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Illuminati Symbols In Kubrick Movies · Conspiracy! The Show

• 0:09
  Speaker 1: Destroying Wance did True. I'm a check out both True.
• 0:15
  Speaker 1: Thing is the adults. Hey, everybody, welcome to Conspiracy The Show.
• 0:34
  Speaker 1: I'm Adam Todd Brown. Who are you.
• 0:36
  Speaker 2: I'm Olivia Heidar.
• 0:37
  Speaker 1: And we are your hosts today. For what I thought
• 0:41
  Speaker 1: was gonna be the first of several episodes and then
• 0:44
  Speaker 1: multi part yeah, and instead it's gonna be one episode
• 0:49
  Speaker 1: about one of the most disappointing conspiracy theories I've ever
• 0:52
  Speaker 1: looked into.
• 0:53
  Speaker 2: You mean, one of the absolute dumbest things I've everested
• 0:57
  Speaker 2: hours into.
• 0:58
  Speaker 1: And like, I know, we've been hitting up against that
• 1:01
  Speaker 1: a lot lately on this show. Yeah, and I'm sorry,
• 1:04
  Speaker 1: but if you listen to enough episodes, you know there
• 1:08
  Speaker 1: are plenty of conspiracies that come across my desk, so
• 1:12
  Speaker 1: to speak, that after looking into them, I'm like, yeah,
• 1:16
  Speaker 1: that probably happened.
• 1:17
  Speaker 2: Yeah, conspiracies happen, and this isn't one of them. Oh no,
• 1:21
  Speaker 2: absolutely not.
• 1:23
  Speaker 1: Then anyone who really cares about this topic should be
• 1:27
  Speaker 1: able to look into it enough to know how much
• 1:29
  Speaker 1: bullshit this is almost immediately. Oh and it makes me
• 1:33
  Speaker 1: angry that the people who push this theory don't.
• 1:37
  Speaker 2: I I it just it's unfathomable to me to find
• 1:41
  Speaker 2: any aspect of this theory appealing as like on an
• 1:45
  Speaker 2: intellectual level, because it is presented in such an intellectually
• 1:50
  Speaker 2: sloppy way.
• 1:51
  Speaker 1: And it's I should before we yeah, coming in hot today,
• 1:56
  Speaker 1: I should mention we're talking about the idea that Stanley Kubrick.
• 2:01
  Speaker 1: One helped film the fake moonlanding footage.
• 2:06
  Speaker 2: It was fake, but he just didn't help film it.
• 2:08
  Speaker 1: Right exactly, and two that after that experience, it compelled
• 2:15
  Speaker 1: him to spend the rest of his career embedding symbology
• 2:20
  Speaker 1: relating to an Illuminati agenda to push a transhuman agenda
• 2:27
  Speaker 1: on the world.
• 2:27
  Speaker 2: And that is that is the reasoning that they say
• 2:30
  Speaker 2: it's because of his experiences. That's with the.
• 2:34
  Speaker 1: One of my immediate concerns with this conspiracy is there.
• 2:39
  Speaker 1: It just goes from Okay, well, Stanley Kubrick filmed the
• 2:44
  Speaker 1: moon landing footage, to the Illuminati is the one who
• 2:47
  Speaker 1: made him did it, the one who made him did it,
• 2:50
  Speaker 1: the one who made him do it, and they are
• 2:53
  Speaker 1: now like He then spent the rest of his career
• 2:56
  Speaker 1: trying to tell us that the Illuminati is here controlling
• 3:00
  Speaker 1: the world. And he did this through secret occult symbols
• 3:05
  Speaker 1: placed all throughout his movies. And here's the thing. Those
• 3:08
  Speaker 1: symbols are in his movies, but anything well, but when
• 3:14
  Speaker 1: you get into the symbols they're talking about their symbols
• 3:18
  Speaker 1: you see all over the place, and that you would
• 3:21
  Speaker 1: especially see in the type of movies he's making.
• 3:24
  Speaker 2: There's just there is just such an inherent logical leap
• 3:28
  Speaker 2: that needs to be made from Stanley Kuprick is a
• 3:31
  Speaker 2: guy who included symbolism in his movies for richer thematic
• 3:35
  Speaker 2: effect to Stanley Kuprick is a guy who included symbols
• 3:39
  Speaker 2: in his movies to lead to this extremely specific conspiracy
• 3:44
  Speaker 2: theory as a way of warning or guiding.
• 3:47
  Speaker 1: And it's it's one of those things where even I
• 3:50
  Speaker 1: could buy the idea that while Stanley Kubrick was filming
• 3:55
  Speaker 1: two thousand and one a Space Odyssey, the government could
• 3:58
  Speaker 1: have come to him and been like, look, if this
• 4:00
  Speaker 1: doesn't want to work out, we want to show people
• 4:03
  Speaker 1: something to go along with what they're hearing, So just
• 4:06
  Speaker 1: whip something up. That doesn't mean there is an Illuminati
• 4:11
  Speaker 1: agenda to control the world.
• 4:14
  Speaker 2: I want to I do want to say like this
• 4:16
  Speaker 2: is one immediately where this theory starts to fall apart, right.
• 4:20
  Speaker 1: And I let me say one more thing I want
• 4:23
  Speaker 1: to add to that that I don't think there's any
• 4:26
  Speaker 1: evidence that Stanley Kubrick was ever asked to film fake
• 4:30
  Speaker 1: moonlanding foot Absolutely, but that part is the kind of
• 4:34
  Speaker 1: like fun stunt the government would get up to in
• 4:38
  Speaker 1: the sixties.
• 4:38
  Speaker 2: Sure, Like I guess there's but even that falls apart
• 4:42
  Speaker 2: if you right apply even the slightest bit of pressure
• 4:46
  Speaker 2: to it, like Friz is, when there's no indication that
• 4:50
  Speaker 2: when are they saying the moonlanding was shot in relation
• 4:53
  Speaker 2: to the development of two thousand and one A Space
• 4:56
  Speaker 2: Odyssey during they're saying it's literally because like one of
• 5:02
  Speaker 2: the and then he goes they go to the moon
• 5:06
  Speaker 2: in two thousand and one of Space Odyssey, and I
• 5:09
  Speaker 2: feel like, if that's when they're shooting the moon landing,
• 5:14
  Speaker 2: I don't know. It just seems like maybe people would
• 5:17
  Speaker 2: notice that this movie that just came out last year
• 5:19
  Speaker 2: has the same moon as the actual moonland Yeah, and.
• 5:24
  Speaker 1: Why not just fake the moon landing while you're up
• 5:26
  Speaker 1: there film in two thousand and one space on the
• 5:29
  Speaker 1: Moon already?
• 5:30
  Speaker 2: Right, this is the whole thing, and here's the thing
• 5:32
  Speaker 2: that that joke I just made is a joke in
• 5:36
  Speaker 2: the article, the comedy article that kicked off this entire
• 5:42
  Speaker 2: conspiracy theory. Oh wait, this isn't legit.
• 5:45
  Speaker 1: Can you believe it? I'm shocked. This is less than legitimate.
• 5:50
  Speaker 1: And that's that because we're going to talk about one
• 5:53
  Speaker 1: specific person who pushes this theory later in this episode.
• 5:58
  Speaker 1: And that's my problem is that if you're writing a
• 6:02
  Speaker 1: book about Stanley Kubrick being approached by the illuminati to
• 6:07
  Speaker 1: fake the moon landing in twenty fourteen, which is when
• 6:10
  Speaker 1: this book was written, you have to mention the fact
• 6:13
  Speaker 1: that the genesis of this theory is a Usenet humor
• 6:19
  Speaker 1: group article from nineteen ninety five. Now, you know that
• 6:23
  Speaker 1: may be the case, but that doesn't mean it doesn't
• 6:26
  Speaker 1: raise some fairly valid points, regardless of whether or not
• 6:28
  Speaker 1: it was originally intended for humor. It's a good point,
• 6:32
  Speaker 1: great point, and we'll link to it on the website
• 6:38
  Speaker 1: on pops dot com. And it basically is the entire theory.
• 6:43
  Speaker 1: It says that NASA, it just doesn't say the illuminatis right.
• 6:48
  Speaker 1: It says NASA approached Stanley Kubrick and was like hey,
• 6:52
  Speaker 1: film some moonlanding stuff, and that because of that he
• 6:57
  Speaker 1: figured out that there was this Illuminati in and then
• 7:01
  Speaker 1: went on to plant all these Illuminati symbols and fake
• 7:05
  Speaker 1: the moon landing. The moon landing thing, I think it's
• 7:08
  Speaker 1: it's mostly the moon landing thing that comes up in
• 7:11
  Speaker 1: this article and one of again we'll link to it,
• 7:14
  Speaker 1: you can go read it. At one point it mentions
• 7:18
  Speaker 1: that some of the moon landing scenes were filmed at
• 7:22
  Speaker 1: the Sea of Tranquility, that Stanley Kubrick wasn't there because
• 7:26
  Speaker 1: of his fear of flying.
• 7:27
  Speaker 2: Famous famous fear of flying Stanley Kubrick.
• 7:30
  Speaker 1: Now, if you have not even a basic understanding of
• 7:35
  Speaker 1: space geography.
• 7:36
  Speaker 2: Well, the Sea Tranquility, it's what in Spain.
• 7:41
  Speaker 1: The Spain region of the Moon. It is on the
• 7:45
  Speaker 1: fucking Moon. So this article was making a very obvious
• 7:49
  Speaker 1: joke saying, yeah, they even filmed some of it on
• 7:52
  Speaker 1: the Moon when they faked. And it's like, what bothers
• 7:56
  Speaker 1: me about the existence of this article is when you
• 8:00
  Speaker 1: get to people like Clyde Lewis, who is apparently one
• 8:04
  Speaker 1: of the proponents.
• 8:05
  Speaker 2: Of this theory.
• 8:07
  Speaker 1: He cited this article in his research, which we should.
• 8:10
  Speaker 2: Say is from the Usenet group alt dot humor dot
• 8:14
  Speaker 2: best of Usenet.
• 8:15
  Speaker 1: Yes, it is a nineteen ninety five humor article on usenet. Great,
• 8:22
  Speaker 1: and it even like it has that passage which is
• 8:26
  Speaker 1: an obvious joke, and it like you can just you
• 8:30
  Speaker 1: can read from the tone. It's the kind of comedy
• 8:33
  Speaker 1: you saw on the Internet all the time in the
• 8:36
  Speaker 1: mid to late nineties. Fake onion, Yeah, because no one
• 8:40
  Speaker 1: had any reference point for what to do as comedy
• 8:45
  Speaker 1: on the Internet other than write fake fucking articles. And
• 8:49
  Speaker 1: they were everywhere and this was one of them. And
• 8:53
  Speaker 1: it is literally where this conspiracy theory kicks off. And
• 8:58
  Speaker 1: if you if you just that, then tell me why
• 9:02
  Speaker 1: Clyde lewis, prominent apologist for this theory, cited it in
• 9:08
  Speaker 1: his presentations about it.
• 9:12
  Speaker 2: I'm sorry, this is just it's insane.
• 9:15
  Speaker 1: And if you're writing a book about it in twenty fourteen,
• 9:18
  Speaker 1: where is this information?
• 9:20
  Speaker 2: You mentioned it even like put it in the dumb
• 9:24
  Speaker 2: framing that I just gave of, Like, yes, this is
• 9:27
  Speaker 2: a humor article, but it really opened some minds to
• 9:29
  Speaker 2: the possibilities or whatever.
• 9:31
  Speaker 1: And that is I kind of I think that's sort
• 9:37
  Speaker 1: of the approach the author is trying to claim he's
• 9:41
  Speaker 1: taking but no, you're not. If you're if like you're
• 9:45
  Speaker 1: being dishonest.
• 9:46
  Speaker 2: He can claim what he wants, but he is just
• 9:49
  Speaker 2: straight up like propagating this stuff.
• 9:53
  Speaker 1: And and he'll he'll say, and we should point out
• 9:56
  Speaker 1: the book is called the Kubrick Code, and it's by
• 10:00
  Speaker 1: a conspiracy theorist, pretty prominent conspiracy theorists, suppose so I
• 10:07
  Speaker 1: guess name Isaac Weishau. And he wrote a book, he
• 10:13
  Speaker 1: made a video, there's an audio book. I paid money
• 10:18
  Speaker 1: for this movie. I'm so sorry, and I this is
• 10:22
  Speaker 1: the kind of theory I want to believe, Like I
• 10:25
  Speaker 1: want to believe people are sending secret messages in movies,
• 10:30
  Speaker 1: and this it the theory covers so many movies. Like
• 10:33
  Speaker 1: I said, I went into this like, man, daddy needs content.
• 10:38
  Speaker 1: We can do an episode about every fucking movie.
• 10:41
  Speaker 2: And no, it's all the same.
• 10:42
  Speaker 1: Yeah, it's all the same.
