masks they wear. And Domino the hooker,
• 34:56
  Speaker 3: she has masks on her wall. It's and like it's
• 35:00
  Speaker 3: it goes very deep. So like so here we're arriving.
• 35:04
  Speaker 3: We're arriving at the second hour and the first hour
• 35:07
  Speaker 3: on the second screen, so we're about to hit play
• 35:09
  Speaker 3: on the third one. So we're gonna see Okay Nightingale,
• 35:18
  Speaker 3: Bill Nightingale and they put their names together. And if
• 35:23
  Speaker 3: you look right here, when the waiter is bringing the
• 35:31
  Speaker 3: napkin to the table, the napkin which he writes Fidelio on,
• 35:37
  Speaker 3: if you look just under behind them, just under the
• 35:40
  Speaker 3: waiter under the beer, there, that's Stanley Kubrick in the
• 35:43
  Speaker 3: background and he's listening. He's this is Stanley Kubrick alerting
• 35:50
  Speaker 3: us to pay attention to this moment. And he's like
• 35:53
  Speaker 3: listening in on their conversation. He's in the This is
• 35:57
  Speaker 3: I think the only time when Stanley's been in one
• 35:59
  Speaker 3: of his films where he's put himself in there.
• 36:01
  Speaker 4: That means it's important.
• 36:03
  Speaker 3: Exactly exactly place. So they okay, and then he tells
• 36:10
  Speaker 3: the story there in the village and watched this.
• 36:16
  Speaker 2: Believe it or not, I don't know.
• 36:18
  Speaker 3: So the moment when Bill grabslous Sally's breasts is the
• 36:25
  Speaker 3: same moment where Nightingale does this with his fingers, because
• 36:31
  Speaker 3: was like, peey, touchy, watch swear it's amazing.
• 36:40
  Speaker 4: Oh my gosh.
• 36:42
  Speaker 3: Look at that. I didn't do that. Kubrick did that.
• 36:47
  Speaker 3: This is the genius of Kubrick blindfold is huh. Right,
• 36:55
  Speaker 3: So then something I should tell you? Really m m,
• 37:03
  Speaker 3: you're putting me on all right. So it's like this moment.
• 37:10
  Speaker 4: The plane from wasn't on so well, I don't know
• 37:13
  Speaker 4: when to tell you this.
• 37:15
  Speaker 3: Yeah, well I have seen one or two things in
• 37:20
  Speaker 3: my life. Never, why don't you have a seat The
• 37:27
  Speaker 3: moment he says never, She's like, why don't you have
• 37:29
  Speaker 3: a seat? Done with the flirting? Never such? W never? Right,
• 37:36
  Speaker 3: So okay, wow, okay, this is he gets the call.
• 37:42
  Speaker 3: You know, I don't know how to say this. Hello, Yes, sir,
• 37:52
  Speaker 3: considering that you were with last night, I know where
• 37:56
  Speaker 3: that is. Were dominantly fair? Right? The results, the results
• 38:08
  Speaker 3: the passwords. Well, I'm on my way right now, right now.
• 38:11
  Speaker 3: HIV positive. That's the same. That's interesting. What is this.
• 38:20
  Speaker 4: Whoa that lined up?
• 38:22
  Speaker 3: Yeah, HIV positive, it's the password whoa. I'm really sorry. So, like,
• 38:35
  Speaker 3: I wonder if Kubrick knew that it was going to
• 38:37
  Speaker 3: be a virus in the future because en Fauci was involved. Like, God,
• 38:42
  Speaker 3: you probably put it on YouTube. I said the wrong words.
• 38:45
  Speaker 4: No, I don't even do.
• 38:48
  Speaker 3: I'm still like, I think that maybe Kubrick knew that
• 38:51
  Speaker 3: was the plan for the future. And these are the
• 38:53
  Speaker 3: people that are, you know, the hivy thing that people
• 38:57
  Speaker 3: should go down the rabbit hole. There snow HIV virus.
• 39:02
  Speaker 4: That's the big secret, right, because it isn't that's right.
• 39:07
  Speaker 3: And guess who is in charge of it way back then,
• 39:10
  Speaker 3: And guess why people were down and people were dying
• 39:13
  Speaker 3: because of the medicine. Magic Johnson stopped taking the medicine.
• 39:17
  Speaker 3: He's aliving. Well, you know what I'm saying, people need
• 39:20
  Speaker 3: and why they have.
• 39:21
  Speaker 4: To take out Freddy Mercury though really.
• 39:25
  Speaker 3: Because just like the killing of the king, the trauma
• 39:28
  Speaker 3: that it causes us who love him so much, that's
• 39:32
  Speaker 3: what it does. And then they can make way more
• 39:34
  Speaker 3: money off his albums that you know they own the right.
• 39:40
  Speaker 3: So here we'll look here. This moment is so this okay,
• 39:48
  Speaker 3: this is like the most important sh stuff, dude.
• 39:51
  Speaker 4: This moment right here. This is crazy because you have
• 39:55
  Speaker 4: Ziegler in the uh the billiard room, I guess billiard room.
• 40:02
  Speaker 4: You have the red pope in the ritual, and then
• 40:07
  Speaker 4: you have bill Um finding Mandy in the bathroom. This
• 40:15
  Speaker 4: is crazy because Ziegler is present in all three scenes.
• 40:19
  Speaker 3: Yes, okay, Ziggler's wearing the tricorn hat mask.
• 40:24
  Speaker 4: Yes, yeah, So we've got a trifecta going on right now.
• 40:29
  Speaker 4: This is nuts. Okay, go ahead.
• 40:31
  Speaker 3: If you look the red of the felt of the
• 40:35
  Speaker 3: pool table, all pool tables standard is cyan. It's like
• 40:40
  Speaker 3: the opposite of red on the color wheel. So that
• 40:43
  Speaker 3: is like, ohh brings your attention to that, And there's
• 40:46
  Speaker 3: a lot involved with that. It goes back to clockwork
• 40:48
  Speaker 3: orange like I get into it. But so we got
• 40:53
  Speaker 3: the red pool table and then we got the red
• 40:55
  Speaker 3: carpet right, the red pope, right, the red Pope. So
• 40:59
  Speaker 3: that's the same. And they talked about that in Room
• 41:02
  Speaker 3: Too thirty seven, how they related the carpet to the
• 41:05
  Speaker 3: pool table. But then if you look here, we have
• 41:09
  Speaker 3: the painting on the wall in the bathroom where Mandy
• 41:13
  Speaker 3: is passed out. That's painted by Christian Kubrick. It's right
• 41:18
  Speaker 3: there behind Bill's head. It's a huge painting, and that
• 41:23
  Speaker 3: the painting is titled Paula six Months on Red. It's
• 41:28
  Speaker 3: a pregnant woman like laying there on a red red
• 41:35
  Speaker 3: like red carpet red right, and Mandy's on the red
• 41:40
  Speaker 3: chair in the bathroom. So like that's what those women
• 41:44
  Speaker 3: are becoming pregnant. They're getting impregnated. That's what the whole
• 41:48
  Speaker 3: story is. They're like making all those women get inmated,
• 41:53
  Speaker 3: I swear. And when there's a scene, there's like one
• 41:57
  Speaker 3: shot where Bill is looking up at Ziggler and Ziggler's
• 42:02
  Speaker 3: face is framed in front of the painting where the
• 42:05
  Speaker 3: painting behind him takes up the whole frame, and Ziggler's
• 42:09
  Speaker 3: mouth is right where the vagina of the painting, So
• 42:15
  Speaker 3: like it's like the pregnant woman is gonna be borne
• 42:19
  Speaker 3: through his lips, is like gonna speak out what's program
• 42:23
  Speaker 3: and that's what's happening in the billiard room. I'm not
• 42:26
  Speaker 3: gonna tell you who those people are, but you wouldn't
• 42:29
  Speaker 3: sleep so well at night. So and he says it out.
• 42:33
  Speaker 3: He says she's a hooker, like that's what she was,
• 42:36
  Speaker 3: and like you know, and he also says that the
• 42:40
  Speaker 3: doors were locked from the inside. Cops are happy, case closed,
• 42:44
  Speaker 3: But the newspaper didn't say that newspaper didn't have that information.
• 42:47
  Speaker 3: He has secret information about that whole situation. So she
• 42:52
  Speaker 3: was murdered because she went against her programming. Yes, yeah,
• 42:59
  Speaker 3: we talked about that on our show. Yeah, sad, it's
• 43:03
  Speaker 3: very sad. So that's Harry calls that someone on the
• 43:07
  Speaker 3: freedom train. That's how they get free. They have to
• 43:10
  Speaker 3: get murdered out. That's the only way to get free.
• 43:13
  Speaker 5: Wow.
• 43:14
  Speaker 3: But Alice was lucky enough to be used as a breeder,
• 43:19
  Speaker 3: just like these women at the ritual. They're all being
• 43:21
  Speaker 3: inseminated by the people behind the masks, you know, And
• 43:25
  Speaker 3: that's why they run a train on them so that
• 43:28
  Speaker 3: they don't know who the father is, so that there's
• 43:32
  Speaker 3: no parental lineage. These can be slaves, and they can
• 43:34
  Speaker 3: abuse them and have no care that they're their own kids,
• 43:39
  Speaker 3: you know, but it's still from an elite stock of semen.
• 43:46
  Speaker 4: So that's why they run train on them. That makes
• 43:50
  Speaker 4: so much fucking sense, because it's like it's just a
• 43:53
  Speaker 4: random kid to them.
• 43:54
  Speaker 3: It's right. It erases the paternal lineage right right, my god.
• 44:00
  Speaker 3: And so that too is a trauma to the baby
• 44:03
  Speaker 3: to not have a father. But that adds to the
• 44:08
  Speaker 3: the abuse that they have to traumatize the children in
• 44:10
  Speaker 3: so many ways to create the effect of an Alice
• 44:16
  Speaker 3: who will, against her own motherly instinct, let her child
• 44:21
  Speaker 3: be abducted by her owners. You know. In the toy store,
• 44:27
  Speaker 3: that whole thing was was orchestrated by Alice, and those
• 44:32
  Speaker 3: people were there just to receive the kid. And Alice
• 44:36
  Speaker 3: went and stood right next to the to the stuffed cats.
• 44:40
  Speaker 3: And those people were waiting in that aisle. They knew
• 44:43
  Speaker 3: which ile to stand in because the stuffed lions like
• 44:48
  Speaker 3: of Inana, like her cat beast, you know, familiar right
• 44:53
  Speaker 3: of magic, familiar, so like. And there was a thug
• 44:58
  Speaker 3: in the in the toy store. We can see him
• 45:01
  Speaker 3: following them. And I talk about it in my My
• 45:06
  Speaker 3: first production was called a Cult Kubrick and the Butterfly Net,
• 45:11
  Speaker 3: and you can find that on Odyssey and stuff I
• 45:13
  Speaker 3: go through.
• 45:13
  Speaker 4: I watched it.
• 45:15
  Speaker 3: It's great. I'm glad. Yeah so I So there we
• 45:20
  Speaker 3: see her on the on the red chair, the red carpet,
• 45:24
  Speaker 3: those women genuflecting on the red carpet, and he's like, oh,
• 45:28
  Speaker 3: I think you got too many ideas here. Listen to
• 45:31
  Speaker 3: him talk.
• 45:38
  Speaker 6: Boom boom.
• 45:45
  Speaker 3: Look at where his lips are.
• 45:48
  Speaker 4: I never noticed that before, Sean, Fuck you, that's fucking wild.
• 45:54
  Speaker 3: Yeah, Like Kubrick had to put the camera down low
• 45:58
  Speaker 3: to create the shot. He had to like light it
• 46:00
  Speaker 3: up specifically so.
• 46:02
  Speaker 4: That what lips.
• 46:05
  Speaker 3: Are, the lips of the vagina would be in the painting.
• 46:09
  Speaker 3: And we can tell that's a pregnant woman. You see her,
• 46:11
  Speaker 3: her nipples are big and dark, and we see her
• 46:13
  Speaker 3: pregnant belly.
• 46:14
  Speaker 4: Her belly. Yeah, do you think it's significant? Also, I
• 46:18
  Speaker 4: think I've mentioned this to you before, but Mandy is
• 46:21
  Speaker 4: a redhead.
• 46:22
  Speaker 3: Oh yeah, They're all redheads, even even Helena mm hmm
• 46:27
  Speaker 3: yeah yeah, even Domino too.
• 46:32
  Speaker 4: Coveted, fucking coveted.
• 46:33
  Speaker 3: I know they are, that's right, if Arizona Wilder, I
• 46:39
  Speaker 3: don't know how much stock you put in what she says,
• 46:42
  Speaker 3: because some of the stuff she says is pretty wild.
• 46:44
  Speaker 3: But she talked to David Ike a long time ago
• 46:48
  Speaker 3: and he said that, uh or she said to him
• 46:52
  Speaker 3: that blondes and redheads are more they do psychic they have,
• 47:01
  Speaker 3: they're more easily psychic abilities come more easily to them.
• 47:06
  Speaker 3: So they that's why.
• 47:11
  Speaker 4: That's why they say like redheads have like mutant DNA
• 47:15
  Speaker 4: and shit, I'm so serious, they say that redheads are mutants.
• 47:21
  Speaker 3: That's just because Britain hates Ireland. That's all it is.
• 47:24
  Speaker 3: It's just some racism. Shit. God bless Irish people come
• 47:29
  Speaker 3: on anyway. So all right, So we see that this
• 47:32
  Speaker 3: is him speaking out, like this exact moment, like two
• 47:38
  Speaker 3: hours exactly ahead from the bathroom scene. We hear him
• 47:43
  Speaker 3: speaking out. And the paintings on the wall in the
• 47:47
  Speaker 3: billiard room are significant too. That's where we see the
• 47:50
  Speaker 3: guy with the tricorne hat in the in the painting
• 47:54
  Speaker 3: above Ziggler, So that's supposedly his ancestor.
• 47:59
  Speaker 4: Right.
• 48:00
  Speaker 3: These faces on the wall are the unmasked participants from
• 48:05
  Speaker 3: the past that were in the ritual and Kubrick gives
• 48:10
  Speaker 3: us a heraldic shields on the walls above the red carpet,
• 48:17
  Speaker 3: and the guy with the tricorn hat is on the
• 48:20
  Speaker 3: balcony above the red carpet, just like the portrait is
• 48:26
  Speaker 3: above the pool table looking down on the red pool table. Same.
• 48:31
  Speaker 3: It's like it even more strengthens the idea that Room
• 48:35
  Speaker 3: two thirty seven posits with the relation between the carpet
• 48:39
  Speaker 3: and the red pool table. And if you go even further,
• 48:44
  Speaker 3: the ending of Clockwork Orange features a pool table. It's
• 48:50
  Speaker 3: like a snooker table. And he's got the guy, the
• 48:53
  Speaker 3: crippled guy that is torturing Alex with Beethoven.
• 49:00
  Speaker 4: Literally, I was gonna say Beethoven at the end, uh huh.
• 49:04
  Speaker 3: The Beethoven Opera is the thing that tortures Alex. And really,
• 49:10
  Speaker 3: like Fidelio, like if you think about I'm like just
• 49:16
  Speaker 3: like realizing now, like somebody that has cheated, that is
• 49:22
  Speaker 3: the torture to remember that, to know that you did
• 49:25
  Speaker 3: that and you can't undo it. And it's like that's
• 49:27
  Speaker 3: the pain that we have to live with, is you know,
• 49:30
  Speaker 3: like you can't undo the thing, you can't go back,
• 49:35
  Speaker 3: and like so that in itself is the torture. Like
• 49:38
  Speaker 3: I believe that when when we're done with this life,
• 49:42
  Speaker 3: we judge ourselves. I think that's I think that's why
• 49:45
  Speaker 3: they do many so the darker cultures do all those
• 49:48
  Speaker 3: cremations of care so that when they get to that point,
• 49:51
  Speaker 3: they don't they don't judge themselves. Like I don't know.
• 49:54
  Speaker 3: I think it's like hijacking the the mechanics of spirit, like.
• 50:00
  Speaker 4: That would be that would be the ultimate fucking like
• 50:04
  Speaker 4: to judge yourself for all the fucked up things you did.
• 50:08
  Speaker 4: Holy shit.
• 50:09
  Speaker 3: I think that's how it works. I think that's how
• 50:11
  Speaker 3: it works because like, yeah, I mean, well anyway, yeah,
• 50:16
  Speaker 3: because like even in life now, like I mean, you
• 50:19
  Speaker 3: can't like if we think about our mistakes and like
• 50:24
  Speaker 3: I mean, that is the torture. I think if you,
• 50:27
  Speaker 3: I think we're inherently moral beings, you know. So that's
• 50:33
  Speaker 3: why in these satanic rituals, they they do the most
• 50:37
  Speaker 3: immoral stuff and then you have to participate, and it's
• 50:41
  Speaker 3: your willingly drinking the blood or whatever.
• 50:44
  Speaker 4: You know, eating drinking the piss, right right, mm hmm.
• 50:50
  Speaker 3: So like that then that is confirmation that you are
• 50:56
  Speaker 3: accepting the evil and this is a free will environment
• 50:59
  Speaker 3: where we That's why they show us the thing they
• 51:03
  Speaker 3: do before they do it to us, because this is
• 51:06
  Speaker 3: our consent when we let it happen. So that's the
• 51:09
  Speaker 3: spiritual law of this of this world and this existence.
• 51:14
  Speaker 3: So they have to present their plan to us. It's so,
• 51:18
  Speaker 3: I mean, these kind of movies are both a revelation
• 51:22
  Speaker 3: of the method and a part of the magic ritual itself.
• 51:27
  Speaker 3: You know, people that don't like Kubrick might think that
• 51:30
  Speaker 3: this is that this is an intentional movie, that they're
• 51:36
  Speaker 3: revealing this stuff on purpose to show us that we
• 51:40
  Speaker 3: nothing we can do, Like, can you know they're they're
• 51:44
  Speaker 3: so powerful, makes us learned helplessness, you know. But really
• 51:48
  Speaker 3: I think the Kubrick is showing us how totally depraved
• 51:52
  Speaker 3: they are and how disgusting of people they are. Like
• 51:56
  Speaker 3: when we see Millic, the guy in the costume shop,
• 52:02
  Speaker 3: he's got like a the tie he wears looks like
• 52:06
  Speaker 3: a golden snake skin, you know, and he's got this
• 52:09
  Speaker 3: like evil grin. And I think Kubrick still maintained his
• 52:14
  Speaker 3: morality even though he was in this I'm speculating. Of course,
• 52:18
  Speaker 3: I can't interview the guy, but I believe he was
• 52:22
  Speaker 3: revealing this, and Carrie does too, and we talked about it.
• 52:27
  Speaker 3: She thinks that because there's so much context, that this
• 52:32
  Speaker 3: is not just a trap for our consciousness to allow
• 52:37
  Speaker 3: their rituals in the future. She believes that this is
• 52:41
  Speaker 3: Kubrick trying to reveal to us. There it's all there.
• 52:47
  Speaker 3: We have to decipher it, I mean. And he started
• 52:50
  Speaker 3: in the Shining. In the Shining, he started making these
• 52:55
  Speaker 3: mazes of a movie, you know, where it's, uh, it's
• 52:59
  Speaker 3: more than a film. It's like a it's like a puzzle.
• 53:02
  Speaker 3: You know.
• 53:03
  Speaker 4: Well, you and I talked about before a full metal
• 53:05
  Speaker 4: jacket and fucking I was gonna say something about about
• 53:13
  Speaker 4: The Shining, but now I forget. But it's like, it's
• 53:17
  Speaker 4: not just a movie. It is not simply just a movie.
• 53:21
  Speaker 4: There is so fucking much more going on with every
• 53:26
  Speaker 4: single one of them. And I think to prove that point.
• 53:29
  Speaker 4: If you, which I think you do, think that Kubrick
• 53:35
  Speaker 4: did the moon landing stuff, like he's a brilliant, fucking genius.
• 53:40
  Speaker 4: And we've even talked about how kind of like that
• 53:44
  Speaker 4: are today Kubrick a little bit like with get Out,
• 53:47
  Speaker 4: and you know, it's like it's kind of telling of.
• 53:53
  Speaker 3: Yeah, Jordan Peele has like a morality and he seems
• 53:56
  Speaker 3: to be revealing the darker cult and the evil ways
• 53:59
  Speaker 3: of mind control they use, and those mind control slaves
• 54:03
  Speaker 3: are all over Hollywood, like Marilyn Monroe, like you talk
• 54:06
  Speaker 3: about Yeah, yeah, that's interesting. Yeah, that's that's so exactly that,
• 54:12
  Speaker 3: like we're and you know, Kubrick did take his family
• 54:16
  Speaker 3: of all daughters and to move them to Saint Albans,
• 54:21
  Speaker 3: which is like that was like sacred land for for
• 54:30
  Speaker 3: England basically like and the King Arthur and like Albion
• 54:36
  Speaker 3: of like William Blake and you know, like nobody's gonna
• 54:40
  Speaker 3: bomb that, you know what I mean, Like it's a
• 54:44
  Speaker 3: safe place, like decreate it or like ye if he's
• 54:48
  Speaker 3: like lives where because London is like the control arm
• 54:52
  Speaker 3: of the evil, like it seems to be like the
• 54:55
  Speaker 3: city of London. And of course they work with the
• 54:57
  Speaker 3: Vatican and the whole in Washington, d C. The Three
• 55:01
  Speaker 3: City State, like well.
• 55:04
  Speaker 4: I mean, I mean shut was filmed at a Rothschild's house.
• 55:10
  Speaker 3: Yes, this mansion was built by a Rothschild family member.
• 55:15
  Speaker 3: This at the ritual space it's called meant Moore Towers,
• 55:18
  Speaker 3: and it's not currently owned by the Rothschild. They sold it,
• 55:23
  Speaker 3: I think in the seventies, and then the person who
• 55:25
  Speaker 3: bought it then sold it in the late nineties, and
• 55:29
  Speaker 3: that's why it was able to be featured in these
• 55:31
  Speaker 3: films because then they started renting it out to directors.
• 55:35
  Speaker 3: Also in ninety nine, it was used in the Ninth Gate,
• 55:40
  Speaker 3: the Roman Polanski.
• 55:41
  Speaker 4: Fi shut the fuck up. Yeah, the same, the very same, yeah.
• 55:48
  Speaker 3: Yeah, in ninth Gate. Yeah, the front Jesus Christ, the
• 55:53
  Speaker 3: front facade was used. That was the same building. And
• 55:57
  Speaker 3: you remember like all the lit up little candles, and
• 55:59
  Speaker 3: here's like.
• 56:00
  Speaker 4: The fucking Roman Polanski ass fucking ninth Gate ass fucking
• 56:05
  Speaker 4: Johnny Depp ass. That's same, very same, yeah.
• 56:12
  Speaker 3: And that movie was released in ninety nine, same time,
• 56:15
  Speaker 3: And that movie, that movie is about a satanic person
• 56:18
  Speaker 3: attaining apotheosis without going through Jesus. It was like you
• 56:24
  Speaker 3: can just walk right into.
• 56:25
  Speaker 4: It through the Satanic rites right right.
• 56:29
  Speaker 3: They's God. It's like hacking the mechanics of this reality
• 56:36
  Speaker 3: so that they don't have to be christ Like and
• 56:39
  Speaker 3: they don't have to live morally and live abide by
• 56:42
  Speaker 3: the laws of natural law. The creator's laws of this world.
• 56:46
  Speaker 3: If you harm others, you will receive negative harm. Like
• 56:52
  Speaker 3: even the witches will say, like you do a bad
• 56:55
  Speaker 3: spell to somebody, you receive it back times three, you know,
• 56:58
  Speaker 3: Like I mean that that's the love of nature, right,
• 57:02
  Speaker 3: So that's why the Buddhists don't harm anything. They don't
• 57:07
  Speaker 3: even harm bugs like the you know, because they recognize
• 57:11
  Speaker 3: that could be someone somebody's aunt or uncle who's like
• 57:16
  Speaker 3: reincarnated into a bug and happens to be trapped in
• 57:19
  Speaker 3: that body at the time. Like, so they have such
• 57:21
  Speaker 3: reference for life, all life, you know. But these people
• 57:25
  Speaker 3: are hijacking the mechanics of life. So that's what the
• 57:29
  Speaker 3: ritual is doing. A normal copulation has a normal spirit
• 57:35
  Speaker 3: from the realm of God to inhabit the baby. That's
• 57:40
  Speaker 3: how all babies are born with the copulation, the combination
• 57:43
  Speaker 3: of male and female, combination of sperm and ovum. When
• 57:48
  Speaker 3: that spark of life begins, it's a natural soul who
• 57:53
  Speaker 3: gets first rights to that body, right, and they just
• 57:58
  Speaker 3: step right in. Whether it's incarnation or a new soul
• 58:01
  Speaker 3: or whatever you believe, it's that's a natural process. So
• 58:06
  Speaker 3: at that ritual they're going Widershin's they're going backwards. They're
• 58:11
  Speaker 3: speaking backwards. They're doing necromancy, and necromancy has a lot
• 58:16
  Speaker 3: of what they call a left hand path where they
• 58:19
  Speaker 3: go against the flow of nature to work against that flow. Right,
• 58:27
  Speaker 3: So they're doing this necromancy ritual. I believe to control
• 58:34
  Speaker 3: what and who is inhabiting these women at the point
• 58:38
  Speaker 3: of conception. Here at this ritual, Like if you read
• 58:42
  Speaker 3: Moonschild by Aleister Crowley, it's like his only fiction work,
• 58:47
  Speaker 3: but it's based on actual magic, where they create a
• 58:52
  Speaker 3: baby and they control what spirit or entity inhabits the boss.
• 59:00
  Speaker 3: Like that's what Croley was doing with the homunculus. He
• 59:03
  Speaker 3: was like trying to It was really gross the Crowley
• 59:06
  Speaker 3: was doing, trying to make a baby without a woman,
• 59:10
  Speaker 3: like using blood from violent rape and the semen. Maybe
• 59:15
  Speaker 3: that'll make a baby. Like that's what they used to
• 59:16
  Speaker 3: think there was they they call it starfire. They believe
• 59:20
  Speaker 3: that the the woman's menstrual blood is the fertile ground
• 59:28
  Speaker 3: that the seed. They used to think in the cult
• 59:31
  Speaker 3: the ritual, like the ancient times, they used to think
• 59:35
  Speaker 3: that all life came from the male semen and that
• 59:39
  Speaker 3: it's just the red of the starfire. That's why they
• 59:43
  Speaker 3: read this. That's why red, red, and white are the
• 59:45
  Speaker 3: magic colors because of semen and starfire. So like the
• 59:49
  Speaker 3: red of the blood, they used to think, oh, maybe
• 59:52
  Speaker 3: we could use this other blood, maybe we can grow
• 59:55
  Speaker 3: some babies in that. And so that Crowley was like
• 59:58
  Speaker 3: doing violent anal rape and like trying to mix uh
• 1:00:01
  Speaker 3: semen with that blood, trying to make a homunculous like
• 1:00:06
  Speaker 3: that's what the picture of lamb. If you ever, if
• 1:00:09
  Speaker 3: you turn that picture upside down, mm hmm, you see
• 1:00:13
  Speaker 3: that it's a it's being born out of an anus.
• 1:00:16
  Speaker 3: It's really it's not like it's like, uh, it's shaped like.
• 1:00:22
  Speaker 3: It's not shaped like that to look like an alien.
• 1:00:24
  Speaker 3: It's shaped like that because it's like a droplet of
• 1:00:27
  Speaker 3: of google being like excreted out through the It's gross.