• 10:44
  Speaker 2: And it's it's all bullshit, like it's just so on
• 10:47
  Speaker 2: its face bullshit. Yeah, it's immediate bullshit. He doesn't even
• 10:52
  Speaker 2: really like at least you know, I watched the movie.
• 10:54
  Speaker 2: You read the book, and in the movie, he does
• 10:58
  Speaker 2: not even like his narration does not sound what would
• 11:03
  Speaker 2: be the way that like omniscient at all?
• 11:05
  Speaker 1: He's not.
• 11:06
  Speaker 2: He never uses declarative language during this documentary, right, it's
• 11:10
  Speaker 2: always like, you know, this is just the thought and
• 11:13
  Speaker 2: not your I don't know, or like he literally at
• 11:16
  Speaker 2: one point says, does this have any occult significance? No,
• 11:20
  Speaker 2: I don't know, but I just thought it would be
• 11:23
  Speaker 2: interesting to talk about, Like yeah, and why yeah, then
• 11:26
  Speaker 2: what's the point of including it in your fucking movie, dude?
• 11:29
  Speaker 1: Right? And how is that significant enough to include? But
• 11:35
  Speaker 1: not the fact that people who have famously pushed this
• 11:39
  Speaker 1: theory in the past were citing a comedy article in
• 11:42
  Speaker 1: their work, like yeah, how do you leave that out?
• 11:46
  Speaker 1: And it And when he starts the book one of
• 11:50
  Speaker 1: the I guess techniques he uses is he'll say something like, now,
• 11:56
  Speaker 1: let's look at this from the perspective of a con
• 12:01
  Speaker 1: looking for Illuminati symbolism in Stanley Kubrick movies. It sounds
• 12:07
  Speaker 1: very scientific and and like he's trying to like kind
• 12:11
  Speaker 1: of distance himself from what he's doing, right, yeah, like
• 12:14
  Speaker 1: he's sort of mocking it, but he's not.
• 12:18
  Speaker 2: Well, it's absolutely this just total Weasley like cop out
• 12:24
  Speaker 2: that he does constantly throughout this all of this stuff
• 12:29
  Speaker 2: is he'll put something out there as someone said that
• 12:33
  Speaker 2: blah blah blah, And I guess if you think about
• 12:35
  Speaker 2: it this way, and like most of the time, it'll
• 12:38
  Speaker 2: be this outright illegal, slanderous shit about like there's at
• 12:45
  Speaker 2: what point where he talks about like you know, and
• 12:47
  Speaker 2: some people there's it's often said that Stanley Kubrick wanted
• 12:52
  Speaker 2: to work with Jack Nicholson because of his known involvement
• 12:55
  Speaker 2: with child sex rings and that sort of thing. And
• 12:58
  Speaker 2: you know, I don't know, uh, but that's definitely something
• 13:01
  Speaker 2: that people say. And I'm like, that is fucking straight
• 13:05
  Speaker 2: up illegal. That is that you if Jack Nicklson ever
• 13:11
  Speaker 2: somehow found this fucking thing, Yeah, like you would get
• 13:14
  Speaker 2: sued into oblivion for even it doesn't matter how many
• 13:19
  Speaker 2: black text on white block things saying fair use that
• 13:23
  Speaker 2: you put up or how much or how much you
• 13:25
  Speaker 2: couch it in. Well, some people say blah blah blah.
• 13:28
  Speaker 2: If you're paying like charging money for you talking about
• 13:32
  Speaker 2: Jack Nicholson being a sex pervert, like that's fucking slander.
• 13:36
  Speaker 2: This is awful. It really. It happens a bunch and
• 13:41
  Speaker 2: you know, obviously mostly happens about Stanley Kubrick. But like
• 13:46
  Speaker 2: it's just always fucking gobsmacking every time. I'm just like,
• 13:49
  Speaker 2: this is you, why are you saying like this is
• 13:52
  Speaker 2: so illegal? Holy shit?
• 13:55
  Speaker 1: Yeah, and it I don't know, I just I don't like.
• 13:59
  Speaker 1: I I feel like stuff like this is again going
• 14:03
  Speaker 1: back to the idea that what if the government Because
• 14:07
  Speaker 1: there's there's another mockumentary about this, and I want to say,
• 14:14
  Speaker 1: it's called Operation Avalanche something like that. Uh, let me
• 14:18
  Speaker 1: let me look it up and we will fucking pause.
• 14:21
  Speaker 2: Well, I'll just say that you looking it up as
• 14:24
  Speaker 2: you putting more effort into this podcast than this guy
• 14:28
  Speaker 2: put into his entire fucking book ind movie. So like,
• 14:33
  Speaker 2: good on.
• 14:33
  Speaker 1: You, Operation Avalanche. I haven't watched it, uh, but it is.
• 14:40
  Speaker 1: It's a mockumentary. Also because one of the things we're
• 14:43
  Speaker 1: going to talk about next, the other starting point for
• 14:46
  Speaker 1: this theory is a fucking mockumentary that was made with
• 14:49
  Speaker 1: the participation of Stanley Cooper's family.
• 14:53
  Speaker 2: Which is also so obviously a joke.
• 14:57
  Speaker 1: Very obvious. It looks like fucking best in show, it
• 15:00
  Speaker 1: really does.
• 15:01
  Speaker 2: And like the fact that Kubrick's estate was involved is
• 15:04
  Speaker 2: just like yeah, they're making fun of you assholes, like
• 15:06
  Speaker 2: this is a joke. They're saying, yeah, no, this is
• 15:09
  Speaker 2: all ridiculous.
• 15:10
  Speaker 1: And this Operation Avalanche movie, I haven't watched it, but the.
• 15:15
  Speaker 2: That guy's just an actor.
• 15:17
  Speaker 1: Yeah, that's the thing, the basic premise of it. It's
• 15:19
  Speaker 1: a movie, right, I think basically a comedy film. But
• 15:23
  Speaker 1: the basic premise is at one point, while Stanley Kubrick's
• 15:26
  Speaker 1: filming two thousand and one of Space Odyssey, NASA comes
• 15:30
  Speaker 1: to him and is like, we're not gonna be able
• 15:32
  Speaker 1: to land on the Moon. We're up there, but we're
• 15:35
  Speaker 1: not gonna be able to land. We need you to
• 15:38
  Speaker 1: film the footage that makes it look like we landed.
• 15:41
  Speaker 1: And that is something like, if you want to find
• 15:45
  Speaker 1: me some government documents about that, we can talk about it.
• 15:48
  Speaker 2: Yeah, I mean you might have to.
• 15:50
  Speaker 1: But what stuff like this does, even if what I'm
• 15:53
  Speaker 1: getting at is because I'm sure there are people out
• 15:56
  Speaker 1: there who are like, no, but there there's evidence you
• 15:59
  Speaker 1: haven't seen. Fine, sure I haven't seen it. But what
• 16:03
  Speaker 1: stuff like this book that came out in twenty fourteen
• 16:06
  Speaker 1: does is discredits any fucking element of that idea to
• 16:11
  Speaker 1: where like I bring up nine to eleven all the time,
• 16:15
  Speaker 1: where the government is going to be more than happy
• 16:18
  Speaker 1: to let you focus on George Bush did nine to eleven,
• 16:21
  Speaker 1: then the fact that Saudi Arabia maybe did nine to eleven. Maybe,
• 16:27
  Speaker 1: and you know, only because the majority of the hijackers
• 16:31
  Speaker 1: were I mean Saudi's and Saudi intelligence did have contact
• 16:35
  Speaker 1: with the hijackers at one point before nine to eleven.
• 16:38
  Speaker 1: But angel, that's all, nothing else pointing to their involvement.
• 16:43
  Speaker 1: They're gonna be more than happy to let all of
• 16:45
  Speaker 1: your fucking loose change documentaries run unfettered as long as
• 16:50
  Speaker 1: you don't ask about what's really in another example, have
• 16:53
  Speaker 1: you seen Wormwood?
• 16:55
  Speaker 2: No, not yet, We've talked about it in the past.
• 16:57
  Speaker 1: Yeah, and it's the same idea. It's the idea that
• 17:00
  Speaker 1: the government embraced, the idea of, yeah, we gave that
• 17:04
  Speaker 1: guy too much acid and he freaked out and jumped
• 17:07
  Speaker 1: out a window. Sorry. Yeah, when there's a lot of
• 17:10
  Speaker 1: evidence that points to they threw him out a fucking
• 17:14
  Speaker 1: window because he was going to reveal a lot more
• 17:17
  Speaker 1: than the fact that he'd been secretly dosed, yeah with LSD.
• 17:21
  Speaker 1: But in that you see a real life example of
• 17:24
  Speaker 1: the government going all right, Yeah, that's the story. You
• 17:27
  Speaker 1: want to think you jumped. Yeah, fine, we'll pay you money,
• 17:29
  Speaker 1: We'll let well they let him meet the fucking president. Yeah,
• 17:33
  Speaker 1: they let his family meet the president, and they were like, yeah, sorry,
• 17:37
  Speaker 1: we fuck us up. But it there's also a lot
• 17:40
  Speaker 1: like watch the documentary, they make a compelling case that
• 17:44
  Speaker 1: he didn't jump and he was fucking murdered because he
• 17:47
  Speaker 1: was going to be a problem and the CIA had
• 17:49
  Speaker 1: training manuals on that ship back then. Yeah, so who
• 17:52
  Speaker 1: knows CIA does shady shit on the daily. Yeah, So
• 17:56
  Speaker 1: what we could be seeing in twenty fourteen is just
• 17:59
  Speaker 1: the continuation of the government's effort to discredit this one
• 18:04
  Speaker 1: idea by saying Illuminati. Like, at this point, I'm deep
• 18:09
  Speaker 1: enough into this podcast, I wouldn't be surprised if the
• 18:11
  Speaker 1: Illuminati is literally a United States government intelligence operation. Like
• 18:17
  Speaker 1: the idea of the Illuminati is the government wanting to
• 18:23
  Speaker 1: put a fucking scary monster out there that is so
• 18:27
  Speaker 1: intimidating you think, well, it doesn't matter what happens at
• 18:30
  Speaker 1: the government level, because the Illuminati dog like you're never
• 18:34
  Speaker 1: going to get to them, and the government's like, shre
• 18:37
  Speaker 1: aren't man the powers that be am I right, unseen
• 18:42
  Speaker 1: hand baby.
• 18:43
  Speaker 2: Uh yeah, I don't know. I mean, as always, I
• 18:46
  Speaker 2: don't know about all that. But like I do think
• 18:49
  Speaker 2: that the moon landing thing, the idea of them coming
• 18:53
  Speaker 2: to him because they couldn't finish the job, it would
• 18:56
  Speaker 2: be I would have not have too much trouble believing
• 19:00
  Speaker 2: it if there was any evidence whatsoever to support it.
• 19:05
  Speaker 2: That is the That is the key problem with that
• 19:07
  Speaker 2: entire thing is it is pure fiction. It's just made
• 19:11
  Speaker 2: up as It's like, it's like fan fiction for historical figures.
• 19:15
  Speaker 2: It's like what if Stanley Kubrick directed the moon landing?
• 19:20
  Speaker 2: It's like a Marvel mashup.
• 19:22
  Speaker 1: And then what this does is if that evidence were
• 19:26
  Speaker 1: ever to be presented, this theory exists mostly in this
• 19:31
  Speaker 1: form now where people are going to see that evidence
• 19:34
  Speaker 1: and still be like, right, so what like so what
• 19:37
  Speaker 1: they asked him? Like they didn't we landed well?
• 19:40
  Speaker 2: And I think also this kind of comes down This
• 19:43
  Speaker 2: is a thing that I think of a lot about
• 19:45
  Speaker 2: the JFK conspiracy as well.
• 19:47
  Speaker 1: Uh oh, I have such strong feelings on it.
• 19:50
  Speaker 2: But go on where I think after this much time
• 19:54
  Speaker 2: has passed and the ramifications of these historical events have
• 19:59
  Speaker 2: or that he been shaken out or are in the
• 20:02
  Speaker 2: process of shaking out and that sort of thing. I
• 20:04
  Speaker 2: don't think it matters at all whether or not the
• 20:07
  Speaker 2: CIA murdered John F. Kennedy or whether the moon landing
• 20:12
  Speaker 2: was fake. It doesn't matter. We've been to space. We
• 20:14
  Speaker 2: know we've been to space now, like we have concrete proof.
• 20:17
  Speaker 2: We sent probes to Mars, We've we've had people living
• 20:20
  Speaker 2: up in the space station for years.
• 20:21
  Speaker 1: Yeah, like we've brought moon rocks.
• 20:23
  Speaker 2: Yeah, yeah, like we have definitely gone to turn out
• 20:26
  Speaker 2: to be Oh, I am well aware about the law
• 20:30
  Speaker 2: tragedy of the loss Apollo eight team mission bank. You
• 20:34
  Speaker 2: never forget, but yeah, like it's at a certain point,
• 20:40
  Speaker 2: it's just like who gives a fuck? It doesn't matter.