• 1:00:32
  Speaker 3: I'm sorry, listeners, No, I mean that.
• 1:00:35
  Speaker 4: It's like we said at the beginning, this stuff is
• 1:00:37
  Speaker 4: very important and everybody needs to fucking know about it.
• 1:00:39
  Speaker 4: But it's just like how deprave does your mind have
• 1:00:42
  Speaker 4: to get in order to think like ass blood and fuck?
• 1:00:47
  Speaker 4: What did they He raped him in the ass and
• 1:00:50
  Speaker 4: then he busted a fat load and thought that that
• 1:00:52
  Speaker 4: was gonna like who's gonna work that?
• 1:00:55
  Speaker 3: If you if you look at a Crowley, like it's
• 1:00:57
  Speaker 3: all ass right, like a lot of it like that, there's.
• 1:01:01
  Speaker 4: Like what do they do after he busts the fat load?
• 1:01:04
  Speaker 4: Like he's like, who who is who carries the baby?
• 1:01:09
  Speaker 3: Oh? I don't know it? Like I don't know it
• 1:01:13
  Speaker 3: excretes out, I don't know, I'm telling you. But apparently
• 1:01:18
  Speaker 3: the evil spirit that they allow to inhabit this thing,
• 1:01:22
  Speaker 3: this demon that's trying that they're trying to be born
• 1:01:26
  Speaker 3: into flesh they are. They think that that magic power
• 1:01:30
  Speaker 3: will keep it alive, you know, and of course never bornculus.
• 1:01:34
  Speaker 3: But people should look into what Homeleuculous really is. It's
• 1:01:37
  Speaker 3: not just like a little thing, like it's not like
• 1:01:43
  Speaker 3: it's not like the dude from the Black Lodge of
• 1:01:47
  Speaker 3: of David Lynch's Twin Peaks. You know, it's not like
• 1:01:50
  Speaker 3: that little dude. It's like it's something.
• 1:01:53
  Speaker 4: Else, something Okay, So I had not walked. I think
• 1:02:01
  Speaker 4: the only David Lynch movie I had ever watched was
• 1:02:04
  Speaker 4: Dune because like it was the lesser of the David Lynches, right,
• 1:02:09
  Speaker 4: Dune and.
• 1:02:10
  Speaker 3: Fucking it was really well done but pretty silly.
• 1:02:15
  Speaker 4: The new ones are great, which I talked to you
• 1:02:17
  Speaker 4: about because I wanted to do a thing with you.
• 1:02:20
  Speaker 3: I might still go along with.
• 1:02:21
  Speaker 4: You and that you because they're incredible films. But so
• 1:02:28
  Speaker 4: I went to go visit Are you familiar with Kolby
• 1:02:32
  Speaker 4: from Conspiracy Playtime podcast? It's a really good podcast. But anyways,
• 1:02:38
  Speaker 4: like I went to go visit him and he was like,
• 1:02:41
  Speaker 4: you're about to get lynched, and I was like, I
• 1:02:45
  Speaker 4: was like, okay, I'm ready for it. We watched Mullholland
• 1:02:49
  Speaker 4: Drive and I was high as dog shit.
• 1:02:53
  Speaker 3: That movie is about women like Alice too, yes.
• 1:02:56
  Speaker 4: And it has a Naomi in it.
• 1:03:00
  Speaker 3: Oh Campbell? Right? Yes, yeah, I don't remember that.
• 1:03:04
  Speaker 4: Wait wait or is that her name? That's her name?
• 1:03:07
  Speaker 2: Right? Oh?
• 1:03:08
  Speaker 3: Right, the other the blonde chick right right? Isn't it
• 1:03:11
  Speaker 3: Mulholland Naomi Watts?
• 1:03:13
  Speaker 5: Right?
• 1:03:15
  Speaker 3: I think that's the actress's name, and that she is
• 1:03:20
  Speaker 3: her split personality.
• 1:03:21
  Speaker 4: She she's a split personality, right right, Naomi?
• 1:03:25
  Speaker 3: Yeah? And she's a Hollywood actress.
• 1:03:27
  Speaker 6: Yes.
• 1:03:28
  Speaker 4: So I had never watched David Lynch, like a good
• 1:03:32
  Speaker 4: David Lynch. I had only watched it.
• 1:03:33
  Speaker 3: They're all good, even eraser Head is good. Jennifer hates it.
• 1:03:38
  Speaker 3: Fucking Did you know eraser Head is Kubrick's favorite movie?
• 1:03:42
  Speaker 4: Is it really?
• 1:03:43
  Speaker 3: Yes?
• 1:03:44
  Speaker 4: So Colby's sitting there and he's already he knows what
• 1:03:47
  Speaker 4: to expect because he's already seen it. I'm high as
• 1:03:49
  Speaker 4: dog shit watching it for the first time. I was like,
• 1:03:52
  Speaker 4: I don't know whether the fucking puke or fucking ship
• 1:03:56
  Speaker 4: or fucking start my period. I was having a whole
• 1:03:59
  Speaker 4: mental fuck. I had never watched a movie that literally
• 1:04:03
  Speaker 4: jarred me out of reality like that fucking movie did.
• 1:04:07
  Speaker 3: And so this is cilensial cilensia. Like at the end, you're.
• 1:04:12
  Speaker 4: Just like wow, Like when the dude is sitting at
• 1:04:15
  Speaker 4: the cafe and he's like, I had this dream or whatever,
• 1:04:18
  Speaker 4: and then he goes around the side of the building
• 1:04:20
  Speaker 4: and there's that fucking scary ass motherfucker like hiding on
• 1:04:23
  Speaker 4: the other side. Sean, I'm telling you, there's this whole
• 1:04:26
  Speaker 4: aspect to film that people do not appreciate, like eyes
• 1:04:30
  Speaker 4: wide shut, like fucking clockwork orange, like the Shiny It's
• 1:04:35
  Speaker 4: more than just a movie. It's like a psychological fucking
• 1:04:41
  Speaker 4: almost like a psychological operation on.
• 1:04:43
  Speaker 3: People, like they are in your fucking.
• 1:04:46
  Speaker 4: Mk ultra right, Yes, it's.
• 1:04:49
  Speaker 3: It is a dream. They can they control the whole
• 1:04:52
  Speaker 3: dream for two hours. Yeah, Like that's the normal span
• 1:04:56
  Speaker 3: of our REM sleep, the REM cycle. You get about
• 1:04:59
  Speaker 3: two psych in about one and a half hours something
• 1:05:02
  Speaker 3: like that. So they they time movies to be alongside
• 1:05:06
  Speaker 3: with the rapid eye movement REM sleep cycle, so that
• 1:05:11
  Speaker 3: our brain takes up this information the same way it
• 1:05:15
  Speaker 3: takes up a dream. So when that's right, So like
• 1:05:21
  Speaker 3: when when Kubrick's images are so striking, they burn into
• 1:05:28
  Speaker 3: your head and you remember that stuff, like the scene
• 1:05:31
  Speaker 3: at the end of Clockwork Orange when the guy has
• 1:05:35
  Speaker 3: a pool table with big speakers on it and there's
• 1:05:39
  Speaker 3: a guy in front who's like playing with red pool balls,
• 1:05:42
  Speaker 3: red pool balls on this table. It's a green table,
• 1:05:45
  Speaker 3: but still and like behind them is a big painting
• 1:05:49
  Speaker 3: of a maiden and this what's being played is Beethoven,
• 1:05:54
  Speaker 3: you know, and he's like looking up and you can
• 1:05:56
  Speaker 3: see the guy's face. He's like, aha, like what is
• 1:05:59
  Speaker 3: a speaker? What is what I mean?
• 1:06:03
  Speaker 6: Ziggler is speaking? He's the speaker in the billiard room.
• 1:06:11
  Speaker 6: And you know, like the password right, So anyway, and
• 1:06:16
  Speaker 6: so like it's just loops and loops back into itself
• 1:06:23
  Speaker 6: and it further like strengthens itself, you know, and the
• 1:06:28
  Speaker 6: being able to see it here in three frames like
• 1:06:33
  Speaker 6: even that relates to the Goddess. The Goddess has always
• 1:06:37
  Speaker 6: been depicted as three, like even the fates, right, and
• 1:06:41
  Speaker 6: you got maiden, mother and krone. You got the maiden,
• 1:06:48
  Speaker 6: the young sex kitten, right, and then the mother, which
• 1:06:52
  Speaker 6: is the reproductive of what Alice is doing, and then
• 1:06:56
  Speaker 6: the crone. They never actually get the krone. They kill
• 1:07:00
  Speaker 6: them off like Mandy, right, that's the the other end
• 1:07:03
  Speaker 6: of the spectrum. And so we see the whole. We
• 1:07:06
  Speaker 6: see the beginning of the life span with Helena and
• 1:07:10
  Speaker 6: her butterfly wings and being trained into this nutcracker ballerina,
• 1:07:17
  Speaker 6: you know, set of programming, and then she gets stolen
• 1:07:20
  Speaker 6: and then the next kind of stage in the in
• 1:07:23
  Speaker 6: the lifespan of these women is to be a child prostitute.
• 1:07:29
  Speaker 6: That's what Carrie was used for. That other women are
• 1:07:34
  Speaker 6: and it's and it goes that's.
• 1:07:36
  Speaker 4: That's the most valuable thing you can do, is be
• 1:07:39
  Speaker 4: a child prostitute for them.
• 1:07:42
  Speaker 3: And the room where in this film where uh where
• 1:07:48
  Speaker 3: Ley Sobieski is being filmed. Is a glass room and
• 1:07:54
  Speaker 3: the locks are on the outside. It's made to trap
• 1:07:58
  Speaker 3: victims inside, so it is a blackmail device.
• 1:08:04
  Speaker 4: So that's like you passed on one scene that is
• 1:08:07
  Speaker 4: like real fucking crazy. Oh look at this.
• 1:08:11
  Speaker 3: This is the tricorn hat is right at the same time,
• 1:08:14
  Speaker 3: and she's got the star of Ishtar right there around
• 1:08:17
  Speaker 3: her head.
• 1:08:17
  Speaker 4: Yes, shut the fuck.
• 1:08:20
  Speaker 3: Right, and look at the hat on the woman. Look,
• 1:08:23
  Speaker 3: it's like she's wearing the hat too, Like Alice is
• 1:08:25
  Speaker 3: wearing a hat. She's got the stars and the things.
• 1:08:28
  Speaker 3: And this one's got like dingle.
• 1:08:29
  Speaker 1: Bell he's got the stars too, yea, even with the
• 1:08:33
  Speaker 1: little fucking bells on.
• 1:08:34
  Speaker 4: It, like where the lights are on the star.
• 1:08:37
  Speaker 3: Yeah, So like that. And when you first meet and
• 1:08:40
  Speaker 3: when we meet Ziggler's wife here, let's see if I
• 1:08:43
  Speaker 3: can find her at the beginning when they first arrive
• 1:08:47
  Speaker 3: at the party.
• 1:08:49
  Speaker 4: When when he's like, oh, you look beautiful, yes, and
• 1:08:53
  Speaker 4: she's all like.
• 1:08:55
  Speaker 3: Here, let's see if we can oh this week and
• 1:08:57
  Speaker 3: see this is Ziggler speaking the This is an important
• 1:09:01
  Speaker 3: scene right here. So Ziggler is speaking the magic spell
• 1:09:06
  Speaker 3: to Alice. So this is the moment where.
• 1:09:09
  Speaker 4: And look at her face. She looks all fucking like
• 1:09:12
  Speaker 4: dissociated and shits.
• 1:09:13
  Speaker 3: Right, yep, she's hearing the message. And he's look at
• 1:09:16
  Speaker 3: the string of light going from his mouth to her ear.
• 1:09:20
  Speaker 3: It's this magic spell that he's speaking to her. And
• 1:09:23
  Speaker 3: this is at the same time when these men are
• 1:09:26
  Speaker 3: captured in the blackmail Room. And it's also the same
• 1:09:31
  Speaker 3: time that Mandy's dead body is pulled out of the morgue.
• 1:09:34
  Speaker 3: So I'm gonna drive back a little bit so we
• 1:09:36
  Speaker 3: can see so uh so watch wat's this? So this
• 1:09:42
  Speaker 3: is relating all three of the women together. So uh
• 1:09:48
  Speaker 3: here she's saying, so he drinks her glass. She's standing
• 1:09:52
  Speaker 3: there at the bar and she holds the glass right
• 1:09:56
  Speaker 3: under her face like it's an advertisement, right, And he's
• 1:10:00
  Speaker 3: reading the newspaper. Here at two hours into the movie,
• 1:10:04
  Speaker 3: and at one hour something into the movie, we see
• 1:10:06
  Speaker 3: the introduction of the Rainbow Room. There's a giant rainbow over.
• 1:10:11
  Speaker 4: The door on that ship that the heads crazy.
• 1:10:16
  Speaker 3: You can see the heads of all the different wigs.
• 1:10:19
  Speaker 3: Those are all the personalities, those are all the and
• 1:10:24
  Speaker 3: so like this is what goes on, you know, over
• 1:10:28
  Speaker 3: the rainbow is when the soul dissociates under the rainbow
• 1:10:33
  Speaker 3: is the debaucherous rape, you know, the abuse of the child.
• 1:10:38
  Speaker 3: So this is what is being depicted here in this room.
• 1:10:42
  Speaker 3: Like so okay, she's at the bar and at the
• 1:10:46
  Speaker 3: end of the film, towards the end, Bill is reading
• 1:10:49
  Speaker 3: the paper about Mandy. He's discovering what is this? So
• 1:10:54
  Speaker 3: I mean Harry to get back to bed, so black
• 1:10:59
  Speaker 3: look so he or something? So Xandor sees her, puts
• 1:11:13
  Speaker 3: his glass down. What's his hand in his pocket? She
• 1:11:18
  Speaker 3: sees this. She puts the glass in front of him.
• 1:11:23
  Speaker 2: One of my patients.
• 1:11:28
  Speaker 3: Please give me, He says, what is this? As he's
• 1:11:33
  Speaker 3: looking down at cheese pizza? What is Cooper telling us?
• 1:11:38
  Speaker 4: Ship?
• 1:11:39
  Speaker 3: Yeah? And then he finds the teddy over there on
• 1:11:41
  Speaker 3: the red couch, Crimson red, and she he's picking up
• 1:11:46
  Speaker 3: her glass and he's about to drink her glass, and
• 1:11:49
  Speaker 3: she's watching, I.
• 1:11:52
  Speaker 2: Think that's my glass.
• 1:11:55
  Speaker 3: I think that's my glass. And that's the same moment
• 1:11:58
  Speaker 3: when he's discovering this teddy, like, I think that's my
• 1:12:01
  Speaker 3: Like the teddy is hers right.
• 1:12:03
  Speaker 4: The way that she says it too is like you
• 1:12:06
  Speaker 4: were saying at the beginning of the episode, if you
• 1:12:12
  Speaker 4: were to say that sentence, you wouldn't say glass. You
• 1:12:17
  Speaker 4: would say that's my drink.
• 1:12:19
  Speaker 3: Right, right, right.
• 1:12:21
  Speaker 4: She specifically uses the word glass, right as in Alice
• 1:12:26
  Speaker 4: in the looking Glass. She's always in front of mirrors.
• 1:12:29
  Speaker 4: She's always looking in a mirror. And then it's like, hey,
• 1:12:32
  Speaker 4: I think that's my glass. Like, think about that, Sean.
• 1:12:35
  Speaker 4: That doesn't even like make sense. It's not empty. It's
• 1:12:38
  Speaker 4: not like you're sitting there drinking wine. If you put
• 1:12:42
  Speaker 4: your cup down, you'd be like, hey, that's my drink.
• 1:12:47
  Speaker 4: Why my drink? She's hey, that's my glass.
• 1:12:52
  Speaker 3: So specific with these altars switching, mirrors are used to
• 1:12:59
  Speaker 3: help the switch. We see it happen when Bill is
• 1:13:04
  Speaker 3: touching on Alice and they're about to have sex. She's
• 1:13:07
  Speaker 3: like giggling and liking it, and then she looks in
• 1:13:09
  Speaker 3: the mirror and all of a sudden, no more smile
• 1:13:10
  Speaker 3: and she's just blank, no feeling empty, ready for the sex.
• 1:13:15
  Speaker 3: Now that's what her brain does when she's because she's
• 1:13:18
  Speaker 3: a whore, you know. Yeah, So that glass. By saying glass,
• 1:13:26
  Speaker 3: that's like, that's my trigger to switch alters. That's that's
• 1:13:33
  Speaker 3: how I switch.
• 1:13:33
  Speaker 4: He drinks, he drinks the whole class Yep.
• 1:13:39
  Speaker 3: He consumes the whole thing.
• 1:13:40
  Speaker 4: So now her glass is empty, fucking dissociated. Oh, somebody's
• 1:13:47
  Speaker 4: gonna say I'm a psychopath for looking.
• 1:13:49
  Speaker 3: Into this leg all these things.
• 1:13:52
  Speaker 4: Meaning right, he drinks it to the very bottom. He
• 1:13:55
  Speaker 4: doesn't just take a sip from her cup. He drinks
• 1:13:58
  Speaker 4: it to the bottom. So now she's the empty glass,
• 1:14:02
  Speaker 4: ready for the ready for the program right the.
• 1:14:06
  Speaker 3: And then the other altar pops out where all of
• 1:14:08
  Speaker 3: a sudden, she acts super drunk and she's all flirty
• 1:14:11
  Speaker 3: with him, and she acts like she'd give him sex,
• 1:14:13
  Speaker 3: but but her other programming, of mother programming won't allow that,
• 1:14:19
  Speaker 3: and she walks away from him, and the band is
• 1:14:22
  Speaker 3: playing only Have Eyes for You, like in the background,
• 1:14:26
  Speaker 3: you know, and that's her moment of fidelity, you know.
• 1:14:30
  Speaker 3: And it's like we can all relate, like, oh, I
• 1:14:33
  Speaker 3: used to be uh, I used to fornicate all the time,
• 1:14:36
  Speaker 3: but now I'm a married dude and now I can't
• 1:14:38
  Speaker 3: do that, I guess, So like we can all kind
• 1:14:41
  Speaker 3: of relate, so like we you know, regular people watching.
• 1:14:45
  Speaker 3: But this is he is accessing her programming with this
• 1:14:48
  Speaker 3: motion of using doing her glass and and she is
• 1:14:55
  Speaker 3: she's being accessed.
• 1:14:57
  Speaker 4: In the fucking scene right above it, the dude is
• 1:15:01
  Speaker 4: standing behind a glass window.
• 1:15:03
  Speaker 3: Yes, right there in a glass room.
• 1:15:07
  Speaker 4: And he's in a glass room and he's just discovered
• 1:15:09
  Speaker 4: his daughter with two fucking dudes fucking doing some training
• 1:15:14
  Speaker 4: ship and it's like, okay, now we've got two references
• 1:15:17
  Speaker 4: to the glassroom.
• 1:15:18
  Speaker 3: Now, good point. Yeah, I never I never mentioned that,
• 1:15:21
  Speaker 3: but but that that definitely that fits are So this
• 1:15:27
  Speaker 3: is also she's looking up to see you r R
• 1:15:30
  Speaker 3: A N the one in the other the at the
• 1:15:32
  Speaker 3: end of the film, this is the moment when he's
• 1:15:35
  Speaker 3: learning that Kurran has died, right, and so watch this
• 1:15:39
  Speaker 3: is the moment that that Zandor guzzles the glass. Watch
• 1:15:43
  Speaker 3: this the exact moment, Yes, what on earth is going
• 1:15:54
  Speaker 3: on here? This is what that That's the very moment
• 1:15:58
  Speaker 3: where she's triggered. That's the very moment when he discovers
• 1:16:01
  Speaker 3: that those dudes are in the room there. This is
• 1:16:04
  Speaker 3: the very moment when he learned when later in the film,
• 1:16:08
  Speaker 3: when uh Bill learns that amandica and died and then
• 1:16:14
  Speaker 3: we'll continue watching here, I'll kill you. I promise, I'll
• 1:16:24
  Speaker 3: kill you, he says, and then he says, I'm xandorz avostright,
• 1:16:27
  Speaker 3: So here we go. Have you no sense of decency?
• 1:16:33
  Speaker 3: As he kisses her hands, have you go crazy?
• 1:16:38
  Speaker 4: We were invinded here the lady daughter.
• 1:16:44
  Speaker 3: To you. Hear that, young lady, this is my daughter.
• 1:16:47
  Speaker 3: Same moment where she says, my name is Alice Harford.
• 1:16:51
  Speaker 3: This is my daughter. My name is Alice Harford. This
• 1:16:55
  Speaker 3: is exactly relating. Alice is the same as Leely So yeske,
• 1:17:01
  Speaker 3: it lines up perfectly. Can't you see? This is my
• 1:17:04
  Speaker 3: daughter and she's deranged. She is a child police.
• 1:17:16
  Speaker 4: I will.
• 1:17:24
  Speaker 3: Wind himself clime his eyes out someplace with a very
• 1:17:32
  Speaker 3: bad climate. Where is Mandy right now? She's on a
• 1:17:37
  Speaker 3: cold slab in a drawer.
• 1:17:40
  Speaker 4: Oh ship, that is what she said?
• 1:17:43
  Speaker 3: Yeah? Where is Where are these guys right now? Watch
• 1:17:47
  Speaker 3: the moment that Mandy is pulled out of the door
• 1:17:50
  Speaker 3: the drawer. Is the moment where the door gets locked.
• 1:17:53
  Speaker 3: Watch please take here. He had a very good time first, right,
• 1:18:01
  Speaker 3: like those guys just did. Had a good time first,
• 1:18:04
  Speaker 3: like the cult just did with Mandy before she got
• 1:18:07
  Speaker 3: put on that slab, A very good time, right?
• 1:18:13
  Speaker 6: Wow?
• 1:18:16
  Speaker 3: What are you here with anyone? Watch? Gentlemen, please have
• 1:18:22
  Speaker 3: the goodness to big fine for't you see I sent
• 1:18:30
  Speaker 3: you little wore. He's pointing as we see the dead
• 1:18:34
  Speaker 3: Mandy on the slab, and listen to what he says,
• 1:18:40
  Speaker 3: go to bed at once, like the big sleep Mandy is.
• 1:18:46
  Speaker 3: She's gone to bed? Did you as soon as a
• 1:18:49
  Speaker 3: serf sentiment? She whispers in his ear. Lely whispers in
• 1:18:55
  Speaker 3: his ear. You need an ermine cloak, which means that
• 1:18:57
  Speaker 3: Ley was there at those parties, those rituals before she
• 1:19:01
  Speaker 3: knows about these parties.
• 1:19:03
  Speaker 6: You need it? What else?
• 1:19:06
  Speaker 3: Okay, please go ahead?
• 1:19:07
  Speaker 4: Yes, well, I mean just like it's it's Bill and Mandy,
• 1:19:15
  Speaker 4: Bill and Ley, fucking Red Pope and Alice, and it's just.
• 1:19:22
  Speaker 3: Like I don't think he's the Red Pope, but still
• 1:19:25
  Speaker 3: go ahead. I think he is.
• 1:19:27
  Speaker 4: You don't think so?
• 1:19:28
  Speaker 3: No, No, I think that. I think that the Red
• 1:19:33
  Speaker 3: Pope is the guy in the newspaper who Mandy was
• 1:19:38
  Speaker 3: betrothed to. I think that anyway, But let's please continue
• 1:19:45
  Speaker 3: with your thought.
• 1:19:46
  Speaker 4: No. I was just saying, like it's so interesting because
• 1:19:49
  Speaker 4: it's all like couples, you know, and it represents like
• 1:19:54
  Speaker 4: the mother the maiden.
• 1:19:56
  Speaker 2: And I don't know.
• 1:20:00
  Speaker 3: Her own Lely is the maiden, Alice is the mother,
• 1:20:04
  Speaker 3: and Mandy here is the crone. This is the three
• 1:20:06
  Speaker 3: aspects of the goddess right here on the screen. And
• 1:20:10
  Speaker 3: so we listened to Zandor asks what do you do? Alice?
• 1:20:14
  Speaker 3: So watch watch above what Lely does in response. It's
• 1:20:19
  Speaker 3: like they it's totally lined up. Watch the creature. I
• 1:20:24
  Speaker 3: deal with you as soon as a serf sentiment.
• 1:20:29
  Speaker 5: What you gonna do?
• 1:20:30
  Speaker 3: Alice? Well at the moment, at the moment, look at
• 1:20:37
  Speaker 3: what Lely Sylvieaski's doing. She's like she's selling her wares.
• 1:20:43
  Speaker 3: What do you do, Alice? Well at the moment? And
• 1:20:47
  Speaker 3: then look what does she do? She's she was the
• 1:20:50
  Speaker 3: kid in underwear trying to be a hooker, and she's
• 1:20:55
  Speaker 3: also the woman here on the slab, dead in the morgue, right,
• 1:21:00
  Speaker 3: that's what she does. Well, I managed an art gallery,
• 1:21:03
  Speaker 3: but it went broke. It went broke. When we when
• 1:21:06
  Speaker 3: we zoom in on Mandy, who went broke? Or just
• 1:21:10
  Speaker 3: that slave went broke? He went You notice how the
• 1:21:24
  Speaker 3: car sound cut exactly where she said, but it went broke.
• 1:21:28
  Speaker 3: And this is the same moment where Bill is realizing
• 1:21:31
  Speaker 3: this is the same girl that he met at the
• 1:21:32
  Speaker 3: party and so and then you look at both Bill's
• 1:21:38
  Speaker 3: faces the same face. They're just like the stunned. He's
• 1:21:48
  Speaker 3: got friends in the art game, right, thank you. So
• 1:21:55
  Speaker 3: there's a naval officer. There's the two maidens that give
• 1:21:58
  Speaker 3: us when it at the party. So it's like all
• 1:22:06
  Speaker 3: of these maidens are connected. They're all the same. So
• 1:22:11
  Speaker 3: this is what Kubrick is doing. He's showing us that
• 1:22:14
  Speaker 3: they're all the same. Girl. And look at this the
• 1:22:21
  Speaker 3: dollar Bill He's got to cut in two right when
• 1:22:23
  Speaker 3: he's talking to the two girls, like he's like, look
• 1:22:26
  Speaker 3: it's Gemini, Like there's two of them, right, you know.
• 1:22:29
  Speaker 3: And we see these two girls, the nw Ala Windsor
• 1:22:33
  Speaker 3: and the other one from Rockefeller Plaza right Like everything
• 1:22:38
  Speaker 3: you can skip to anywhere and you can see how
• 1:22:43
  Speaker 3: all three lines. This is where he says she's a hooker.
• 1:22:47
  Speaker 3: This is where she said like the star of Ishtar
• 1:22:50
  Speaker 3: behind It's like.
• 1:22:54
  Speaker 2: It just keeps going, goddam.
• 1:22:57
  Speaker 3: We see here they're grooming. And this might be when
• 1:23:00
  Speaker 3: Bill is realizing that his daughter is also part of it.
• 1:23:03
  Speaker 3: If there's other realizations, you could look at it different ways.
• 1:23:06
  Speaker 3: Where Bill is realizing that his family and that his wife.
• 1:23:11
  Speaker 3: It might be that like that he's realizing these things
• 1:23:14
  Speaker 3: and not speaking them out to you. Could you could
• 1:23:17
  Speaker 3: look at it in different ways. And the moment when
• 1:23:21
  Speaker 3: she's look at this, when he's.
• 1:23:23
  Speaker 2: Found out and where did you disappear?