• 20:43
  Speaker 2: It's the same with like who cares a bush did
• 20:44
  Speaker 2: nine to eleven? It doesn't matter, honestly, because we've already
• 20:50
  Speaker 2: fucked up the Middle East and all that shit is
• 20:53
  Speaker 2: real ship that we actually had to deal with. It
• 20:55
  Speaker 2: doesn't matter who actually did nine to eleven. It was
• 20:58
  Speaker 2: done and things were done in reaction to it, regardless
• 21:01
  Speaker 2: of what the actual cause was. Yeah, and I understand
• 21:04
  Speaker 2: it on like on some level, but like getting obsessive
• 21:08
  Speaker 2: about it is just stupid and like unhealthy as a point.
• 21:12
  Speaker 1: And like even with JFK, that's one where my favorite
• 21:18
  Speaker 1: theory about the JFK killing or the death of JFK.
• 21:22
  Speaker 1: There's a documentary called JFK The Smoking Gun and it's
• 21:26
  Speaker 1: made by There's this famous reenactment that people cite all
• 21:31
  Speaker 1: the time as it relates to Lee Harvey Oswald being
• 21:34
  Speaker 1: able to shoot, to being able to fire those three shots.
• 21:38
  Speaker 1: And people always cite that when CBS did this reenactment
• 21:42
  Speaker 1: in the late sixties, someone was able to do it. Yeah,
• 21:46
  Speaker 1: and they cite that as proof that Lee Harvey Oswald
• 21:49
  Speaker 1: would have been able to fire those three shots. The
• 21:51
  Speaker 1: part people leave out is that guy, the guy who
• 21:54
  Speaker 1: was able to do it, the one guy. They brought
• 21:57
  Speaker 1: in so many people to try this and one guy
• 22:01
  Speaker 1: was able to do it. He found it so difficult.
• 22:04
  Speaker 1: He was convinced Lee Harvey Oswald probably didn't do it alone.
• 22:09
  Speaker 1: And he spent the next twenty years of his life
• 22:13
  Speaker 1: just examining the ballistics evidence in the JFK assassination, and
• 22:19
  Speaker 1: the theory he came up with is that Lee Harvey
• 22:23
  Speaker 1: Oswald was there and fired two shots, and the shot
• 22:27
  Speaker 1: that killed JFK was fired accidentally by a Secret Service
• 22:33
  Speaker 1: agent in the motorcade behind him.
• 22:35
  Speaker 2: I think we've definitely talked about this, but yeah.
• 22:38
  Speaker 1: And that's sure like if that were to be revealed now,
• 22:43
  Speaker 1: Like so.
• 22:44
  Speaker 2: What, Yeah, Lee Harvey Oswelds still tried to kill the president, Like.
• 22:47
  Speaker 1: Yeah, everyone was right in that case.
• 22:50
  Speaker 2: And in fact, it could, on a like ontological level,
• 22:54
  Speaker 2: be argued that he did kill JFK because that crisis
• 22:59
  Speaker 2: will and age at all if he hadn't fired those shots.
• 23:02
  Speaker 1: And it also makes a lot of logical It's the
• 23:06
  Speaker 1: kind of government cover up I can live with it.
• 23:09
  Speaker 1: It's the kind that happened because why like if you
• 23:13
  Speaker 1: the the documentary ends basically talking about that secret Service
• 23:17
  Speaker 1: agent and how it like wrecked his life, and like
• 23:20
  Speaker 1: imagine being that that guy that accidentally fucking killed JFA
• 23:26
  Speaker 1: And it stands the reason that the government would be
• 23:29
  Speaker 1: like Lee Harvey alone.
• 23:31
  Speaker 2: And it doesn't really materially affect the outcome events. Yeah,
• 23:36
  Speaker 2: we still had the Like I can't imagine how having
• 23:42
  Speaker 2: that information come out, even at the time would have
• 23:45
  Speaker 2: significantly altered the course of history.
• 23:48
  Speaker 1: Right, it's a pr thing, Like, it's a morale thing.
• 23:53
  Speaker 2: That makes way more sense than it was the MOB,
• 23:56
  Speaker 2: or it was the CIA, or it was like.
• 23:59
  Speaker 1: Now, if you want to talk talk about Martin Luther
• 24:01
  Speaker 1: King Junior, there's all sorts of any Black Panther related death,
• 24:06
  Speaker 1: then we can fucking talk. I feel like, like how
• 24:10
  Speaker 1: Lee Harvey Oswald got there? Anyone's fucking guests with Malcolm Mix.
• 24:14
  Speaker 2: It does seem pretty likely that it was a Nation
• 24:16
  Speaker 2: of Islam that murdered him.
• 24:18
  Speaker 1: Oh yeah, like they really hated him at the end. Yeah,
• 24:22
  Speaker 1: that's true.
• 24:22
  Speaker 2: But like I also would not put it past the CIA. Yeah,
• 24:26
  Speaker 2: we the shit that we know that they've actually done.
• 24:29
  Speaker 2: Like I guess we're getting a little off track, Yeah,
• 24:31
  Speaker 2: we've we've kind of lost the Stanley Cooper could but
• 24:34
  Speaker 2: we can get back.
• 24:35
  Speaker 1: To it, of course. Like the again, this that is
• 24:39
  Speaker 1: my main point of contention with this is that all
• 24:42
  Speaker 1: of it comes from comedy. Yeah, fake articles, fake documentaries
• 24:47
  Speaker 1: are the genesis. As far as anyone documenting it can tell,
• 24:51
  Speaker 1: it's either assumption or these two articles are the genesis
• 24:56
  Speaker 1: of this theory.
• 24:57
  Speaker 2: And with as with most of the most outrageous conspiracy theories,
• 25:03
  Speaker 2: they all rely on this entering into the discussion with
• 25:09
  Speaker 2: these preordained outcomes in mind right, they are looking like
• 25:14
  Speaker 2: they're watching these movies looking for symbolism that could, possibly,
• 25:21
  Speaker 2: with the right reading, support this theory that they've already
• 25:26
  Speaker 2: decided has evidence within the film to support it, which
• 25:31
  Speaker 2: is not how you look for things. That is not
• 25:34
  Speaker 2: how you examine art. Also, it's the worst fucking way
• 25:37
  Speaker 2: to watch a movie. Oh yeah, you're completely missing out
• 25:41
  Speaker 2: on everything that makes these movies enjoyable to watch by
• 25:44
  Speaker 2: focusing on all this bullshit.
• 25:46
  Speaker 1: Yeah, and the like a lot of the symbols they
• 25:50
  Speaker 1: talk about are they're just things you see everywhere, Yeah,
• 25:55
  Speaker 1: like the sun.
• 25:56
  Speaker 2: Or their symbols and then or their symbols and specific
• 26:00
  Speaker 2: symbols to whatever movie they're talking about. But then they
• 26:04
  Speaker 2: make the extra leap of like, yeah, this represents, you know,
• 26:08
  Speaker 2: an abusive relationship and also how it relates to the illuminati,
• 26:13
  Speaker 2: instead of just being like, yeah, no, this is you know,
• 26:16
  Speaker 2: the Teddy Bear represents childhood and whatever, likeah, like, it
• 26:19
  Speaker 2: doesn't have to be fucking rocket. It's art. It's not like, yeah,
• 26:23
  Speaker 2: it's not a.
• 26:24
  Speaker 1: Textbook and it's with Kubrick, there is such an industry
• 26:29
  Speaker 1: built up around this idea he has.
• 26:31
  Speaker 2: There's this whole idol like idolized by a certain segment
• 26:36
  Speaker 2: of the population who idolizes him as this right brain thinker,
• 26:42
  Speaker 2: total logical fiend who analyzed everything and everything was on purpose,
• 26:48
  Speaker 2: when in reality, he's just a guy who really liked
• 26:51
  Speaker 2: art and like was really passionate about filmmaking and wanted
• 26:55
  Speaker 2: to make really good movies and was a perfectionist. Like
• 26:58
  Speaker 2: he's not He's.
• 27:00
  Speaker 1: Not alone in that among filmmakers.
• 27:02
  Speaker 2: No, absolutely not. And yeah, he like the things that
• 27:05
  Speaker 2: happen in his movies are extremely purposeful, but that doesn't
• 27:08
  Speaker 2: mean they have some higher meaning besides how they support
• 27:12
  Speaker 2: the art that they are a piece of right, which
• 27:15
  Speaker 2: he is very dedicated to. But he's not this super
• 27:20
  Speaker 2: logic oriented filmmaker. He's so many of his movies, despite
• 27:24
  Speaker 2: seeming cold and dispassionate, are really about emotion and human
• 27:30
  Speaker 2: react human relationships and reactions to things, which is one
• 27:34
  Speaker 2: of the things that makes him such an engaging filmmaker.
• 27:36
  Speaker 2: Why I love him so much is that there's there's
• 27:39
  Speaker 2: this vast depth to them, even beyond but like there's
• 27:43
  Speaker 2: not that much. There's not like this kind of depth.
• 27:46
  Speaker 2: That's not depth. This is just an extension of a
• 27:50
  Speaker 2: surface level reading of the film, right, taken off in
• 27:54
  Speaker 2: these logical, insane tangents that make any sense.
• 27:57
  Speaker 1: And like with The Shining, there's a whole there's a
• 28:00
  Speaker 1: fucking documentary that's longer than The Shining.
• 28:03
  Speaker 2: Yeah, this is longer than The Shining. Yeah, this is
• 28:06
  Speaker 2: longer than every Kubrick movie except for Ice White Hut.
• 28:10
  Speaker 2: I watched this entire two hour and forty minute movie
• 28:13
  Speaker 2: and it is the exact same length as Ice White Shut.
• 28:16
  Speaker 1: That's wow.
• 28:19
  Speaker 2: It's longer than two thousand and one.
• 28:20
  Speaker 1: Space on the Sea. And so my next problem with
• 28:24
  Speaker 1: this theory, on top of at least this book, which
• 28:27
  Speaker 1: seems to be the most recent iteration of this theory,
• 28:30
  Speaker 1: on top of not mentioning those sketchy origins of the theory, uh,
• 28:36
  Speaker 1: it also when he's making when he's explaining why Kubrick
• 28:41
  Speaker 1: would do this or like the evidence for why Kubrick,
• 28:45
  Speaker 1: Why these symbols you're seeing. I'm trying to think how
• 28:47
  Speaker 1: to put this, Why these symbols you see in the movies,
• 28:50
  Speaker 1: because they're there, Sure there are a symbol, Like it's
• 28:52
  Speaker 1: a movie. You can't that's the pointed a movie and
• 28:54
  Speaker 1: go that's there, and then I watch it and go, no,
• 28:56
  Speaker 1: it's not.
• 28:57
  Speaker 2: Honestly, the most accurate thing that this movie and book
• 29:02
  Speaker 2: say is that Stanley Kubrick is a filmmaker who used
• 29:06
  Speaker 2: symbolism in his film.
• 29:08
  Speaker 1: Right, and at cult symbolism sure, Like Also lat Zeppelin
• 29:11
  Speaker 1: was a band that employed cult symbolism. They didn't do
• 29:15
  Speaker 1: it because they fucking joined the Illuminous.
• 29:18
  Speaker 2: And it doesn't mean that every symbol in the fucking
• 29:21
  Speaker 2: thing is a cult symbol right. He's talking about, like,
• 29:26
  Speaker 2: you know, at a scene where people are at the
• 29:28
  Speaker 2: train on train tracks and there's two pillars, and he's like,
• 29:31
  Speaker 2: and he goes off on this whole tangent about how
• 29:33
  Speaker 2: there's these two pillars. I'm like, maybe it's just because
• 29:35
  Speaker 2: there are two fuck pillars, man.
• 29:36
  Speaker 1: Yeah, like Jesus fucking Christ pillars, dude, everywhere. So this
• 29:41
  Speaker 1: is an actual like his his things are, like, you know,
• 29:45
  Speaker 1: he played chess. Sure, Stanley Kubrick played chess. So it
• 29:48
  Speaker 1: stands to reason that he would spend most of his
• 29:51
  Speaker 1: life and professional career laying out the Illuminati conspiracy that
• 29:57
  Speaker 1: has been laid out in several books over the decades
• 30:01
  Speaker 1: that anyone interested, like who the fuck is thinking someone's
• 30:05
  Speaker 1: gonna watch a clockwork orange and go, holy shit, is
• 30:08
  Speaker 1: there an Illuminati?
• 30:09
  Speaker 2: Like wait, oh this this woman that he's raping. Does
• 30:13
  Speaker 2: her black and white checkered floor mean the duality of man?
• 30:16
  Speaker 1: Yeah? I was just like those people probably existed in
• 30:20
  Speaker 1: the seventies and they're probably fucking annoying.