• 1:23:30
  Speaker 3: Now he's found out, Oh where did you disappear? With
• 1:23:32
  Speaker 3: them for so long? And all of a sudden, the
• 1:23:35
  Speaker 3: moment the ritual turns to where he has to confront
• 1:23:40
  Speaker 3: Red Cloak, and you know, and the music even lines up,
• 1:23:49
  Speaker 3: so I didn't disappear the word disappear, like right when
• 1:23:55
  Speaker 3: we see this mask of the Eye of Providence with
• 1:23:59
  Speaker 3: the trying with the eye in it, and this is
• 1:24:02
  Speaker 3: the same moment where uh and in a couple of
• 1:24:05
  Speaker 3: minutes and like another minute, we're going to see the
• 1:24:07
  Speaker 3: double headed eagle on the chair, which also relates to
• 1:24:09
  Speaker 3: freemasons just appear. I didn't go with anybody, come forward.
• 1:24:18
  Speaker 3: I got called upstairs to see did you hear that?
• 1:24:21
  Speaker 4: Ah? That was crazy?
• 1:24:24
  Speaker 3: Red Cloak says, come forward, and Bill says, I got
• 1:24:28
  Speaker 3: called upstairs to see him. Yeah, it's amazing. People. Everybody
• 1:24:34
  Speaker 3: needs to take a big dose of mushrooms and watch
• 1:24:36
  Speaker 3: this thing. Like everything lines up and look at this. Okay,
• 1:24:43
  Speaker 3: the scene where he finds the mask on the bed,
• 1:24:52
  Speaker 3: the threat and there's the mask. They right, just a
• 1:25:02
  Speaker 3: couple of minds. The music fits where did you disappear to?
• 1:25:12
  Speaker 6: So?
• 1:25:12
  Speaker 3: Then like and if you go further ahead, here the
• 1:25:21
  Speaker 3: the moment where he says, remove your clothes, hind remove
• 1:25:30
  Speaker 3: are like your mask? There's the mask right?
• 1:25:34
  Speaker 4: Oh?
• 1:25:36
  Speaker 3: She find and then he takes the mask off and
• 1:25:38
  Speaker 3: look at he's got his hand on his heart. He's like, oh,
• 1:25:42
  Speaker 3: found out where exceptions. At the beginning he says, I'm
• 1:25:46
  Speaker 3: an exception. I would never do that. But in the end,
• 1:25:50
  Speaker 3: this is the moment where he's found out where he
• 1:25:52
  Speaker 3: did that. You see, like it even fits the x
• 1:25:55
  Speaker 3: the exoteric story, the way that it lines.
• 1:25:58
  Speaker 4: Up what makes you?
• 1:26:02
  Speaker 3: What makes you an exception? That what makes me? The
• 1:26:09
  Speaker 3: minute he says get undressed is when he starts crying,
• 1:26:13
  Speaker 3: He's like.
• 1:26:13
  Speaker 2: I notice that.
• 1:26:14
  Speaker 4: It's like he's bawling over.
• 1:26:16
  Speaker 3: On the other Yeah. And the guy's holding the mask
• 1:26:22
  Speaker 3: over his heart like it's a protection, Like it's his shield.
• 1:26:25
  Speaker 3: He's trying to cover protect himself from these people. And
• 1:26:28
  Speaker 3: she has the mask there on the pillow. It's all
• 1:26:31
  Speaker 3: found out like he's discovering because move you, I would
• 1:26:44
  Speaker 3: never hurt you. I never do that to.
• 1:26:54
  Speaker 6: Me.
• 1:26:57
  Speaker 4: You wouldn't those two consideration.
• 1:27:02
  Speaker 2: Because it.
• 1:27:07
  Speaker 3: Relax regressive.
• 1:27:13
  Speaker 4: It's not the pot.
• 1:27:14
  Speaker 3: He just said, I'll tell you everything. She yelled stop
• 1:27:18
  Speaker 3: in the other frame, and he says, I'll tell you everything.
• 1:27:22
  Speaker 3: I'll tell you everything. That's the rule. He wasn't supposed
• 1:27:25
  Speaker 3: to do that.
• 1:27:29
  Speaker 2: Answer the impression.
• 1:27:31
  Speaker 5: That's what I was.
• 1:27:34
  Speaker 2: Who we're arguing about.
• 1:27:39
  Speaker 3: She has to redeem him. And look at on the left,
• 1:27:41
  Speaker 3: her eyes, her face, she has to deal with this guy.
• 1:27:45
  Speaker 3: She's you know, is she ready to redeem him? The wife?
• 1:27:48
  Speaker 3: You know, and she's looking down below in the other end.
• 1:27:51
  Speaker 3: She's like, I'm trying to find out where you're coming from.
• 1:27:55
  Speaker 3: She learns in the other frame where he's coming from.
• 1:27:57
  Speaker 3: And look at what it does. She's crying all that.
• 1:28:00
  Speaker 3: You know, I'm just trying to find out where you're
• 1:28:04
  Speaker 3: coming from. Listen the moment she says, Titt already to
• 1:28:09
  Speaker 3: redeem him.
• 1:28:10
  Speaker 7: Let's say, let's say, for example, you have some gorgeous woman.
• 1:28:17
  Speaker 6: Are you sure you understand what you're taking upon yourself?
• 1:28:23
  Speaker 3: Tits right at the moment, Oh my God, there's her
• 1:28:29
  Speaker 3: efing tits right when she says her efing tits and
• 1:28:34
  Speaker 3: we see Bill's face over there like looking down all like,
• 1:28:38
  Speaker 3: h yeah, when touching tits at work. It isn't just
• 1:28:43
  Speaker 3: professional like you know, it's the truth. It is so
• 1:28:47
  Speaker 3: amazing this movie.
• 1:28:48
  Speaker 7: Now, what I want to know, I want to know,
• 1:28:51
  Speaker 7: what are you really thinking about when you're sing Alice,
• 1:28:56
  Speaker 7: very welcome to be a doctor.
• 1:29:00
  Speaker 2: It's all very impersonal and you know you are free.
• 1:29:08
  Speaker 3: I warn you.
• 1:29:10
  Speaker 4: Further or if you say a single word.
• 1:29:16
  Speaker 3: If you say a single word, and he's saying sex
• 1:29:19
  Speaker 3: is the last thing on my mind. And he said
• 1:29:24
  Speaker 3: all the words to Alice, and Alice is one of
• 1:29:28
  Speaker 3: their slaves. It's like he just told them everything that
• 1:29:33
  Speaker 3: he can't keep a secret. And this is the moment
• 1:29:37
  Speaker 3: where she tells him we have to bring Helena to
• 1:29:40
  Speaker 3: the toy store. After he spills the beans and disobeys
• 1:29:46
  Speaker 3: Red Cloak and tells somebody more than a single word.
• 1:29:52
  Speaker 3: Now his daughter has to get abducted. That's why she's
• 1:29:55
  Speaker 3: really crying because Bill ruined everything, their whole the plan
• 1:30:00
  Speaker 3: of raising a daughter and a nice little family for
• 1:30:04
  Speaker 3: them to use and abuse whenever they want. Now that's
• 1:30:08
  Speaker 3: all out the window, and how they have to abduct Helena.
• 1:30:10
  Speaker 3: And now Helen is probably gonna be like Leely and
• 1:30:13
  Speaker 3: she's probably gonna work at the garment shop. You know
• 1:30:17
  Speaker 3: what I'm saying.
• 1:30:19
  Speaker 2: About watching with fees, there will be the most.
• 1:30:26
  Speaker 3: Do you think.
• 1:30:28
  Speaker 4: About what handsome doctor?
• 1:30:31
  Speaker 3: The moment when the guy says there will be extremely
• 1:30:34
  Speaker 3: dire consequences for you and your family. That's the same
• 1:30:38
  Speaker 3: moment when Alice tells Bill, we told Helena We're going
• 1:30:43
  Speaker 3: to bring her to the toy store. I'm gonna bring
• 1:30:45
  Speaker 3: her toy store today. And the toy store is the
• 1:30:48
  Speaker 3: handoff where she brings Helena to be given away to
• 1:30:53
  Speaker 3: her cult. And I can even skip ahead to you. Yeah,
• 1:31:01
  Speaker 3: so here's a toy store.
• 1:31:05
  Speaker 2: He's the last thing.
• 1:31:07
  Speaker 3: Do you understand the dire consequences?
• 1:31:09
  Speaker 2: Right, hypothetical woman patient's mind leaks, He's.
• 1:31:18
  Speaker 3: What makes him so sure. And there we have she's
• 1:31:20
  Speaker 3: being taken by death and he's leading her away and
• 1:31:25
  Speaker 3: there watching it happen. And this is the same moment
• 1:31:29
  Speaker 3: when the thug starts following them. This guy you can
• 1:31:34
  Speaker 3: barely see him. Bill is stepping aside for the thug
• 1:31:39
  Speaker 3: you see him to the right of that screen. It's
• 1:31:42
  Speaker 3: like Italian guy with like a five o'clock shadow, and
• 1:31:45
  Speaker 3: he's looking down to where Helena was just and Bill
• 1:31:49
  Speaker 3: has to step aside for him to move. Bill kind
• 1:31:51
  Speaker 3: of like nods at him, So we are to look
• 1:31:55
  Speaker 3: at this guy that Bill is moving aside for in
• 1:31:59
  Speaker 3: the toy store. He appears directly at the same moment
• 1:32:03
  Speaker 3: that the cloaked figure is leading Mandy away to her death. Stoping,
• 1:32:09
  Speaker 3: this is the same moment. This is the same character. Yes,
• 1:32:14
  Speaker 3: this is they're taking Helena away, just like they're taking
• 1:32:17
  Speaker 3: Mandy away. They're they're sending their goon to go grab her. Now,
• 1:32:26
  Speaker 3: see now he passes them, and then we'll see that
• 1:32:28
  Speaker 3: he goes beyond them and then turns around and starts
• 1:32:31
  Speaker 3: following them, and we see them again, or we see
• 1:32:34
  Speaker 3: him again right before she turns down the aisle of
• 1:32:38
  Speaker 3: the two of the two old men at the end
• 1:32:39
  Speaker 3: of the Teddy Bear a better reason. She's afraid. She's afraid, okay, so.
• 1:32:47
  Speaker 2: So so after you tell her that everything's fine so fast.
• 1:32:52
  Speaker 4: What then?
• 1:32:53
  Speaker 3: What then?
• 1:32:56
  Speaker 2: Yes, what.
• 1:33:01
  Speaker 3: What is going to happen? What is going to happen
• 1:33:04
  Speaker 3: to that woman?
• 1:33:06
  Speaker 2: What then, and then by the way to yes, yes,
• 1:33:13
  Speaker 2: what is.
• 1:33:13
  Speaker 3: Going to happen to that woman? What is going to
• 1:33:16
  Speaker 3: happen to his daughter? The teddy Bear at that same moment,
• 1:33:20
  Speaker 3: and then we see those two guys holding the teddy
• 1:33:22
  Speaker 3: Bear laughing at the end of the aisle. What is
• 1:33:24
  Speaker 3: going to happen? What is going to happen? No one
• 1:33:32
  Speaker 3: can change you see the promise.
• 1:33:42
  Speaker 4: And years of evolution, she said, years of fucking generational fucking.
• 1:33:49
  Speaker 3: Yeah, trauma based mind control. And then we see directly
• 1:33:54
  Speaker 3: behind her on the wall in the toy store, on
• 1:33:57
  Speaker 3: that red wall that matches the red carpet all that
• 1:34:01
  Speaker 3: we see. It's like on a shelf. There's like an obelisk.
• 1:34:07
  Speaker 3: It's black and white checkered with.
• 1:34:10
  Speaker 4: The big star looking thing around it.
• 1:34:12
  Speaker 3: Yeah, it's like it's kind of like it's a ferris
• 1:34:16
  Speaker 3: wheel or whatever. And it's actually it's a yellow octagon. Suh,
• 1:34:26
  Speaker 3: I know, I know, right, But the octagon represents the
• 1:34:29
  Speaker 3: Testa act, which is the hypercube, which is the mind
• 1:34:33
  Speaker 3: control programming of the slaves they are in the eternal cage.
• 1:34:38
  Speaker 4: You blew my mind with that when we talked about
• 1:34:41
  Speaker 4: it on the Note episode, because you were like, well,
• 1:34:43
  Speaker 4: look at it. It's a testaact and I was.
• 1:34:45
  Speaker 3: Like, oh mind, yeah, yeah, the face of the bad
• 1:34:50
  Speaker 3: the evil monster is a testa actor. It's an extruding cube.
• 1:34:54
  Speaker 3: It's fucking amazing. Yeah, Jordan Peel's really smart and so
• 1:34:58
  Speaker 3: like Kubrick, here he's shown above her head and then
• 1:35:02
  Speaker 3: like it's in the background, but as she as they walk,
• 1:35:07
  Speaker 3: this thing becomes behind her head. It settles within her skull.
• 1:35:13
  Speaker 3: The way that the camera is lined up, it's like
• 1:35:17
  Speaker 3: like the way that stars work, and like you can
• 1:35:20
  Speaker 3: see a thing because it lines up with you know,
• 1:35:24
  Speaker 3: so that that symbol is effectively through the camera lens
• 1:35:30
  Speaker 3: being placed within her head, you know, in the space
• 1:35:34
  Speaker 3: of her head. So that octagon represents the eternal cage
• 1:35:38
  Speaker 3: of mind control. And he's asking her what do you
• 1:35:41
  Speaker 3: think She's thinking, what the what the cult tells her
• 1:35:47
  Speaker 3: to think? She's doing what the what the cult tells
• 1:35:50
  Speaker 3: her to do?
• 1:35:51
  Speaker 7: Women, It is just about security and commitment and whatever.
• 1:36:00
  Speaker 2: Something like that.
• 1:36:01
  Speaker 3: So watch see behind them there's the thug and he's
• 1:36:05
  Speaker 3: touching a teddy bear. See that he's walking around there.
• 1:36:09
  Speaker 3: Here's his face again. See him at the five o'clock shadow,
• 1:36:14
  Speaker 3: and he walks down the aisle behind the aisle where
• 1:36:16
  Speaker 3: they walk. So when the little girl walks around the corner,
• 1:36:20
  Speaker 3: there he is. He's the big bead wolf. So nobody
• 1:36:27
  Speaker 3: notices that thug guy. I think I'm the first guy
• 1:36:29
  Speaker 3: I notice him.
• 1:36:30
  Speaker 2: Why don't I think we should too? She got a
• 1:36:33
  Speaker 2: little stone tonight.
• 1:36:34
  Speaker 3: I'll tell you what I do know. There's the same
• 1:36:37
  Speaker 3: moment where we see Barbie and you know, a Barbie.
• 1:36:41
  Speaker 4: I know all about that, motherfucker.
• 1:36:44
  Speaker 3: Yeah, I know. And we see Marilyn Monroe in the dress.
• 1:36:49
  Speaker 3: Fucking gentlemen prefer blondes. That's what Arizona Wilder was saying before.
• 1:36:53
  Speaker 3: You know, gentlemen preferred blondes, right, So, and then she's
• 1:36:57
  Speaker 3: in the ballerina. She got the ballerina nutcracker Barbie. So
• 1:37:01
  Speaker 3: this is I know what I do know is and
• 1:37:05
  Speaker 3: then boom Kubrick cuts to Barbie dolls, Marilyn Monroe little
• 1:37:11
  Speaker 3: girl coveting the nutcracker Barbie. And then in the box
• 1:37:15
  Speaker 3: below the Marilyn Monroe doll is another Barbie trapped within
• 1:37:20
  Speaker 3: a golden box. And the window she's looking out from
• 1:37:24
  Speaker 3: is an upside down pentagram. It's an upside down five
• 1:37:27
  Speaker 3: pointed star trapped within a golden cage, and she looks
• 1:37:31
  Speaker 3: out through a window of satanism. Fuck, I'll tell you
• 1:37:35
  Speaker 3: what I do know. And then like if you look
• 1:37:38
  Speaker 3: up to the right, there's like some ornate like ancient
• 1:37:42
  Speaker 3: like old English costume of Barbie which shows the generational
• 1:37:46
  Speaker 3: how long it's been happening, you know, like everything is
• 1:37:49
  Speaker 3: there in the frame. And then like, I'll tell you
• 1:37:52
  Speaker 3: what I do know. That's what I think what Kubrick
• 1:37:54
  Speaker 3: really does know for sure, he does know about Maryland.
• 1:37:57
  Speaker 3: He does know that these women are slaves. And this
• 1:38:00
  Speaker 3: is him showing us that, you know. And this is
• 1:38:05
  Speaker 3: also the moment where he locks the door behind him,
• 1:38:08
  Speaker 3: like and then he's yelling. He's yelling at at Alice
• 1:38:12
  Speaker 3: in the other frame. You know, he's I know what
• 1:38:14
  Speaker 3: I do know.
• 1:38:15
  Speaker 2: Find to pick a fight with me, and now you're
• 1:38:17
  Speaker 2: trying to make.
• 1:38:19
  Speaker 4: Me jealous, but you're not.
• 1:38:20
  Speaker 3: And look at all the Teddy Bears, Like over on
• 1:38:23
  Speaker 3: the left, she's there on the side of the Teddy Bear,
• 1:38:25
  Speaker 3: and we see the Pooh Bear way up in the
• 1:38:27
  Speaker 3: corner with the elevators. What does elevators relate to? You know?
• 1:38:33
  Speaker 3: The elevators are just satanic. I don't know, just the
• 1:38:36
  Speaker 3: symbolism just you know, brings you deep into the underworld,
• 1:38:40
  Speaker 3: like pulls you down. I mean, freaking prince died in
• 1:38:43
  Speaker 3: an elevator. They killed him in an elevator, and we
• 1:38:47
  Speaker 3: got Pooh Bear right there, the yellow.
• 1:38:52
  Speaker 4: You've I have.
• 1:38:55
  Speaker 3: So now the moment where we're at the aisle, we
• 1:38:59
  Speaker 3: see the two men at the end of the aisle,
• 1:39:01
  Speaker 3: we see there's the tiger stuffed cats that she goes
• 1:39:05
  Speaker 3: and stands right next to the stuff tiger and down
• 1:39:08
  Speaker 3: below in the other one, she's like, you've never been
• 1:39:11
  Speaker 3: jealous to me. She's mad. It's like she's doing this
• 1:39:15
  Speaker 3: out of revenge. She's like pissed at Bill. She's like, yeah,
• 1:39:19
  Speaker 3: let him have our baby. And this is the same
• 1:39:22
  Speaker 3: moment he looks at Helena while she's sleeping. He like
• 1:39:25
  Speaker 3: goes in her room and he likes sees and there's
• 1:39:28
  Speaker 3: a big teddy bear in that scene too, where he
• 1:39:30
  Speaker 3: looks at her sleeping and he's like, oh, she's safe. Oh,
• 1:39:33
  Speaker 3: thank goodness, she's safe. And he's looking at her. But
• 1:39:37
  Speaker 3: now I'll play it and we'll see in the toy
• 1:39:40
  Speaker 3: store he doesn't even look at her. His eyes are
• 1:39:42
  Speaker 3: wide shut.
• 1:39:43
  Speaker 4: And when jealous.
• 1:39:45
  Speaker 5: About me, Well, I don't know, Alice, maybe because you're mind.
• 1:39:51
  Speaker 3: The same one, because you're my wife, right. And this
• 1:39:54
  Speaker 3: is the moment where they're pushing, they're almost effecting there,
• 1:39:58
  Speaker 3: pushing out yeah, yes, that you can see. They're like
• 1:40:01
  Speaker 3: pushing her shoulders. As those men go, they're like, go ahead,
• 1:40:04
  Speaker 3: follow them. And she's got the cat beast there behind her.
• 1:40:07
  Speaker 3: She's got the anana energy. That's the altar that's up
• 1:40:10
  Speaker 3: and we see Helena asleep. Room two thirty seven told
• 1:40:15
  Speaker 3: us about Look at the painting that she painted. It
• 1:40:17
  Speaker 3: says sex like that's in the subliminals of what they're
• 1:40:21
  Speaker 3: programming her with. And there's like there's two lamps and
• 1:40:26
  Speaker 3: there's a clown on either side, a blue one and
• 1:40:29
  Speaker 3: a red one. And there's a little teddy bear on
• 1:40:31
  Speaker 3: her post, like the bedpost, and the little teddy bear
• 1:40:35
  Speaker 3: has a rainbow on its T shirt and it's straddling
• 1:40:40
  Speaker 3: the post like it's a phallic thing. So this teddy
• 1:40:44
  Speaker 3: bear is going to relate to the rainbow room that
• 1:40:48
  Speaker 3: she's gonna She's being programmed the same way that Ley
• 1:40:52
  Speaker 3: Sobieski was programmed, right, So this is the same moment
• 1:40:56
  Speaker 3: because you're my wife and you would never do that.
• 1:41:00
  Speaker 3: And then she laughs at him.
• 1:41:02
  Speaker 2: Watch maybe because you're the mother of my child.
• 1:41:07
  Speaker 3: And I the little girl looked back for the last time.
• 1:41:11
  Speaker 3: Alice was watching. But Bill was looking at Alice's face.
• 1:41:15
  Speaker 4: Uh, mother of my child, right, and.
• 1:41:21
  Speaker 3: Yes, And that's the last moment that Helena or that
• 1:41:25
  Speaker 3: Alice is going to see Helena look at her face.
• 1:41:27
  Speaker 3: She's like, oh inside, all of her authors are screaming,
• 1:41:31
  Speaker 3: but she has to do it. She just does it.
• 1:41:34
  Speaker 3: And this is and look Bill, Bill was just looked
• 1:41:36
  Speaker 3: at Helena and he closes his eyes. It's as if
• 1:41:39
  Speaker 3: that it's as if he's feeling the pain of the
• 1:41:43
  Speaker 3: of what's happening in the other frame.
• 1:41:45
  Speaker 4: Do you feel like the name Helena was chosen specifically
• 1:41:50
  Speaker 4: or did that come from the book?
• 1:41:53
  Speaker 3: It was not in the book. I forget the girl's
• 1:41:56
  Speaker 3: name in the book, but it was like a German
• 1:41:58
  Speaker 3: family in the book.
• 1:41:59
  Speaker 4: Well, you know, Marilyn Monroe died on Helena drive.
• 1:42:04
  Speaker 3: Huh really wow. Also, she relates to the gods. Helena
• 1:42:15
  Speaker 3: is like one of the biggest gods of the Greek pantheon,
• 1:42:18
  Speaker 3: you know.
• 1:42:18
  Speaker 4: But yeah, I thought that was so crazy because Marilyn
• 1:42:21
  Speaker 4: died on don't get me to line about the number
• 1:42:26
  Speaker 4: of the house. But it was on Helena Drive, and
• 1:42:29
  Speaker 4: if it wasn't in the book Helena, then that's gotta
• 1:42:33
  Speaker 4: be chosen.
• 1:42:33
  Speaker 3: Right, Yes, you're right, anything that he changed we need
• 1:42:39
  Speaker 3: to pay attention to, yes, right, right? So yeah, and
• 1:42:45
  Speaker 3: like hell in like hell in like in a hell right,
• 1:42:53
  Speaker 3: you know, hal sounds like hell like that whole like
• 1:42:57
  Speaker 3: it's I think Kubrick might have been using that too,
• 1:43:01
  Speaker 3: because the way the words work, like in your brain,
• 1:43:06
  Speaker 3: would never be unfaithful.
• 1:43:07
  Speaker 4: To me yourself.
• 1:43:12
  Speaker 2: Yes, grateful, I'm sure of.
• 1:43:14
  Speaker 3: You, and she laughs grateful and then she's explaining we
• 1:43:23
  Speaker 3: should be grateful, and basically she's telling him, like we
• 1:43:28
  Speaker 3: should be glad they didn't kill us with all of
• 1:43:33
  Speaker 3: our adventures. She's like, I'm saving you, buddy, even though
• 1:43:40
  Speaker 3: he doesn't know. His eyes are wide shut. He's the jerk,
• 1:43:43
  Speaker 3: you know, like.
• 1:43:45
  Speaker 2: That we've managed to survive.
• 1:43:48
  Speaker 3: So as the one frame is she's telling him, oh
• 1:43:51
  Speaker 3: about this. The other frame, she's laughing in his face
• 1:43:55
  Speaker 3: after his daughter was stolen, and he's so sure that
• 1:43:59
  Speaker 3: she'd be unfaithful, and she's laughing in his face as
• 1:44:05
  Speaker 3: like his kid gets given away. And we can tell
• 1:44:09
  Speaker 3: in the other frame how much he cares about Helena
• 1:44:12
  Speaker 3: and how like he looks at her when she's sleeping
• 1:44:14
  Speaker 3: and he you know, he loves her. But he's probably
• 1:44:17
  Speaker 3: not her dad. She was probably inseminated at one of
• 1:44:20
  Speaker 3: those rituals. He thinks that he's her dad.
• 1:44:23
  Speaker 4: Well, she's red headed and he's brunette and she's blonde.
• 1:44:27
  Speaker 4: So you always have to say. I mentioned it all
• 1:44:29
  Speaker 4: the time with the royal family about fucking Harry because
• 1:44:33
  Speaker 4: he came out of the woodward with some fucking red hair,
• 1:44:36
  Speaker 4: and Diana probably got inciminated by a higher upper if
• 1:44:40
  Speaker 4: you know what I mean, a redheaded motherfucker. And that's
• 1:44:43
  Speaker 4: who Harry's dad is, because.
• 1:44:45
  Speaker 3: The firstborn had to be Charles. But after that they're
• 1:44:49
  Speaker 3: allowed to be with who they like. Just what Xandor
• 1:44:52
  Speaker 3: Zavos said to Alice and the party, you know, oh,
• 1:44:54
  Speaker 3: the beauty of marriage is once he married, you can,
• 1:44:57
  Speaker 3: you know, be with who you like after that losing
• 1:45:00
  Speaker 3: r Jenny and then it's all so kind of the
• 1:45:02
  Speaker 3: same way, like the first guy gets first DIBs at
• 1:45:05
  Speaker 3: inseminating her. You know, like after the ritual, the woman
• 1:45:09
  Speaker 3: gets up and walks over and chooses one of the men.
• 1:45:13
  Speaker 3: So that's almost like, oh, I got chosen, right, But
• 1:45:16
  Speaker 3: then right after that all the other guys run train,
• 1:45:18
  Speaker 3: and so no one really knows who the dad is,
• 1:45:22
  Speaker 3: so like it's certainly not Bill. They own this daughter.
• 1:45:27
  Speaker 3: They they own Helena, right, Bill is just he's in
• 1:45:33
  Speaker 3: charge of feeding her and keeping her clothed, you know,
• 1:45:36
  Speaker 3: that's why they give him such a good job. He
• 1:45:38
  Speaker 3: doesn't do anything doctor, He just like checks their pulse,
• 1:45:43
  Speaker 3: like puts his hand on their head when they die. Like,
• 1:45:45
  Speaker 3: he doesn't do anything. He's so cush and his apartment
• 1:45:48
  Speaker 3: is so rich. If you like lived in New York,
• 1:45:51
  Speaker 3: it's like impossible to that apartment like that. You know,
• 1:45:54
  Speaker 3: you gotta like.
• 1:45:55
  Speaker 4: But he still only serves the elite, even though he's.
• 1:46:01
  Speaker 3: A doctor, right, he only serves them. And that's why
• 1:46:06
  Speaker 3: when he was going to the Rainbow Shop to begin with,
• 1:46:09
  Speaker 3: he was trying to find one of his old clients.
• 1:46:13
  Speaker 3: So the Rainbow Fashions was always run by the cult.