• 30:23
  Speaker 2: Yeah, there've always been annoying.
• 30:25
  Speaker 1: This is a quote that I think kind of sums
• 30:28
  Speaker 1: up my frustration with the book in general, because if
• 30:34
  Speaker 1: Stanley Kubrick did this, if he dedicated his entire career
• 30:38
  Speaker 1: to exposing the Illuminati agenda, I want to know why.
• 30:43
  Speaker 2: Notice he didn't talk about Barry Lindon.
• 30:45
  Speaker 1: Yeah, he doesn't talk about Barry Lyndon, and I think
• 30:49
  Speaker 1: Bareley brushes.
• 30:50
  Speaker 2: He he mentions fullmetal jacket once, yeah, which I don't know.
• 30:54
  Speaker 2: I don't know if there's any political symbols.
• 30:56
  Speaker 1: I don't think so jacket. Yeah, he mentioned goals are
• 31:00
  Speaker 1: stars or moons?
• 31:01
  Speaker 2: All images? Is that one character? Where's a peace signed button?
• 31:05
  Speaker 1: Oh nice? Yeah?
• 31:06
  Speaker 2: Oh deep?
• 31:07
  Speaker 1: What's the symbolism of getting the shit beat out of
• 31:10
  Speaker 1: you with socks filled with soap? Yeah? Uh?
• 31:14
  Speaker 2: The brutality of man.
• 31:17
  Speaker 1: So this is an actual quote. It's kind of long,
• 31:21
  Speaker 1: but this is his summation of all of the evidence
• 31:25
  Speaker 1: that Kubrick engaged in this before he dedicates the other
• 31:29
  Speaker 1: one hundred or so pages to the symbols. In conclusion,
• 31:34
  Speaker 1: if we look at Kubrick's natural pension for intentional details,
• 31:39
  Speaker 1: long term slow place strategy parentheses, because he played chess
• 31:44
  Speaker 1: and being ahead of his time, we could see the
• 31:47
  Speaker 1: structural foundation of this overarching conspiracy theory that he was
• 31:51
  Speaker 1: trying to reveal as the multifaceted approach of global domination
• 31:56
  Speaker 1: of the illuminati. His final film, Eyes Wide Shut, it
• 32:00
  Speaker 1: was arguably the straw that broke the camel's back. Rumors
• 32:03
  Speaker 1: online claimed that Warner Brothers heavily edited his final version
• 32:07
  Speaker 1: before releasing it to the public, and theorists claimed that
• 32:10
  Speaker 1: he was revealing too much in the occult orgy scenes,
• 32:13
  Speaker 1: so they took him out for this act of defiance
• 32:16
  Speaker 1: that sounds like it was written for children who believe
• 32:19
  Speaker 1: conspiracy theories. And we had a guy on a while
• 32:26
  Speaker 1: back named John Potash who wrote a fucking whopper of
• 32:29
  Speaker 1: a book called Drugs as Weapons against Us, and his
• 32:34
  Speaker 1: overarching theory is that the CIA sells drugs and they
• 32:39
  Speaker 1: kind of influence music to help sell those drugs, and
• 32:43
  Speaker 1: when musicians start getting to leftist, they kill him. And
• 32:48
  Speaker 1: what I'm saying here is completely independent of that, because
• 32:52
  Speaker 1: he brought up a thing that has happened. It's not
• 32:55
  Speaker 1: just him saying that this happened. And what I'm referring
• 32:59
  Speaker 1: to is the attempts to make a movie about Russell
• 33:05
  Speaker 1: Poole's book Labyrinth. Russell Pool is a former LAPD detective
• 33:11
  Speaker 1: who wrote what is arguably the definitive book on that
• 33:14
  Speaker 1: conspiracy theory, and his theory is that the LAPD was
• 33:20
  Speaker 1: kinda involved, yeah, uh, kinda up to heavily involved. And
• 33:25
  Speaker 1: three different times people have tried to make that book
• 33:28
  Speaker 1: into a movie. There were even trailers for one of them.
• 33:31
  Speaker 1: It was gonna be a fucking Johnny Depp movie, and
• 33:33
  Speaker 1: every time those movies just never came out. So if
• 33:38
  Speaker 1: the fucking LAPD has that kind of influence on movies,
• 33:43
  Speaker 1: the illuminati could have stopped eyes wide, shut you fucking
• 33:47
  Speaker 1: clowns like someone if this was if that's what was happening,
• 33:53
  Speaker 1: and the yeah, the theory is that like their their
• 33:55
  Speaker 1: argument is Kubrick was killed for making eyes wide shut.
• 34:00
  Speaker 2: You would just kill him before. Yeah, they had to
• 34:03
  Speaker 2: off this, like seventy eight year old man. Yeah, he
• 34:07
  Speaker 2: was under what circumstances?
• 34:08
  Speaker 1: Would you let him spend his entire life exposing your
• 34:13
  Speaker 1: secrets and then wait until the final masterpiece of Illuminati expose.
• 34:19
  Speaker 2: They would have killed him after Doctor Strangelove, they would
• 34:23
  Speaker 2: have killed you wouldn't even been able to get to
• 34:25
  Speaker 2: all the illuminatis. Yeah, they would have. They probably would have.
• 34:29
  Speaker 1: Killed him after asking him to fake the moonlight, Yeah,
• 34:33
  Speaker 1: because who needs that witness around?
• 34:35
  Speaker 2: Honestly, that makes sense, And it's not.
• 34:37
  Speaker 1: Like killing a musician in the late sixties would have
• 34:40
  Speaker 1: been hard. You could have sent the Manson family. You
• 34:42
  Speaker 1: could have.
• 34:43
  Speaker 2: Killed him with it in England, it would have been
• 34:45
  Speaker 2: tough to send the Mansons in What If? The with
• 34:50
  Speaker 2: a You And why didn't Why didn't Quentin Tarantino make
• 34:54
  Speaker 2: that movie about the Mansons on their English trip.
• 35:00
  Speaker 1: Manson's in Vegas. It's for the whole thing, like National Lampoons,
• 35:04
  Speaker 1: Charles Manson, Oh my good, Charles Manson's family Vacation.
• 35:10
  Speaker 2: Yeah, there's just so many fun They just make so
• 35:13
  Speaker 2: many leaps like that. In this whole thing. There's a
• 35:16
  Speaker 2: moment where he talks about David Prust, who famously was
• 35:21
  Speaker 2: the you know, in suit actor for Darth Vader. Ye,
• 35:25
  Speaker 2: he appears in a clockwork orange and he's like, is
• 35:30
  Speaker 2: this a does this tie into the Illuminati themes in
• 35:36
  Speaker 2: Star Wars? And I'm like, no, they both shut at
• 35:38
  Speaker 2: Pinewood Studios in England. They both they just use the
• 35:42
  Speaker 2: same actors. Yeah, this is how film works.
• 35:45
  Speaker 1: Man.
• 35:46
  Speaker 2: Sorry, I hate to break it to you, but actors
• 35:48
  Speaker 2: are in different movies. I know, I know, shocking. Maybe
• 35:52
  Speaker 2: that's a conspiracy, but it's.
• 35:55
  Speaker 1: My other problem with this theory. And we're pages into
• 35:59
  Speaker 1: the book, seven to ten page.
• 36:02
  Speaker 2: Literally, it is immediate that everything about this falls apart. Yeah.
• 36:07
  Speaker 1: I hate when something opens with a super definitive statement
• 36:11
  Speaker 1: that you can just immediately look at and go nope, no, nope,
• 36:14
  Speaker 1: absolutely not not what happened. And one of the things
• 36:19
  Speaker 1: that bothers me about this is the book goes from okay,
• 36:22
  Speaker 1: so the Illuminati, which there's also like a preface in
• 36:26
  Speaker 1: the book that says, Illuminati just means any secret organization
• 36:30
  Speaker 1: we're working to influence, not necessarily the Bavarian Illuminati, which
• 36:35
  Speaker 1: allegedly ended in eighteen forty and it's okay, And so
• 36:42
  Speaker 1: now we're back to well, it could have just been NASA.
• 36:45
  Speaker 1: It could have been NASA. Sure, it could have been
• 36:46
  Speaker 1: but but it goes from that to okay. So after
• 36:52
  Speaker 1: the Illuminati did this, he made it his life's work
• 36:56
  Speaker 1: to not only alter a film that had presumed probably
• 37:00
  Speaker 1: been written and was in the works for some time.
• 37:03
  Speaker 2: Yeah, well that's easy. Before that, Yeah, that's nothing. They
• 37:06
  Speaker 2: had in a bunch of scenes in dialogue and and
• 37:09
  Speaker 2: and images. Yeah, just make a different in nineteen sixty eight,
• 37:12
  Speaker 2: that's nothing. You just all that digitally replace it.
• 37:15
  Speaker 1: We were getting to the moon by then, I know,
• 37:18
  Speaker 1: when we make a movie about it, were we exactly?
• 37:20
  Speaker 2: And that's these are the questions. We're just asking questions here, folks.
• 37:24
  Speaker 1: And what they don't mention is where did Stanley Kubrick
• 37:28
  Speaker 1: get all of this knowledge of Illuminati symbolism from being
• 37:34
  Speaker 1: offered money to fake the moon landing? Were they did?
• 37:38
  Speaker 1: They come to him and were like, look, a national emergency,
• 37:42
  Speaker 1: we might not be able to land, need you to
• 37:44
  Speaker 1: film some fake footage also Illuminati. Yeah, here's a pair
• 37:48
  Speaker 1: of let's read it. It's eighteen hundred.
• 37:50
  Speaker 2: Pages and here's a copy of Aleister Crowley's Moonschild.
• 37:54
  Speaker 1: Yeah, and if you could read up on all of
• 37:56
  Speaker 1: this and just sprinkle it into every film you make,
• 37:58
  Speaker 1: except the ones you don't sprinkle it into, and you.
• 38:01
  Speaker 2: Have to include it in this one that you are
• 38:04
  Speaker 2: currently in post production on, which is an insanely intense
• 38:09
  Speaker 2: and laborious process here in nineteen sixty eight.
• 38:12
  Speaker 1: But also this is all very hush hush. Yeah, but
• 38:14
  Speaker 1: don't they don't say anything. If you do, we will
• 38:18
  Speaker 1: kill you avention.
• 38:19
  Speaker 2: Yeah, and like h thirty years Yeah, maybe.
• 38:24
  Speaker 1: Jesus Christ, what is happening?
• 38:28
  Speaker 2: Uh? Just it's just pure, it's so and yeah, and
• 38:33
  Speaker 2: it just proceeds to lay out and it just starts,
• 38:37
  Speaker 2: it just keeps going. It starts on that, and then
• 38:40
  Speaker 2: every piece of evidence is him starting at the base
• 38:43
  Speaker 2: of does this have to do with the Illuminati? And
• 38:45
  Speaker 2: if so, how, And the answer to the first question
• 38:49
  Speaker 2: is always yes, right, And the answer to the second
• 38:52
  Speaker 2: question is always some fucking basic teenage level film analysis
• 38:58
  Speaker 2: that just scratch the surface and then just keep snowballing.
• 39:02
  Speaker 1: Yeah, and they they At one point in the book
• 39:06
  Speaker 1: he mentioned something about you see similar sacrifice in other
• 39:11
  Speaker 1: civilizations and then mentions the British government killing Princess Diana.
• 39:16
  Speaker 2: Of course, yeah, no, this is like that's your.
• 39:18
  Speaker 1: Go to for Oh, it's the thing civilizations.
• 39:21
  Speaker 2: This is a documented fact. Like everything else that.
• 39:25
  Speaker 1: We're talking about, It is in the historical record that
• 39:30
  Speaker 1: the British government definitely killed like come.
• 39:32
  Speaker 2: On, yeah, and he loves to go into his uh,
• 39:36
  Speaker 2: talks about Luciferian symbolism.
• 39:40
  Speaker 1: That's one of the Yeah, let's talk about some of
• 39:43
  Speaker 1: the symbolism in two thousand and one of Space Odyssey.
• 39:48
  Speaker 1: Because the the idea he's pushing here is that Kubrick
• 39:52
  Speaker 1: is warning us about an Illuminati, a transhuman Illuminati agenda,
• 39:59
  Speaker 1: trans human meaning humans and machines merge become godlike.
• 40:05
  Speaker 2: And as he's describing this in the movie, he does
• 40:07
  Speaker 2: play a clip from the Johnny Depp movie Transference.
• 40:11
  Speaker 1: Of course, that's solid science fiction texts the documentary film Transference,
• 40:18
  Speaker 1: and it he also brings up Ancient Aliens.
• 40:21
  Speaker 2: Oh yeah, he plays a whole clip from an Ancient
• 40:23
  Speaker 2: Aliens episode.