• 1:46:19
  Speaker 3: Millich is just the new manager who's taken over, who's
• 1:46:23
  Speaker 3: pimping women now, but before Bill used to take care
• 1:46:26
  Speaker 3: of the other guy that used to run that classroom,
• 1:46:30
  Speaker 3: who used to be in charge of that operation. So
• 1:46:33
  Speaker 3: Bill serves all of these all of his get like
• 1:46:35
  Speaker 3: all of his people are probably elite pedophiles doing to
• 1:46:40
  Speaker 3: bauch her sex with bread trauma based mind control hookers.
• 1:46:48
  Speaker 2: Do you think that's funny, yeah, Milleny.
• 1:46:59
  Speaker 3: So the only a dream stuff relates to like the
• 1:47:03
  Speaker 3: dream space, is when the locked away memories become liminal
• 1:47:09
  Speaker 3: again and they can be accessed in a dream. And
• 1:47:12
  Speaker 3: so these dreams that she has about the naval officer
• 1:47:16
  Speaker 3: and all this stuff are memories that she had as
• 1:47:21
  Speaker 3: a different self, and they bubble up in her dreams
• 1:47:24
  Speaker 3: and she doesn't even know why they're important. Carrie explained
• 1:47:27
  Speaker 3: that to me, she might not even know why she's
• 1:47:30
  Speaker 3: having these dreams or why they're so important to her.
• 1:47:33
  Speaker 3: But there's a part of her that believes herself to
• 1:47:40
  Speaker 3: also be elite. She is one of the ones who
• 1:47:45
  Speaker 3: was not thrown away. She is like a diamond, you know,
• 1:47:50
  Speaker 3: like how they give them diamonds, Like they don't set
• 1:47:56
  Speaker 3: these ones on fire, they don't let dogs eat this one.
• 1:48:00
  Speaker 3: These ones they use for breeding. She's one of the
• 1:48:03
  Speaker 3: better ones, and that's what the Filamila programming and other
• 1:48:08
  Speaker 3: like the o cult priestess. There's an altar inside which
• 1:48:14
  Speaker 3: believes herself to be elite bloodline and is happy to
• 1:48:21
  Speaker 3: be and is proud of being part of this cult,
• 1:48:25
  Speaker 3: and that overrides the will of the other ones. So
• 1:48:30
  Speaker 3: that is the crown that holds down the two heads
• 1:48:33
  Speaker 3: of the eagle. Like that, there's an internal altar which
• 1:48:37
  Speaker 3: keeps the separations, which keeps all the other ones in order.
• 1:48:41
  Speaker 3: And the more you learn about traum based my control,
• 1:48:44
  Speaker 3: you'll see that.
• 1:48:46
  Speaker 6: So this.
• 1:48:49
  Speaker 3: She has, Alice has a elite, a cult personality that
• 1:48:58
  Speaker 3: is proud to for them that when that feels that's
• 1:49:06
  Speaker 3: the only time when they're allowed to shine, right, that's
• 1:49:09
  Speaker 3: the only time when they can be their best self
• 1:49:12
  Speaker 3: and they're not like be treated like treated like crap.
• 1:49:18
  Speaker 3: Like I mean, my dad was beat up his whole
• 1:49:21
  Speaker 3: life by his dad. But when he would help swing
• 1:49:24
  Speaker 3: a hammer or carrie shingles or help build the house,
• 1:49:27
  Speaker 3: he would get a pat on the head. Good job, son,
• 1:49:31
  Speaker 3: you know. And then my dad grew up a carpenter.
• 1:49:34
  Speaker 3: Just happened that, right, So that's like how it works though,
• 1:49:40
  Speaker 3: that that person is proud even though they're abused all
• 1:49:45
  Speaker 3: the time, they're proud to be that and it uh
• 1:49:50
  Speaker 3: so that is that is the main will that is
• 1:49:53
  Speaker 3: acting with Alice, and that's why Alice does everything the
• 1:49:57
  Speaker 3: cult tells her, and that's why she has these dreams
• 1:50:00
  Speaker 3: bubble out, because that's when she felt whole and complete
• 1:50:05
  Speaker 3: and happy and true. And she even describes it in
• 1:50:09
  Speaker 3: her dream to Bill. She says, it's funny because you
• 1:50:12
  Speaker 3: were dearer to me than ever and we talked about
• 1:50:15
  Speaker 3: our future and we talked about Helena, but at no
• 1:50:19
  Speaker 3: time was he ever out of my mind like she
• 1:50:24
  Speaker 3: was out of her mind right. So this is she's
• 1:50:29
  Speaker 3: explaining what it is to be the victim. She doesn't
• 1:50:33
  Speaker 3: even know what these memories are, but the true self
• 1:50:35
  Speaker 3: inside is giving in dreams. And Kubrick understands this all
• 1:50:43
  Speaker 3: and he gives it to us in this film. And
• 1:50:46
  Speaker 3: he constructed the film precisely so that it aligns in
• 1:50:51
  Speaker 3: one hour intervals so that we can discover this information.
• 1:50:56
  Speaker 3: And it further cements the message by having all three
• 1:51:02
  Speaker 3: work together. And then when the when the first film
• 1:51:06
  Speaker 3: goes black, when the third film gets to the point
• 1:51:10
  Speaker 3: at one hour you can start it again and it
• 1:51:12
  Speaker 3: can be like a never ending mobile strip of this
• 1:51:16
  Speaker 3: movie where it's all three playing all the time. Yeah. So,
• 1:51:21
  Speaker 3: like Kubrick he filmed it, he didn't. It's the longest
• 1:51:27
  Speaker 3: filming of any any movie. It's again his Book of
• 1:51:29
  Speaker 3: World records. It took him like two years to shoot
• 1:51:32
  Speaker 3: the film. And before he shot any scenes on film,
• 1:51:35
  Speaker 3: he put it on all on VHS tape and he
• 1:51:39
  Speaker 3: sat down with the actors and he went over, I
• 1:51:41
  Speaker 3: like what you did here, I like how you do that.
• 1:51:44
  Speaker 3: I'll do more of this. Don't do that. And this
• 1:51:47
  Speaker 3: way they're in real time, they're able he's able to
• 1:51:50
  Speaker 3: see how long it takes for the lines to be spoken,
• 1:51:54
  Speaker 3: how they and then when he edits it later, he
• 1:51:57
  Speaker 3: can construct the scenes so that they aligned perfectly. At
• 1:52:01
  Speaker 3: the one hour mark, and with all of the messages
• 1:52:04
  Speaker 3: that he's putting, he can be like, this is gonna
• 1:52:06
  Speaker 3: happen at about thirty six minutes, and then it can
• 1:52:09
  Speaker 3: re re reinforce that message at one hour in thirty
• 1:52:14
  Speaker 3: six minutes, and then again at two hours in thirty
• 1:52:16
  Speaker 3: six minutes.
• 1:52:17
  Speaker 5: You know.
• 1:52:19
  Speaker 3: So this this proves that there couldn't have been anything
• 1:52:24
  Speaker 3: taken out because it wouldn't line up this perfectly. It
• 1:52:28
  Speaker 3: would be it was just not fit. So Kubrick gave
• 1:52:32
  Speaker 3: this as not only as it like it's a key
• 1:52:37
  Speaker 3: to decipher the message, it's also like proof that it's complete.
• 1:52:44
  Speaker 3: We it proves that nothing was cut. I don't know
• 1:52:49
  Speaker 3: if he was murdered. I think his health was declining.
• 1:52:53
  Speaker 3: Maybe he knew that he wasn't going to survive much
• 1:52:55
  Speaker 3: longer and this film was gonna be the next one
• 1:53:00
  Speaker 3: after Lolita, But he kept putting it off, putting it off.
• 1:53:04
  Speaker 3: And I think it's because it it takes this much
• 1:53:09
  Speaker 3: time to create such a masterpiece and to have it
• 1:53:12
  Speaker 3: layered in so perfectly.
• 1:53:15
  Speaker 4: It's that's what it is. It's an actual masterpiece.
• 1:53:19
  Speaker 3: Yeah, right, like the best one. Like everybody's like, oh man,
• 1:53:26
  Speaker 3: but really the way that it's constructed, the way that
• 1:53:29
  Speaker 3: some of the lines, he's like, what then, and we're
• 1:53:34
  Speaker 3: like waiting for the next line, and some people are like,
• 1:53:36
  Speaker 3: it's really odd the timing of the dialogue. But then
• 1:53:40
  Speaker 3: when we see it line up completely, it lines up
• 1:53:42
  Speaker 3: with the other frames. So the other frame is answering,
• 1:53:45
  Speaker 3: what then, what is going to happen to that woman. Right.
• 1:53:48
  Speaker 3: It's as if the first frame had to wait for
• 1:53:50
  Speaker 3: the other frame to say that line so that it
• 1:53:53
  Speaker 3: lines up. It's like they're speaking so that it's it's
• 1:53:57
  Speaker 3: meant to be seen this way, just like the the
• 1:54:00
  Speaker 3: just like the Maidens. Here in this film, it's a
• 1:54:04
  Speaker 3: three aspects of the Maiden, the Maiden, mother, and Crone.
• 1:54:08
  Speaker 3: This film is meant to be watched three ways together
• 1:54:13
  Speaker 3: to get the full understanding of what the Maiden really is.
• 1:54:19
  Speaker 3: She's got three different lives, She's used for many different purposes.
• 1:54:24
  Speaker 3: And that's Cooper is showing us.
• 1:54:28
  Speaker 4: This is.
• 1:54:30
  Speaker 3: It's more than just showing us the maidens and the hookers.
• 1:54:33
  Speaker 3: He's showing us the mind control and what it is
• 1:54:36
  Speaker 3: to be one of these women, and how the cult
• 1:54:40
  Speaker 3: treats these women, and how the organized crime of the
• 1:54:44
  Speaker 3: operation and the blackmail of it all, and the hooking,
• 1:54:48
  Speaker 3: and like even man or even Domino, the girl on
• 1:54:51
  Speaker 3: the street, she too had a stuffed lion cat on
• 1:54:58
  Speaker 3: her bed and the beds spread was like red bedspread
• 1:55:01
  Speaker 3: had like roses on it, which is even more Rosicrucian
• 1:55:04
  Speaker 3: stuff even goes even deeper. And she had like a
• 1:55:08
  Speaker 3: mirror on her wall with a candle in front of it, Like, why,
• 1:55:12
  Speaker 3: here's a big mirror with a candle. It's like a
• 1:55:15
  Speaker 3: mirror for looking at your face. But then you put
• 1:55:17
  Speaker 3: like your magic candle right there for when you're doing
• 1:55:19
  Speaker 3: your you know, your wickan magic or whatever. She's got
• 1:55:24
  Speaker 3: all the masks on the walls which represent the split personalities,
• 1:55:28
  Speaker 3: just like the heads in the Rainbow Room, and just
• 1:55:31
  Speaker 3: like the masks of the ritual space.
• 1:55:33
  Speaker 4: And she had all those teddy bears on her bed, yes.
• 1:55:37
  Speaker 3: Yeah, which is a stuffed cat, just like Inana. And
• 1:55:40
  Speaker 3: then if you look at Lolita, when when the Quilty
• 1:55:45
  Speaker 3: is crawling up the stairs and he's getting shot by Humbert,
• 1:55:48
  Speaker 3: he crawls behind the portrait, and then Humbert shoots through
• 1:55:54
  Speaker 3: the portrait like he's shooting the portraits. He's shooting the
• 1:55:58
  Speaker 3: people hiding behind the portrait. And then when we see
• 1:56:03
  Speaker 3: that portrait is a maiden and it's on a tiger
• 1:56:07
  Speaker 3: skin rug like it's it is the Scarlet Horror riding
• 1:56:13
  Speaker 3: the cat beast of Babylon. It's the Scarlet Horror Babylon
• 1:56:18
  Speaker 3: right there, and Quilty, the rich occultist who rapes Little
• 1:56:26
  Speaker 3: Girls is hiding behind those portrait, these portraits which the
• 1:56:31
  Speaker 3: portraits are heavily revealing, like in this film too. And
• 1:56:35
  Speaker 3: I talked about it a lot in the cled Kubrick
• 1:56:38
  Speaker 3: and the Butterfly Nets.
• 1:56:40
  Speaker 4: So and even if it wasn't like if we're just
• 1:56:46
  Speaker 4: talking about surface level shit for someone who is not
• 1:56:50
  Speaker 4: a conspiracy theorist whatsoever, right, and they're gonna sit down
• 1:56:55
  Speaker 4: and watch eyes wide shut, the surface level story is
• 1:56:59
  Speaker 4: even such a fucking study in the human condition because
• 1:57:03
  Speaker 4: it's so true. Right, the woman is always the one
• 1:57:07
  Speaker 4: that's insatiable. She's bored out of her fucking medulla having
• 1:57:13
  Speaker 4: to be with fucking Bill, and she's like she's like
• 1:57:18
  Speaker 4: tired of her life. And I feel it. And then
• 1:57:22
  Speaker 4: you know, and I'm not just saying this because I'm
• 1:57:25
  Speaker 4: recently divorced or anything, but you do get to a
• 1:57:28
  Speaker 4: point where you're like, you bore the fucking dog shit
• 1:57:33
  Speaker 4: out of me. I swear to God, if I had
• 1:57:35
  Speaker 4: a chance with that navy guy or whatever, the sailor,
• 1:57:41
  Speaker 4: like when she all the flashback scenes where she was
• 1:57:43
  Speaker 4: fantasizing about it, that's like some real fucking shit. And
• 1:57:48
  Speaker 4: the argument that they're having oh, when you do a
• 1:57:50
  Speaker 4: breast exam, like you're not in you're touching her titties,
• 1:57:53
  Speaker 4: and like you don't have any thoughts in your head
• 1:57:55
  Speaker 4: about she's projecting onto him her desire to get by
• 1:58:00
  Speaker 4: some other guy, Like she's projecting from herself onto Bill,
• 1:58:06
  Speaker 4: who's not even like he didn't even ask for the conversation.
• 1:58:09
  Speaker 4: He didn't even bring it up. She brought it up
• 1:58:11
  Speaker 4: about the models and where did you go? And it's
• 1:58:14
  Speaker 4: just such a study in the human conditions. She's so
• 1:58:18
  Speaker 4: fucking bored out of her fucking mind, and it's just
• 1:58:23
  Speaker 4: like you're stuck together in this prison of marriage with
• 1:58:28
  Speaker 4: this person that you know it's Bill is like the
• 1:58:34
  Speaker 4: big idiot in this whole movie. Like he's the dumb
• 1:58:38
  Speaker 4: ass in every even conceivable way. He's just the dumb
• 1:58:43
  Speaker 4: fuck that you know, nobody wants him at the party,
• 1:58:47
  Speaker 4: his wife barely wants him. He's a shitty dad, you know,
• 1:58:51
  Speaker 4: letting them take Helen off at the end. And he's
• 1:58:54
  Speaker 4: just this big dumb ass, this big fucking dumb ass.
• 1:58:58
  Speaker 4: The movie is not about him.
• 1:59:02
  Speaker 3: And you know, Kubrick, he was going to do it
• 1:59:04
  Speaker 3: in the seventies or early eighties, and he was going
• 1:59:08
  Speaker 3: to have Steve Martin played Bill's character. And one of
• 1:59:14
  Speaker 3: Kubrick's favorite films is The Jerk Steve Martin, and to
• 1:59:20
  Speaker 3: have Steve Martin be there, he is the jerk, Like
• 1:59:23
  Speaker 3: he's the jerk like I'm on the phone book.
• 1:59:26
  Speaker 4: Well you know, like the character is so.
• 1:59:29
  Speaker 3: Stupid and blind everything. That's Bill. That's right, Bill, right, yeah,
• 1:59:36
  Speaker 3: and we and he thinks he's so great. Oh this
• 1:59:39
  Speaker 3: is what you get when you make house calls, right.
• 1:59:42
  Speaker 3: But really they're inviting them to the party because of her,
• 1:59:46
  Speaker 3: because Alice, you know, like she's their favorite and so
• 1:59:51
  Speaker 3: like that's why they get invited every to the party
• 1:59:54
  Speaker 3: every year. That's what. Like he's just a warm body
• 1:59:58
  Speaker 3: to be a dad for them to raise their little butterfly.
• 2:00:01
  Speaker 4: Yep.
• 2:00:02
  Speaker 3: And you know the elites they don't just you know,
• 2:00:07
  Speaker 3: they might own the hookers on the street, but they
• 2:00:09
  Speaker 3: don't just find some random hooker. You know, they're not
• 2:00:13
  Speaker 3: they don't do like what Epstein was doing, like random girls,
• 2:00:18
  Speaker 3: like they breed them, like they from scratch. It's not
• 2:00:24
  Speaker 3: like Kathy O'Brien was sold to the government, like you know,
• 2:00:30
  Speaker 3: like sometimes like John.
• 2:00:33
  Speaker 4: I swear like that that story is so sad, right right,
• 2:00:38
  Speaker 4: and she was a throwaway cats in it, like the
• 2:00:41
  Speaker 4: generational as we were discussing, So in this situation, Patsy
• 2:00:46
  Speaker 4: is Alice and John Benet is Helena, I mean, was born,
• 2:00:51
  Speaker 4: raised for the slaughter right right, and groomed for it. Yep.
• 2:00:57
  Speaker 3: And all those people were touching her body. Mm hmmm,
• 2:01:01
  Speaker 3: because all those people touched her body during the ritual
• 2:01:03
  Speaker 3: when they killed her, you know, and like they so
• 2:01:08
  Speaker 3: there are throwaway ones and there are not throwaway ones,
• 2:01:11
  Speaker 3: and some of them they think themselves, like Alice does,
• 2:01:16
  Speaker 3: we should be grateful. We're lucky that we weren't like
• 2:01:21
  Speaker 3: John Benet or Mandy. You know, we survived.
• 2:01:25
  Speaker 4: We get to live whether or not. It's a great existence,
• 2:01:29
  Speaker 4: I mean, but at least we're not dead.
• 2:01:34
  Speaker 3: Might as well let the power elite just do what
• 2:01:37
  Speaker 3: they're gonna do, because you can't fight it. They're just
• 2:01:40
  Speaker 3: gonna take control of your whole life. Just you know
• 2:01:44
  Speaker 3: that scene in the billiard room where Bill is like
• 2:01:48
  Speaker 3: Ziggler puts his hands on Bill's shoulders and he's like,
• 2:01:52
  Speaker 3: people die, It happens all the time, you know, Like
• 2:01:55
  Speaker 3: that's a threat to Bill, and Bill has to like
• 2:02:01
  Speaker 3: take that and go with the lie instead of the truth. Yeah,
• 2:02:06
  Speaker 3: because to believe the lie is too much drive you crazy.
• 2:02:11
  Speaker 3: That's why when nine to eleven happens, they say, oh, yeah,
• 2:02:13
  Speaker 3: it was steel beams melted because kerosene. Yeah, Norad stood
• 2:02:18
  Speaker 3: down because some guys that lived in a cave in Afghanistan.
• 2:02:23
  Speaker 3: That's why Norad didn't go and shoot those planes down.
• 2:02:26
  Speaker 3: You know, like they tell us these completely ridiculous lies
• 2:02:31
  Speaker 3: like oh, door was locked from the inside. Cops are happy,
• 2:02:34
  Speaker 3: end of questions.
• 2:02:35
  Speaker 6: You know.
• 2:02:37
  Speaker 3: That's how they control information. They control the newspapers, they
• 2:02:41
  Speaker 3: control the actresses, all the models, Marilyn Monroe, all of.
• 2:02:47
  Speaker 4: It, right, every fucking aspect right.
• 2:02:51
  Speaker 3: And that's what your show talks about all the time,
• 2:02:54
  Speaker 3: and my show too, we talk about the mind control
• 2:02:57
  Speaker 3: and sovereignty, you know, of personal owning your own soul,
• 2:03:01
  Speaker 3: not giving into their control.
• 2:03:05
  Speaker 4: You know, it's just it's so sad. It's so fucking sad.
• 2:03:09
  Speaker 3: And like.
• 2:03:11
  Speaker 4: I do understand that our work is important, Like this
• 2:03:14
  Speaker 4: project is crazy important. Like yes, it's a movie, but
• 2:03:20
  Speaker 4: it's so much more. It's so much more than a movie,
• 2:03:24
  Speaker 4: and it's this game that they're consistently playing on us
• 2:03:28
  Speaker 4: right right in front of our eyes. Literally shut see
• 2:03:36
  Speaker 4: shut exactly. But I mean, thank you so much for
• 2:03:41
  Speaker 4: bringing this on my show. I am flabber fucking yeah.
• 2:03:47
  Speaker 4: And so if someone wants to just watch it without
• 2:03:50
  Speaker 4: our commentary, yes, where can they find your project?
• 2:03:55
  Speaker 3: They can find it at well. All my stuff is
• 2:03:59
  Speaker 3: posted at one Great Worknetwork dot com slash Sean hyphen
• 2:04:05
  Speaker 3: McCann and there I have a page where I post
• 2:04:08
  Speaker 3: I embed the links. I make a new page for
• 2:04:11
  Speaker 3: every project and I em bed all the links and
• 2:04:12
  Speaker 3: where I post it. But you can find the Fidelio experiment.
• 2:04:16
  Speaker 3: I put it on Odyssey on my Odyssey page. You
• 2:04:20
  Speaker 3: can find that on't wakethedead on Odyssey dot com, o
• 2:04:23
  Speaker 3: d y see dot com. I also put it on Rumble,
• 2:04:28
  Speaker 3: but it was too big a file to put it
• 2:04:29
  Speaker 3: on bit shoot. I might have to shrink the file
• 2:04:32
  Speaker 3: down and maybe get on bit shoot. Right now, it's
• 2:04:34
  Speaker 3: on those two places, cause it's like five hours. I
• 2:04:38
  Speaker 3: wanted to show prove that I'm not pulling at editing,
• 2:04:43
  Speaker 3: moving stuff around. I play the whole thing, start to
• 2:04:46
  Speaker 3: finish the number one screen, start to finish number two screen,
• 2:04:49
  Speaker 3: and those go black and the last one plays out
• 2:04:52
  Speaker 3: to the end. I let the whole thing so you
• 2:04:55
  Speaker 3: can skip to the middle and see where all three
• 2:04:57
  Speaker 3: line up. But I just displayed it all for everybody
• 2:05:01
  Speaker 3: to see. I'm not playing around. This is Kubrick's movie.
• 2:05:03
  Speaker 3: I'm not editing or doing anything. It's complete. So you
• 2:05:06
  Speaker 3: can find that. It's called Fidelio Experiment, and you can
• 2:05:11
  Speaker 3: look it on Google. Probably find it Fidelio Experiment. It's
• 2:05:15
  Speaker 3: many hours and if you look up on Odyssey, there's
• 2:05:18
  Speaker 3: a way to download. If you click the little three
• 2:05:21
  Speaker 3: dots button, it'll give you the option option to download,
• 2:05:25
  Speaker 3: So get it on your computer. I'm not making any
• 2:05:28
  Speaker 3: money from it. It's fair use, like I'm not. I'm
• 2:05:32
  Speaker 3: showing the genius of the movie, and it adds to
• 2:05:36
  Speaker 3: the value of the movie itself. I believe that I'm
• 2:05:39
  Speaker 3: adding value to Eyes Wide Shut. I'm not making money
• 2:05:43
  Speaker 3: off of their copyrighted material, so right, I believe this
• 2:05:48
  Speaker 3: all to be fair use, and I'm not charging money.
• 2:05:50
  Speaker 3: Everybody can see it for free, so they can find
• 2:05:53
  Speaker 3: that Fidelio Experiment on my weak the dead pages of
• 2:05:57
  Speaker 3: Odyssey rumble, and I also have a bitch, and I
• 2:06:00
  Speaker 3: also post on Spotify and you can find all on
• 2:06:05
  Speaker 3: Apple Google all the audio places you can find Wake
• 2:06:09
  Speaker 3: the Dead podcast. And I I've been kind of slow.
• 2:06:13
  Speaker 3: I've got some shows like ready to go, but I
• 2:06:15
  Speaker 3: haven't posted them yet. I've been having a you know,
• 2:06:19
  Speaker 3: it's summertime and it's tough to get everything going and
• 2:06:22
  Speaker 3: like to have everything. So I didn't post anything this week.
• 2:06:27
  Speaker 3: You know, I'm sorry, listeners, but I do have more
• 2:06:30
  Speaker 3: shows in the works and we're doing this here today,
• 2:06:32
  Speaker 3: and so I haven't stopped. I'm just I had to
• 2:06:35
  Speaker 3: slow down and I'm working on another side project and
• 2:06:37
  Speaker 3: I'm trying to get I'm trying to get something else
• 2:06:41
  Speaker 3: done and I'm so I'm trying to focus and rearrange
• 2:06:46
  Speaker 3: my life a little bit. So but hopefully it'll it'll
• 2:06:48
  Speaker 3: be done by the end of the year.
• 2:06:49
  Speaker 4: And you son like me, Sean, I'm just like, I
• 2:06:53
  Speaker 4: haven't stopped. I'm just kind of bummed up right now.
• 2:06:56
  Speaker 3: Yeah, yeah, yeah, right. It's tough man to keep the
• 2:07:00
  Speaker 3: keep all the threads together, the ties that bind, you know,
• 2:07:04
  Speaker 3: or sometimes let them go, and like it's tough. It's
• 2:07:06
  Speaker 3: really tough. We are and I know that your life
• 2:07:09
  Speaker 3: has been like really rocky, and you've had a lot.
• 2:07:13
  Speaker 3: I hope that's free.
• 2:07:14
  Speaker 4: I mean it's been. I don't know about you, but
• 2:07:16
  Speaker 4: twenty twenty four has been like one of the most
• 2:07:19
  Speaker 4: revealing years of my entire fucking life. Like it's I'm
• 2:07:25
  Speaker 4: not even I don't even know if I'm the same
• 2:07:27
  Speaker 4: person anymore, Like twenty twenty four happened and like I'm
• 2:07:30
  Speaker 4: fucking Phoenix from the Ashes or some shit like that.
• 2:07:33
  Speaker 4: It's been transformative and years dark occultism.
• 2:07:38
  Speaker 2: I'm just saying, it's.
• 2:07:39
  Speaker 3: Just being alive.
• 2:07:40
  Speaker 4: It's formative year.
• 2:07:42
  Speaker 3: I think the wheel of time is like we're like
• 2:07:48
  Speaker 3: the universe is grinding our face against the wheel and
• 2:07:50
  Speaker 3: it's like grinding off all of the all the like
• 2:07:56
  Speaker 3: it's I go deep with it, but we gotta go.
• 2:08:00
  Speaker 3: I gotta I gotta get ready for work.
• 2:08:01
  Speaker 4: All right.
• 2:08:02
  Speaker 3: Thank you for having me, Thanks for being here.
• 2:08:05
  Speaker 4: I always love working with you. Where the hes in
• 2:08:08
  Speaker 4: a pod. I feel like literally.
• 2:08:10
  Speaker 3: Anytime, like we need to and maybe Dune maybe it's
• 2:08:13
  Speaker 3: a big project.
• 2:08:15
  Speaker 4: Huge, huge project. Keep it on the back burner though,
• 2:08:19
  Speaker 4: you know, because it's it's a great Both of those
• 2:08:22
  Speaker 4: movies are great. But thank you so much. Sean, this
• 2:08:26
  Speaker 4: was amazing. We'll have to do it again sometime soon.
• 2:08:28
  Speaker 4: And I hope all the listeners go and find more
• 2:08:31
  Speaker 4: of your work. And to all of those who stuck
• 2:08:34
  Speaker 4: around to the end, you're amazing and we will catch
• 2:08:39
  Speaker 4: you on the next one.
• 2:08:42
  Speaker 3: Cheers,