• 40:24
  Speaker 1: Because it yeah, it ties into like the New World,
• 40:27
  Speaker 1: like this is a we've been talking about the New
• 40:30
  Speaker 1: World Order for a couple of weeks now. And this
• 40:34
  Speaker 1: ties into also that this Kubrick theory is pushing the
• 40:43
  Speaker 1: idea that Kubrick like, that's what Kubrick's warning us about,
• 40:47
  Speaker 1: is this Illuminati New World Order agenda that's gonna like, yeah,
• 40:53
  Speaker 1: make us all one thing.
• 40:54
  Speaker 2: And there are multiple problems with this just on its face.
• 40:59
  Speaker 2: One that two thousand and one Space Odyssey is based
• 41:02
  Speaker 2: on the novel by Arthur C. Clark and is not
• 41:06
  Speaker 2: a work of fiction invented by Stanley Kubrick, and all yes,
• 41:13
  Speaker 2: and so much and much like clock or Orange, just
• 41:16
  Speaker 2: like and so much of the symbolism that he talks
• 41:20
  Speaker 2: about is all from So there's this there's all of
• 41:25
  Speaker 2: this stuff having to do with Saturn and how Saturn
• 41:28
  Speaker 2: is this Illuminati symbol. But if you remember from the
• 41:33
  Speaker 2: film two thousand and one Space Odyssey, the events take
• 41:36
  Speaker 2: place outside of Jupiter because Stanley Kuprick was like, I
• 41:40
  Speaker 2: can't really do Saturn, they can't figure out the rings,
• 41:43
  Speaker 2: So we're doing Jupiter, which sounds like the work of
• 41:47
  Speaker 2: a guy who is really in depth trying to get
• 41:50
  Speaker 2: across a specific thematic message with that imagery.
• 41:56
  Speaker 1: But and the book they're like, oh, we couldn't.
• 41:59
  Speaker 2: Well, but they go like, so, there's so much that
• 42:02
  Speaker 2: he talks about with this Saturn imagery, none of which
• 42:04
  Speaker 2: is in the film two thousand and one Space Odysseee
• 42:06
  Speaker 2: by Stanley Kubrick, which all comes from the book. But
• 42:09
  Speaker 2: if the film is what he's saying contains all these
• 42:11
  Speaker 2: Illuminati messages, this primary symbol that he won't stop talking
• 42:17
  Speaker 2: about was changed by Kubrick. It's not in the movie
• 42:21
  Speaker 2: because of Kubrick's decision.
• 42:23
  Speaker 1: Yeah, there's another example.
• 42:25
  Speaker 2: That completely that's just like, well, then where's the where's
• 42:28
  Speaker 2: the proof for any of this? Then? Like, what if
• 42:32
  Speaker 2: the only symbol that you've got here is something that
• 42:35
  Speaker 2: was changed by Kubrick in the actual film, then how
• 42:38
  Speaker 2: is this Kubrick's code not Arthur C. Clark's code.
• 42:40
  Speaker 1: They they bring up a similar thing with how Yeah,
• 42:43
  Speaker 1: And they mentioned that how was supposed to be called
• 42:46
  Speaker 1: Athena and that Athena is tied to owls and you
• 42:50
  Speaker 1: see owls at Bohemian Grove Baby, and it's like, yeah,
• 42:54
  Speaker 1: but he changed it to how Yeah, where's how at
• 42:57
  Speaker 1: Bohemian Growth?
• 42:58
  Speaker 2: And then they were like and you know, and some
• 42:59
  Speaker 2: people say that it's a reference to IBM because it's
• 43:04
  Speaker 2: each each other is one is one removed. But Arthur C.
• 43:09
  Speaker 2: Clark said that there was no that that doesn't mean anything. Uh,
• 43:12
  Speaker 2: but you know, and then that's how it always is
• 43:15
  Speaker 2: whenever whenever. Yeah, they contradict one of these elements of
• 43:19
  Speaker 2: the theory. They always go but you know who knows,
• 43:22
  Speaker 2: And like.
• 43:23
  Speaker 1: If you're trying to be secret about it, the people
• 43:26
  Speaker 1: you're trying to out would know. Yeah, Like they're the one.
• 43:30
  Speaker 1: Like if anyone the Illuminati, they's.
• 43:33
  Speaker 2: Got Saturn all over it.
• 43:35
  Speaker 1: That's our thing, and they're the one. Like according to
• 43:39
  Speaker 1: this theory, they kind of see everything, they know everything,
• 43:43
  Speaker 1: they're involved in everything. They would just they would fucking
• 43:46
  Speaker 1: stab Stanley Cooprick in the shower at the gym in
• 43:49
  Speaker 1: the morning.
• 43:50
  Speaker 2: And that is really one of the fatal flaws of
• 43:52
  Speaker 2: the entire Illuminati thing, which is they are at once
• 43:57
  Speaker 2: this all seeing, all powerful organization of elites and also
• 44:02
  Speaker 2: are so inept that they can't shut down any of
• 44:05
  Speaker 2: these theories that are explaining the truth about them.
• 44:07
  Speaker 1: And couldn't catch the elusive Stanley Cooper was late seventies.
• 44:11
  Speaker 2: He definitely went all over the place outside of his
• 44:14
  Speaker 2: giant English mansion. He definitely was in the rest.
• 44:17
  Speaker 1: All the secret government images of him parkouring away from
• 44:21
  Speaker 1: secret agents in the streets of London.
• 44:23
  Speaker 2: I mean, I would fucking watch that series. Fuck yeah,
• 44:26
  Speaker 2: Young Stanley Kubrick is like a secret agel.
• 44:29
  Speaker 1: That would be so good because if this is all true, Like,
• 44:32
  Speaker 1: let's write that series Stanley Kubrick hiding from the illuminat.
• 44:36
  Speaker 2: He's got a great secret agent face, oh with the
• 44:39
  Speaker 2: eyebrows and the beard, and he's like very intense guy.
• 44:42
  Speaker 1: He could blend into a lot of culture.
• 44:44
  Speaker 2: It'd be great. I love Yeah, I love Stanley Kubrick.
• 44:47
  Speaker 2: He's that's my main. Like the whole thing about watching
• 44:50
  Speaker 2: this movie is a very strange experience because I want
• 44:52
  Speaker 2: to say I have some major beefs with just technical
• 44:55
  Speaker 2: aspects of this documentary, where I would say a good
• 45:00
  Speaker 2: eight ninety percent of this movie is clips of media
• 45:06
  Speaker 2: from Stanley Kubrick movies to ancient Heliens to all these
• 45:09
  Speaker 2: other things, and every single clip is in a different
• 45:15
  Speaker 2: aspect ratio, a different resolution, a different audio quality. Like
• 45:21
  Speaker 2: there are moments where he'll be doing his narration and
• 45:24
  Speaker 2: then he'll cut, like he'll tell you what you're about
• 45:26
  Speaker 2: to watch in a clip, and then he'll cut to
• 45:28
  Speaker 2: the clip and the audio in the clip is so
• 45:31
  Speaker 2: low that you would have to completely crank your volume
• 45:34
  Speaker 2: all the way up in order to hear it.
• 45:35
  Speaker 1: And then you know you're gonna get and then you get.
• 45:38
  Speaker 2: Blasted by the narration again because it doesn't change. It
• 45:42
  Speaker 2: is the most sloppily made thing. And then the narration
• 45:45
  Speaker 2: itself just sounds like he sat in front of his
• 45:48
  Speaker 2: computer for three hours and just recorded this thing straight
• 45:51
  Speaker 2: through and did not edit it at all. There's a
• 45:55
  Speaker 2: moment where the narration makes a factual error and instead
• 46:00
  Speaker 2: of editing that out like you would do for a
• 46:03
  Speaker 2: documentary that you are selling for money.
• 46:05
  Speaker 1: Oh is he Stanley Cooper, he's supposed to do and
• 46:08
  Speaker 1: he's not a perfectionist. So instead instead of removing the
• 46:12
  Speaker 1: factual error from the narration, he puts up a text
• 46:17
  Speaker 1: correction on the screen over the picture that is accompanying
• 46:20
  Speaker 1: the narration that includes the words my bad. Wow.
• 46:29
  Speaker 2: There are so many There's.
• 46:30
  Speaker 1: Another moment where he's talking about I wonder if that
• 46:32
  Speaker 1: happens in the audio book.
• 46:34
  Speaker 2: I would love to know.
• 46:36
  Speaker 1: Uh.
• 46:36
  Speaker 2: There's moments where that's why I was wondering about the
• 46:39
  Speaker 2: book is like, is there does he like cross out
• 46:42
  Speaker 2: sections and say no, no, no, wait, my bad, my bad.
• 46:45
  Speaker 2: There's a moment where he's talking about a line of
• 46:48
  Speaker 2: dialogue in a clockwork orange that Alex is saying, and
• 46:52
  Speaker 2: he says, uh, he says this to Pete or Georgie.
• 46:57
  Speaker 2: I don't know, I can't remember, And I'm like, edit it,
• 47:00
  Speaker 2: look it up and edit it. Yeah, and and go
• 47:02
  Speaker 2: back in and and add in what who he's saying
• 47:04
  Speaker 2: it to. You are the master of this domain. You
• 47:08
  Speaker 2: can you can alter the narrative how you see fit.
• 47:12
  Speaker 1: You can documentaries work.
• 47:14
  Speaker 2: Yeah, Like you can just go in and edit out
• 47:17
  Speaker 2: where you fucked up and edit in the right thing.
• 47:20
  Speaker 2: You don't have to do this all in one take.
• 47:22
  Speaker 2: It's really it's an astounding thing to watch. It's it's
• 47:24
  Speaker 2: one of the worst things I've ever watched that isn't
• 47:27
  Speaker 2: just hate speech.
• 47:28
  Speaker 1: And I do kind of wonder, especially going back to
• 47:32
  Speaker 1: the part about leaving out that these other people who
• 47:38
  Speaker 1: have pushed this theory were citing a comedy article. What
• 47:42
  Speaker 1: was their theory and are they credited? Are they the
• 47:47
  Speaker 1: ones who found these symbols?
• 47:49
  Speaker 2: Yeah?
• 47:50
  Speaker 1: Like it's there is there also some ancient Internet article
• 47:56
  Speaker 1: where fucking Clyde Lewis laid all this out, and this
• 47:59
  Speaker 1: guy's just like, well.
• 48:00
  Speaker 2: That's the whole, because that's this guy puts out so
• 48:02
  Speaker 2: much content it's insane. I went to his website. It's
• 48:06
  Speaker 2: is and like a man like this guy should be
• 48:09
  Speaker 2: on a watch list.
• 48:10
  Speaker 1: Like what people say, we put out a lot of content,
• 48:13
  Speaker 1: and for a podcast network, we really don't. Yeah, like
• 48:17
  Speaker 1: we put out like ten episodes a week. There's like
• 48:19
  Speaker 1: fucking All Things Comedy has like fifty some shows right
• 48:22
  Speaker 1: on its network. Like we're relatively small. This dude is
• 48:25
  Speaker 1: literally one fucking person. Yeah, and he is cranking out
• 48:29
  Speaker 1: the texts and in this case this feels like in
• 48:34
  Speaker 1: podcasts also yeah, and I'm just saying it feels like
• 48:39
  Speaker 1: this is probably detective work the Internet did at some
• 48:44
  Speaker 1: point all round.
• 48:45
  Speaker 2: Absolutely, that's the whole. All conspiracy media is just that
• 48:50
  Speaker 2: is just regurgitating. Like that's what conspiracy theorists as a brand,
• 48:56
  Speaker 2: like thrive On is just like this guy said this,
• 48:58
  Speaker 2: and or someone said. It's never a specific prison. It's
• 49:01
  Speaker 2: always some people say, or someone said or this and this. Yeah,
• 49:06
  Speaker 2: that's what Like, I think that's what people expect from
• 49:09
  Speaker 2: conspiracy media, is no first person evidence seeking. It's always secondhand. Yes,
• 49:17
  Speaker 2: And so some of the other symbols. One of the symbols.
• 49:21
  Speaker 1: They talk about is the moon. Yeah, space movie. Man,
• 49:25
  Speaker 1: it's gonna be the moon, is't it. You're gonna want
• 49:27
  Speaker 1: a little moon in your space movie?
• 49:29
  Speaker 2: Do you what if that's all? What if every if you're.
• 49:33
  Speaker 1: Trying to alert the world to an Illuminati agenda?
• 49:37
  Speaker 2: Yeah, what if every movie that includes the moon in
• 49:41
  Speaker 2: it is about the Illuminati?
• 49:44
  Speaker 1: Well, the Illuminati did figure out that, Like they decided
• 49:48
  Speaker 1: how far the Moon is from the Earth and how
• 49:53
  Speaker 1: far the Sun is from the Earth, right right, And
• 49:56
  Speaker 1: that's why all of their symbols and all their numerology
• 50:01
  Speaker 1: is related to those distances, okay, and not the other
• 50:04
  Speaker 1: way around them. They definitely didn't scientifically figure that out
• 50:09
  Speaker 1: a long, long, long time before the Illuminatis found it
• 50:12
  Speaker 1: in like seventeen ninety seven. You've answered my question, like
• 50:16
  Speaker 1: the fucking nineteen ninety five of Old Times. It's not
• 50:19
  Speaker 1: that long ago. All the shit they based their symbols on.
• 50:23
  Speaker 1: People have been basing their symbols on in civilizations and
• 50:28
  Speaker 1: groups for eternity.
• 50:31
  Speaker 2: Yeah, humans love symbols.
• 50:33
  Speaker 1: You're gonna see an all seeing eye or two in
• 50:36
  Speaker 1: your travels throughout the world.
• 50:38
  Speaker 2: I did love.
• 50:38
  Speaker 1: One of my favorite things that he talks about is
• 50:42
  Speaker 1: how on the clockwork orange poster, it's like the he's
• 50:45
  Speaker 1: inside the triangle and then there's the other triangle and
• 50:49
  Speaker 1: there's the the iye that's on his sleeve rests at
• 50:52
  Speaker 1: the pinnacle of the triangle.
• 50:54
  Speaker 2: Oh sure, except it doesn't. It rests to the side
• 50:59
  Speaker 2: of the pinnacle of the triangle, which, as far as
• 51:02
  Speaker 2: I am aware, is not an illuminatus panicle.
• 51:05
  Speaker 1: I say pinnacle.
• 51:07
  Speaker 2: It's just this again, it's just so sloppy logic of
• 51:10
  Speaker 2: just like well, I mean, but look, it's close. It's
• 51:13
  Speaker 2: pretty close there. It is next to the top of
• 51:17
  Speaker 2: a triangle, which I mean, you can't get much clearer
• 51:20
  Speaker 2: than that, and it like and I.
• 51:23
  Speaker 1: Get it, Like I've I have the my my ace
• 51:26
  Speaker 1: of Basse theory. Sure as Base was a Nazi band,
• 51:30
  Speaker 1: and I feel like some of the evidence there is
• 51:33
  Speaker 1: pretty fucking concrete and then there's some where like I
• 51:37
  Speaker 1: could make the argument, but do I want to do?
• 51:39
  Speaker 1: I want to be like, look, a blue flower there's
• 51:42
  Speaker 1: this fucking fascist group in the Netherlands that uses blue flowers,
• 51:46
  Speaker 1: and it's like, all right, yeah, you're trying to pad
• 51:48
  Speaker 1: out your book now or something. I mean yeah, but
• 51:50
  Speaker 1: it's like that, like these are all leaps and they're
• 51:54
  Speaker 1: all like, all of these symbols have been used in
• 51:57
  Speaker 1: so many other situations.
• 52:00
  Speaker 2: And have so many other meanings that relate to the
• 52:04
  Speaker 2: story being told more than the Illuminati relates to None
• 52:10
  Speaker 2: of these movies, and it should is important to be
• 52:12
  Speaker 2: said in case people maybe aren't aware of Kubrick's filmography.
• 52:18
  Speaker 2: None of these movies, with the exception of one, has
• 52:21
  Speaker 2: anything to do with the Illuminati at all period. On
• 52:26
  Speaker 2: a textual level, they are about a spaceman and a
• 52:30
  Speaker 2: bad boy and a really bad man who beats his family. Yeah,
• 52:36
  Speaker 2: and that's it. That's what those are about. And Eyes
• 52:40
  Speaker 2: White Shut is about mostly about a marriage and mostly
• 52:43
  Speaker 2: about this terrible relationship that falls apart. But it does
• 52:48
  Speaker 2: definitely deal with secret societies of elites who meet and
• 52:52
  Speaker 2: do deprave things in secret, which sure that is Illuminati esque.
• 52:57
  Speaker 2: I will give you that. I think that's ended. But
• 53:01
  Speaker 2: it's amazing how much more time he spends on the
• 53:04
  Speaker 2: things that don't have anything to do with and we're
• 53:07
  Speaker 2: you know, all of these symbols have other meanings within
• 53:09
  Speaker 2: the text.
• 53:10
  Speaker 1: Yeah, we've been doing episode recaps of Ancient Aliens. We're
• 53:20
  Speaker 1: still I think I still want to have you do one.
• 53:23
  Speaker 2: I'm down.
• 53:24
  Speaker 1: I'm kind of dedicated to getting through all fourteen seasons.
• 53:30
  Speaker 1: But also it's the same sort of thing where as
• 53:33
  Speaker 1: soon as I started looking into it, there was one
• 53:37
  Speaker 1: thing where I was like, ah fuck. And with Ancient Aliens,
• 53:40
  Speaker 1: it was this like creeping realization that this is kind
• 53:44
  Speaker 1: of some white supremacistion.
• 53:45
  Speaker 2: Absolutely it's what it's doing.
• 53:48
  Speaker 1: Like in the case of Ancient Aliens itself, I feel
• 53:52
  Speaker 1: like they're trying to put a conspiracy theory stink on
• 53:57
  Speaker 1: the Eastern version of of these civilization's histories and cultures,
• 54:04
  Speaker 1: because a lot of what Ancient Aliens does is they
• 54:08
  Speaker 1: present the a version of history that doesn't necessarily correspond
• 54:13
  Speaker 1: with Western historians. But like we know how history has worked,
• 54:18
  Speaker 1: Like our textbooks we read in school omitted a lot
• 54:21
  Speaker 1: of black history and why by accident, Like was that
• 54:27
  Speaker 1: just oh sorry oversight for God? God? A lot of
• 54:31
  Speaker 1: black people did things, and like we know the people
• 54:36
  Speaker 1: in charge of teaching us history have had an active
• 54:41
  Speaker 1: role in kind of not being genuine about that history. Absolutely,
• 54:46
  Speaker 1: And what something like Ancient Aliens does is it like,
• 54:49
  Speaker 1: if you start looking into that history, you're gonna hit
• 54:51
  Speaker 1: this ancient alien theory where it's like, all right, well,
• 54:55
  Speaker 1: you're just trying to discredit another civilization. But also when
• 54:59
  Speaker 1: I had that thought on that first episode, I was like,
• 55:02
  Speaker 1: I'm gonna look into that a little bit more. And
• 55:04
  Speaker 1: that night I google Ancient Aliens, white supremacy, and the
• 55:08
  Speaker 1: first fucking thing that comes up is a very little
• 55:13
  Speaker 1: mentioned aspect of ancient alien theory, which is the white
• 55:17
  Speaker 1: gods theory, which is that these extraterrestrial visitors weren't just
• 55:23
  Speaker 1: extraterrestrial visitors. They were noble, omniscient white people who came
• 55:29
  Speaker 1: down and gave every ancient civilization the tools they needed
• 55:34
  Speaker 1: to build and succeed. And it's like, fuck you, yeah, absolutely,
• 55:39
  Speaker 1: I know what you're trying to do. Yeah, Like that
• 55:42
  Speaker 1: is like you look at the financial disclosures on that study,
• 55:47
  Speaker 1: it's gonna say this doctor is funded by white supremacy.
• 55:50
  Speaker 2: Yeah, I would say that it's essentially racist at its core. Uh,
• 55:56
  Speaker 2: And it is also based on these same leaps in
• 55:59
  Speaker 2: logic that apply fictional beliefs to things that sound on
• 56:07
  Speaker 2: the surface logical, which when you think about it for
• 56:11
  Speaker 2: one second, Like, like I said, they did play an
• 56:12
  Speaker 2: the clip of Ancient Aliens in this movie, sure towards
• 56:15
  Speaker 2: the very beginning, which is my first prolonged exposure to
• 56:18
  Speaker 2: the Ancient Aliens TV show, And it was exactly like
• 56:23
  Speaker 2: I thought it would be.
• 56:24
  Speaker 1: I didn't expect it, Like I did a podcast about
• 56:27
  Speaker 1: Nirvana and I went in feeling one way about Kurt
• 56:30
  Speaker 1: Cobain and came out feeling a very different way, Like
• 56:32
  Speaker 1: I still love the music, but Kirt Cobain was a
• 56:35
  Speaker 1: fucking sketchy character, sure in a lot of ways, and
• 56:38
  Speaker 1: I didn't expect Ancient Aliens to be that. Like the
• 56:42
  Speaker 1: first time I watched Ancient Aliens, that part didn't really
• 56:44
  Speaker 1: register with me. So I was just like, ooh, yeah, interesting.
• 56:48
  Speaker 1: And now it's like twenty nineteen and fucking watching it now,
• 56:52
  Speaker 1: I'm like, I get what you're doing. Sure, I get
• 56:55
  Speaker 1: what you're fucking doing, and I don't like it.
• 56:57
  Speaker 2: And I just mean on like a technical level, like
• 56:59
  Speaker 2: it I watch a bunch of like Sci Fi Channel
• 57:01
  Speaker 2: and stuff like basic cable stuff and the nonfiction things
• 57:06
  Speaker 2: they all have. All the nonfiction basic cable stuff all
• 57:09
  Speaker 2: has this kind of same vibe to it, especially from
• 57:12
  Speaker 2: like the mid two thousands, and it was very much
• 57:14
  Speaker 2: that for this ancient aliens and they were making like
• 57:18
  Speaker 2: the clip that they included was talking about could humankind
• 57:22
  Speaker 2: be have evolved from aliens? And will we be are
• 57:26
  Speaker 2: we evolving to look like the gray aliens? And I'm like, well,
• 57:31
  Speaker 2: we don't know what the aliens look like, so probably
• 57:38
  Speaker 2: it's kind of tough to make that call. Man, we
• 57:41
  Speaker 2: don't We have no clue what aliens look like. And
• 57:45
  Speaker 2: even if they are gray aliens like our description, we
• 57:47
  Speaker 2: don't know what that means, like what that in, Like,
• 57:50
  Speaker 2: we don't know how accurate sketches are even if they
• 57:53
  Speaker 2: did see an alien.
• 57:54
  Speaker 1: And do you know how fucking long that would take anyway?
• 57:57
  Speaker 1: So long do you have a shit?
• 57:58
  Speaker 2: Yeah? Well? And also, man, we also really look like apes.
• 58:02
  Speaker 2: Yeah I wonder why. Yeah, it's crazy how we just
• 58:07
  Speaker 2: look like monkeys.
• 58:08
  Speaker 1: Yeah. I feel like if I had longer arms, I
• 58:11
  Speaker 1: could walk a completely different way.
• 58:13
  Speaker 2: Oh absolutely, And like you know, it just seems like
• 58:17
  Speaker 2: maybe that's a little bit of an easier leap to
• 58:19
  Speaker 2: make that. Then this hypothetical species we are related to
• 58:26
  Speaker 2: looks like us and we are evolving to look like them.
• 58:29
  Speaker 1: Yeah, it's this is just another theory that I don't
• 58:34
  Speaker 1: I don't fucking trust the motives here. Like it it.
• 58:37
  Speaker 1: I don't like associating all of these symbols that are
• 58:42
  Speaker 1: so ubiquitous, like like the all seeing eye, the sun,
• 58:47
  Speaker 1: the moon.
• 58:48
  Speaker 2: Yeah, the moon, the sun and the moon. Oh, those
• 58:50
  Speaker 2: Illuminati scenes.
• 58:51
  Speaker 1: Yeah, and you see they don't have any other meaning
• 58:53
  Speaker 1: in this book is like, well, I mean this for
• 58:55
  Speaker 1: people to look into these things further. It's like you
• 58:59
  Speaker 1: look into it for yeah, and point out that, hey,
• 59:02
  Speaker 1: you know who else uses the moon in their symbology? Everybody?
• 59:07
  Speaker 1: Literally everyone, like even the United States, I'm sure has
• 59:10
  Speaker 1: military patches with the fucking moon.
• 59:12
  Speaker 2: Sure we landed on the moon. Yeah, I mean supposedly,
• 59:17
  Speaker 2: just asking questions. I'm trying to think we're so. He
• 59:21
  Speaker 2: also part one of this movie was all it was
• 59:25
  Speaker 2: titled two thousand and one A Space out the Sea,
• 59:27
  Speaker 2: and he talked about two thousand and one A Cockergrange Eyes,
• 59:31
  Speaker 2: White Shut in the Shining. Then part two was just
• 59:34
  Speaker 2: called The Shining, and then part three was called Eyes
• 59:37
  Speaker 2: Wide Shut. Why even divide it? I honestly don't know.
• 59:40
  Speaker 2: It's yeah pointless. Also, the the parts got progressively shorter.
• 59:45
  Speaker 1: As the movie went on, which is ironic because The
• 59:48
  Speaker 1: Shining has its own, like, yeah, two to three hour
• 59:52
  Speaker 1: documentary about all the different theories.
• 59:55
  Speaker 2: And all the stuff from The Shining is just like,
• 59:57
  Speaker 2: even by the standards of this theory, total garbage. Yeah,
• 1:00:02
  Speaker 2: because it's.
• 1:00:03
  Speaker 1: Stuff like, oh, Danny Torrence had the fucking Apollo eleven
• 1:00:07
  Speaker 1: T shirt.
• 1:00:07
  Speaker 2: It's like, so what, Yeah, he's a kid in the seventies.
• 1:00:10
  Speaker 1: Yeah, fucking like, what does that happened?
• 1:00:12
  Speaker 2: There's this whole like, there's at least ten minutes that
• 1:00:15
  Speaker 2: he spends on food that you see in the background
• 1:00:19
  Speaker 2: of one shot when they're in the hotel pantry. And
• 1:00:24
  Speaker 2: I just couldn't believe that this hotel pantry would have
• 1:00:27
  Speaker 2: all this food in it.
• 1:00:28
  Speaker 1: That was just shocking.
• 1:00:29
  Speaker 2: All this food from the seventies that has questionable labels,
• 1:00:33
  Speaker 2: really surprised. Who could have thought that this movie from
• 1:00:35
  Speaker 2: the seventies that's set in a hotel pantry and has
• 1:00:38
  Speaker 2: a pantry in it would include so many different foods,
• 1:00:41
  Speaker 2: like so much of There's one moment where he's talking about, uh,
• 1:00:45
  Speaker 2: he loves to talk about the Luciferian androgyny symbolism, which
• 1:00:51
  Speaker 2: is just straight up transphobia, just pure transphobia. And there's
• 1:00:54
  Speaker 2: one moment where he's talking about Wendy Carlos, who was
• 1:00:58
  Speaker 2: the composer for both Clockwork Orange and The Shining and
• 1:01:05
  Speaker 2: she later transitioned in life and was a very an early,
• 1:01:10
  Speaker 2: like public out trans person. Yeah, and he go and
• 1:01:13
  Speaker 2: at one point he says, now, I'm not saying that, uh,
• 1:01:18
  Speaker 2: that she that this happened because of occult ideology, but
• 1:01:22
  Speaker 2: but it's just kind of left hanging out like, well,
• 1:01:25
  Speaker 2: fuck you, man, like seriously, fuck you.
• 1:01:27
  Speaker 1: And if it, if it hasn't already happened, I feel
• 1:01:30
  Speaker 1: like that's where a lot of uh, where a lot
• 1:01:35
  Speaker 1: of this transhuman agenda stuff is going on. I feel
• 1:01:40
  Speaker 1: like at some point he's he's gonna be like, well,
• 1:01:43
  Speaker 1: you know, trans people, that's so trying to soften you up.
• 1:01:47
  Speaker 2: I'm absolutely positive that that's already a thing that he
• 1:01:50
  Speaker 2: talks about, because he's got this one of the pictures
• 1:01:52
  Speaker 2: that I found of him online and which led me
• 1:01:55
  Speaker 2: to his website is him talking about uh drag performers,
• 1:02:00
  Speaker 2: the VMAs and what Illuminati agenda that is, but also
• 1:02:05
  Speaker 2: regarding the lucifery and androgyny. In Stanley Kubrick's The Shining,
• 1:02:11
  Speaker 2: there's a moment where he talks about and you know
• 1:02:13
  Speaker 2: in the bathroom here you have two sinks, a men's
• 1:02:18
  Speaker 2: sink and a woman sink, and then you have the
• 1:02:21
  Speaker 2: male toilet and the female bidet. And I'm like, oh, yeah, yeah, absolutely.
• 1:02:27
  Speaker 1: Sure, dude, the female beday.
• 1:02:29
  Speaker 2: Yes, I think he thinks that women, He like, just
• 1:02:34
  Speaker 2: use beidets for women exactly. Wow, that was the impression
• 1:02:40
  Speaker 2: that I got from what he was saying.
• 1:02:41
  Speaker 1: Please don't bidets. That would be horrifying for the person
• 1:02:44
  Speaker 1: who is correctly definitely them.
• 1:02:49
  Speaker 2: Just it's full of that kind of thing.
• 1:02:51
  Speaker 1: Yeah, And he talks about how the monolith stone from
• 1:02:56
  Speaker 1: which is a pretty important aspect of the movie, it's
• 1:03:00
  Speaker 1: made from loosite. Yeah, and this is an actual quote.
• 1:03:04
  Speaker 1: The Monoliths Stone from two thousand and one was made
• 1:03:07
  Speaker 1: from leosite, a patented form of plexiglass. I'd like to
• 1:03:11
  Speaker 1: go out on a limb and toss out the idea
• 1:03:15
  Speaker 1: that this closely resembles the name of Lucifer, the light Bearer.
• 1:03:19
  Speaker 1: Of course, Lucifer is the evil presence who provides the
• 1:03:23
  Speaker 1: sin that lures mankind into violent behaviors, like the apes,
• 1:03:28
  Speaker 1: drawing the analogous nature of the stone with Lucifer himself. Yeah,
• 1:03:32
  Speaker 1: but also Loosite was in so many movie sets of
• 1:03:37
  Speaker 1: that nature at the time because it looks cool.
• 1:03:40
  Speaker 2: Yeah it's black.
• 1:03:41
  Speaker 1: Yeah, it's black, and it's shining and.
• 1:03:43
  Speaker 2: Shiny in that big slab looks imposing an alien when
• 1:03:47
  Speaker 2: it's imposed against primitive beings.
• 1:03:51
  Speaker 1: And probably a lot easier to construct for a movie
• 1:03:56
  Speaker 1: than I don't know, a solid piece of granite.
• 1:03:59
  Speaker 2: Ye. In the original book, it's like clear is the
• 1:04:02
  Speaker 2: idea with things inside. I don't know. I haven't read
• 1:04:05
  Speaker 2: the original two thousand and one book. Yeah, he's obsessed
• 1:04:08
  Speaker 2: with Lucifer. At some point he's like, I can't even
• 1:04:12
  Speaker 2: remember what he's talking about this point, but he says,
• 1:04:14
  Speaker 2: you know, some people think that means Lucifer, and others
• 1:04:18
  Speaker 2: say it means nothing at all, which goes into the
• 1:04:21
  Speaker 2: whole Lucifer thing.
• 1:04:22
  Speaker 1: If you you know, so, how do you tell yeah,
• 1:04:26
  Speaker 1: how would you take take that?
• 1:04:27
  Speaker 2: How you will? Uh? It's absolutely Uh, this guy is
• 1:04:32
  Speaker 2: just a fucking moron. I really, that's my main conclusion
• 1:04:34
  Speaker 2: from this entire thing is this guy is a total
• 1:04:38
  Speaker 2: idiot who just has got this idea in his head,
• 1:04:43
  Speaker 2: is doing everything he can to back it up, and
• 1:04:46
  Speaker 2: it never makes any sense.
• 1:04:47
  Speaker 1: The thing, I don't think he believes this, and I
• 1:04:51
  Speaker 1: don't think he has I don't know.
• 1:04:53
  Speaker 2: It's hard to tell.
• 1:04:54
  Speaker 1: I it comes off to me like someone who doesn't
• 1:04:57
  Speaker 1: believe it but is too scared of what his audience
• 1:05:01
  Speaker 1: would think if he said that. Right, So he's just like,
• 1:05:04
  Speaker 1: I'm just I'm just presenting it as the facts are.
• 1:05:08
  Speaker 1: And it's like, well, a lot of this has probably
• 1:05:10
  Speaker 1: already been presented. We don't necessarily need that. But also
• 1:05:14
  Speaker 1: like I don't I don't know. I just I don't
• 1:05:18
  Speaker 1: trust it.
• 1:05:19
  Speaker 2: No, I don't trust it at all. Also I do.
• 1:05:22
  Speaker 2: I did want to talk a little bit about eyes
• 1:05:24
  Speaker 2: wide shut, which is like, it's what he's they're saying
• 1:05:27
  Speaker 2: is like the straw that broke the camel's back. That's
• 1:05:30
  Speaker 2: the one where the illumni is like, nah, man, no, man,
• 1:05:33
  Speaker 2: you've gone way too far. We got it. We got
• 1:05:35
  Speaker 2: it in this uh. And one of the one of
• 1:05:39
  Speaker 2: the things in this in this this is the text.
• 1:05:42
  Speaker 1: This is the one where he's like, this is it?
• 1:05:44
  Speaker 1: This is this is where he revealed too much. Uh.
• 1:05:46
  Speaker 2: He talks multiple times about Nicole Kidman's possible premonition abilities
• 1:05:52
  Speaker 2: in the film because he because Tom Cruise can't find
• 1:05:56
  Speaker 2: his wallet in one scene, and she knows that he
• 1:05:59
  Speaker 2: should look by the side table. Okay, Yeah, that's definitely psychic. Yeah,
• 1:06:04
  Speaker 2: and not just a wife knowing about what her husband
• 1:06:07
  Speaker 2: would do in that scene.
• 1:06:09
  Speaker 1: Yeah, that's pretty clear evidence that Nicole Kidman was psychic
• 1:06:13
  Speaker 1: in that.
• 1:06:14
  Speaker 2: And then my favorite moment about eyes wide shut is
• 1:06:18
  Speaker 2: during the party scene, one of the many orgy parties,
• 1:06:24
  Speaker 2: he's talking about an example of reptilian shape shifting in
• 1:06:29
  Speaker 2: the film. This seems, Oh man, I can't wait to
• 1:06:32
  Speaker 2: see what the evidence for this is. And he says,
• 1:06:35
  Speaker 2: in one shot, there's this woman walking with this guy
• 1:06:38
  Speaker 2: who's got this scarlet red dress. Does the scarlet mean anything?
• 1:06:41
  Speaker 2: Who knows?
• 1:06:41
  Speaker 1: I don't know.
• 1:06:41
  Speaker 2: I'm just you never know, you know, you know, that
• 1:06:43
  Speaker 2: could be relating to the horror of Babylon or whatever.
• 1:06:46
  Speaker 2: But you know, in one shot there's this woman in
• 1:06:49
  Speaker 2: the red dress. In another shot she seems to have
• 1:06:52
  Speaker 2: turned into a completely different person.
• 1:06:56
  Speaker 1: What that is cot R in a movie?
• 1:07:00
  Speaker 2: I know that couldn't possibly be a continuity error. It's
• 1:07:04
  Speaker 2: much too purposeful. It definitely isn't just they were filming
• 1:07:07
  Speaker 2: this fucking party. Yeah, and they didn't have the exact
• 1:07:11
  Speaker 2: right people in the same spot.
• 1:07:13
  Speaker 1: So you mean two women both wore the same color
• 1:07:18
  Speaker 1: dress to that party, and no one's let it slip
• 1:07:22
  Speaker 1: for this long.
• 1:07:24
  Speaker 2: So that's their big that's one of the big things
• 1:07:27
  Speaker 2: in this straw that broke the camel's back.
• 1:07:29
  Speaker 1: Yeah, like this guy's this guy's trolling conspiracy theorists.
• 1:07:34
  Speaker 2: But like, I don't know, man, I he seems like
• 1:07:38
  Speaker 2: he could believe it. Who knows. It's just it's just
• 1:07:42
  Speaker 2: there's so much that it's just catastrophically stupid.
• 1:07:46
  Speaker 1: It's Yeah, that's the thing I got. Like I said,
• 1:07:49
  Speaker 1: I wanted to do an episode about every movie, so
• 1:07:52
  Speaker 1: I was like, I'm just gonna there's not enough. Yeah,
• 1:07:54
  Speaker 1: there's not enough. And it's not like.
• 1:07:56
  Speaker 2: Even he ran out of stuff to talk about once
• 1:07:58
  Speaker 2: he got past It's not Compound two thousand and one,
• 1:08:01
  Speaker 2: and like the clockor Gorne stuff didn't make any sense.
• 1:08:04
  Speaker 2: I couldn't make heads or tails of what he was
• 1:08:06
  Speaker 2: trying to say. The imagery in Clockorgornge meant. I think
• 1:08:10
  Speaker 2: it had something to do with MK ultra stuff, which
• 1:08:15
  Speaker 2: again not an Illuminati thing. Not an Illuminati thing, US
• 1:08:19
  Speaker 2: government thing. I mean, unless you're using the broadest possible
• 1:08:23
  Speaker 2: like definition of Illuminati. I guess what he is and
• 1:08:27
  Speaker 2: he is, yeah, yeah, like and it he could be
• 1:08:32
  Speaker 2: talking about. There's just no evidence. There's no evidence. I
• 1:08:36
  Speaker 2: just keep breaking down when it comes to this because
• 1:08:38
  Speaker 2: I you know again, you know, I like these movies.
• 1:08:40
  Speaker 2: They're good movies, and they are insanely deep and so
• 1:08:46
  Speaker 2: rich with meaning you can it's so fun to dive
• 1:08:51
  Speaker 2: into a Kubrick movie and really think about.
• 1:08:54
  Speaker 1: AOA fans who helped guide our.
• 1:08:58
  Speaker 2: History exactly and the Illuminati. No, but it's just like
• 1:09:02
  Speaker 2: fucking the things that he's talking about in this movie
• 1:09:05
  Speaker 2: and the symbols that he does actually use are so
• 1:09:08
  Speaker 2: rich and so interesting, and I love to think about them,
• 1:09:13
  Speaker 2: and I would love to watch these movies. Yeah, And
• 1:09:16
  Speaker 2: this is like trying its absolute best to ruin these movies,
• 1:09:21
  Speaker 2: like from an intellectual standpoint and make them seem so
• 1:09:26
  Speaker 2: simple and basic, right, Like this is all like you
• 1:09:31
  Speaker 2: would think a conspiracy theory would be adding complexity to
• 1:09:34
  Speaker 2: a subject, whereas there's no complexity here. This is all
• 1:09:38
  Speaker 2: just everything means the Illuminati. That's it. That's all. It is.
• 1:09:42
  Speaker 2: This thing that you thought meant something else, it means
• 1:09:44
  Speaker 2: the Illuminati. This other thing, it means the Illuminati. Jack
• 1:09:47
  Speaker 2: Nicholson being in this movie Illuminati.
• 1:09:49
  Speaker 1: Like I'm telling you, the Illuminati is a brand. The
• 1:09:54
  Speaker 1: Illuminati is fucking supreme. Like they are a fucking label
• 1:10:01
  Speaker 1: the government puts on shit so they can get away
• 1:10:03
  Speaker 1: with whatever the fuck they want. And the people who
• 1:10:07
  Speaker 1: would actually maybe look into it just go the Illuminati
• 1:10:10
  Speaker 1: and it's like, now it's just the guy. It's just
• 1:10:12
  Speaker 1: our government is doing bad things. I don't think even
• 1:10:15
  Speaker 1: that is like what's going on here?
• 1:10:18
  Speaker 2: This is just this is just a person with some
• 1:10:21
  Speaker 2: sort of undiagnosed obsessive disorder who I think he's.
• 1:10:26
  Speaker 1: Just motivated by wanting to make money.
• 1:10:29
  Speaker 2: But like, there are easier ways to make money on
• 1:10:31
  Speaker 2: this stuff than writing a whole less book and doing
• 1:10:36
  Speaker 2: a three hour movie. Like, yeah, there's way easier ways, man,
• 1:10:39
  Speaker 2: you could charge. You could probably charge the same amount
• 1:10:42
  Speaker 2: for an hour long movie.
• 1:10:43
  Speaker 1: That's true.
• 1:10:44
  Speaker 2: This is what I'm saying, Like it takes some sort
• 1:10:48
  Speaker 2: of strange compulsion to make you do a three hour
• 1:10:54
  Speaker 2: three hours that's bullshit. It Yeah, like you have to
• 1:11:03
  Speaker 2: like say, like I'll you know, I've said plenty about
• 1:11:06
  Speaker 2: this guy, but he definitely has an encyclopedic knowledge of
• 1:11:11
  Speaker 2: dumb shit that doesn't exist. Like he absolutely knows back
• 1:11:16
  Speaker 2: and forth all of the fake symbols and shit that
• 1:11:19
  Speaker 2: he is reading into this movie right, Like he has
• 1:11:23
  Speaker 2: done the research, even if it's from bad sources.
• 1:11:27
  Speaker 1: But even then, like a lot of this that's that's
• 1:11:30
  Speaker 1: part of what I'm getting at the symbols. Like I
• 1:11:33
  Speaker 1: read an article once that put forth the idea that
• 1:11:36
  Speaker 1: the way to win on Jeopardy when you're doing the
• 1:11:40
  Speaker 1: research ahead of time, you don't have to know everything
• 1:11:43
  Speaker 1: about every field. You have to know the basics right
• 1:11:46
  Speaker 1: about as many fields as you can. And like it
• 1:11:50
  Speaker 1: feels like like it feels like that, like yeah, it's
• 1:11:54
  Speaker 1: just like the basics And he wants to, I don't know,
• 1:11:57
  Speaker 1: be the guy who compiles the basics and is like.
• 1:12:00
  Speaker 2: But again, there's so many other sources for that. That's
• 1:12:02
  Speaker 2: all that conspiracy theories are Yeah, is compiling the basics
• 1:12:07
  Speaker 2: and putting everything into some sort of order like it
• 1:12:11
  Speaker 2: really is. I'm surprised that this thing is made money.
• 1:12:15
  Speaker 2: I don't know how much money he's made off of this.
• 1:12:17
  Speaker 2: Who knows. There's no way he's releasing those numbers.
• 1:12:19
  Speaker 1: He was on Dave Navarro's podcast. I've never been on
• 1:12:23
  Speaker 1: Dave Navarro's podcast.
• 1:12:26
  Speaker 2: Can I like I'll.
• 1:12:27
  Speaker 1: Get a tattoo? I think? Has me on his conspiracy
• 1:12:30
  Speaker 1: theory podcast.
• 1:12:31
  Speaker 2: You know, I've seen Dave Navarro play music live, and
• 1:12:34
  Speaker 2: I will say I think they both put the same
• 1:12:37
  Speaker 2: amount of effort into the quality of their work as
• 1:12:41
  Speaker 2: as as each other. Because David Barrow I saw them.
• 1:12:44
  Speaker 2: I saw him play during With Jane's Addiction, and uh,
• 1:12:48
  Speaker 2: it was the laziest guitar playing I've ever seen in
• 1:12:51
  Speaker 2: my entire life.
• 1:12:52
  Speaker 1: Yeah, I don't think I've ever seen Dave Navarro live.
• 1:12:55
  Speaker 2: It was so bad, but just a guy listlessly, like
• 1:12:59
  Speaker 2: staring off into the middle distance, like probably, yeah, I sure,
• 1:13:06
  Speaker 2: who knows? I'm sure I know is that his guitar
• 1:13:09
  Speaker 2: playing was as sloppy as the editing and narration on
• 1:13:13
  Speaker 2: that fucking.
• 1:13:13
  Speaker 1: Movie I watched. Maybe that's why he had the guy
• 1:13:15
  Speaker 1: on the podcast.
• 1:13:16
  Speaker 2: And like, yeah, I feel like I don't know, if
• 1:13:20
  Speaker 2: he was just doing it for money, it could be better,
• 1:13:22
  Speaker 2: Like it would be more interesting to watch. It wouldn't
• 1:13:26
  Speaker 2: just be catering to the hardcourt conspiracy crowd. It'd be
• 1:13:29
  Speaker 2: like that shitty Room two three seven documentary, which I
• 1:13:32
  Speaker 2: did not like.
• 1:13:33
  Speaker 1: I didn't. I turned it off. I tried to watch it.
• 1:13:35
  Speaker 1: It is a few months or maybe like last year
• 1:13:38
  Speaker 1: or something, and I didn't get that far into it.
• 1:13:40
  Speaker 2: It's almost as stupid as this. But the thing that
• 1:13:43
  Speaker 2: it has is it it also talks to other people
• 1:13:45
  Speaker 2: besides conspiracy theorists, so you know, and it's got a
• 1:13:49
  Speaker 2: stylistic thing going for it. But this is like shittier
• 1:13:53
  Speaker 2: Room two three seven, but with other stuff.
• 1:13:56
  Speaker 1: Yeah, and the like the the thing about him having
• 1:14:00
  Speaker 1: like this encyclopedic knowledge, like what I was getting at
• 1:14:03
  Speaker 1: with the Jeopardy thing is like he only has to
• 1:14:06
  Speaker 1: know the real basics of Illuminati stuff and then you're
• 1:14:10
  Speaker 1: gonna see it everywhere, sure, yeah, because it's stuff like
• 1:14:13
  Speaker 1: triangles and right angles and can't believe this and eyes
• 1:14:19
  Speaker 1: and it's like, come on.
• 1:14:21
  Speaker 2: I think and I do think that Kubrick appeals to
• 1:14:23
  Speaker 2: these people because his movies are so perfectly composed and
• 1:14:28
  Speaker 2: are obsessed with right angles and with symmetry, which plays
• 1:14:33
  Speaker 2: into the syme. Like they're all obsessed with dualism and
• 1:14:36
  Speaker 2: symmetry and ship with all of these symbols. And yeah,
• 1:14:40
  Speaker 2: his movies have you can see that stuff because he
• 1:14:43
  Speaker 2: was a like photographer who is obsessed with framing things.
• 1:14:46
  Speaker 2: That was his whole deal.
• 1:14:48
  Speaker 1: So I don't know. Yeah, I'm sorry, Like, uh.
• 1:14:53
  Speaker 2: No, I think this is this has been interesting.
• 1:14:56
  Speaker 1: Well, we'll do We'll do a theory that I believe
• 1:14:58
  Speaker 1: again soon it.
• 1:14:59
  Speaker 2: Sure, this is definitely one of the dumbest fucking things
• 1:15:02
  Speaker 2: I've ever sat through.
• 1:15:04
  Speaker 1: If you're if you're home listening to this, angry that
• 1:15:07
  Speaker 1: I missed all the really compelling evidence that Stanley Kubrick
• 1:15:11
  Speaker 1: filmed moonlanding footage. Yeah, fucking hit me up. Uh, I
• 1:15:16
  Speaker 1: don't know, email me through the website. Sure, I guess
• 1:15:19
  Speaker 1: that's all I'm comfortable with these days. Don't fucking tweet
• 1:15:21
  Speaker 1: at me, don't don't don't talk to me about any
• 1:15:24
  Speaker 1: of this, don't tag me in your Instagram story. Oh no,
• 1:15:29
  Speaker 1: I won't watch uh, but email me through the on
• 1:15:33
  Speaker 1: Pop's website, and uh, if there's something I'm missing about,
• 1:15:38
  Speaker 1: are you out there Isaac wise hopped.
• 1:15:41
  Speaker 2: That was his last name, right, I don't know, is
• 1:15:44
  Speaker 2: Isaac something, Isaac Weisse something.
• 1:15:46
  Speaker 1: If you're out there listening and I'm just missing the
• 1:15:49
  Speaker 1: compelling part of the evidence that Stanley Kubrick just did
• 1:15:53
  Speaker 1: film fake moonlanding footage, I'm open to hearing it. The
• 1:15:57
  Speaker 1: Illuminati shit is not in sight.
• 1:16:00
  Speaker 2: Don't know what he could say that he didn't already
• 1:16:03
  Speaker 2: cover in his two hour and forty minute movies.
• 1:16:07
  Speaker 1: Yeah, he's had ample opportunity.
• 1:16:09
  Speaker 2: And a whole ass book and an audiobook, right, So
• 1:16:14
  Speaker 2: I mean, if that isn't the exhaustive chronicling of everything
• 1:16:21
  Speaker 2: that supports this theory, then again, and I've asked this
• 1:16:24
  Speaker 2: so many times while I was watching this, what was
• 1:16:28
  Speaker 2: the point? Yes, if it's not going to be if
• 1:16:32
  Speaker 2: you're not making an effort to make it seem professional,
• 1:16:35
  Speaker 2: if you're not making an effort to make it seem
• 1:16:38
  Speaker 2: uh completely airtight factually by not say, including mistakes in
• 1:16:44
  Speaker 2: the narration, Like, if you're not going through these effort,
• 1:16:48
  Speaker 2: then why even fucking do it?
• 1:16:50
  Speaker 1: And I think that we could That's always a good
• 1:16:55
  Speaker 1: question to ask about any conspiracy theory. Also, yeah, is
• 1:16:59
  Speaker 1: what is the point? And we mentioned to earlier that
• 1:17:05
  Speaker 1: I think you can answer what was the point? And
• 1:17:07
  Speaker 1: there was a fucking outcome that was achieved, which would
• 1:17:10
  Speaker 1: be Uh, if there was a cover up of Saudi
• 1:17:14
  Speaker 1: involvement in nine to eleven, we know what the point
• 1:17:17
  Speaker 1: would be. It would be to protect our allies exactly. Uh.
• 1:17:20
  Speaker 1: And also like like we know what the point would
• 1:17:24
  Speaker 1: be and we know the outcome is that, Yeah, we've
• 1:17:26
  Speaker 1: never implicated Saudi Arabia in doing that, and with the
• 1:17:30
  Speaker 1: JFK thing, we would know what the outcome was. Is
• 1:17:33
  Speaker 1: that history just decided Lee Harvey Oswald did it? And
• 1:17:37
  Speaker 1: why because the government wanted to cover it up. What's
• 1:17:40
  Speaker 1: the fucking point of this Stanley Kubrick thing.
• 1:17:42
  Speaker 2: I mean it's literally just like especially the Illuminati stuff,
• 1:17:46
  Speaker 2: which is just like.
• 1:17:47
  Speaker 1: Like, yeah, what is he trying Like who was supposed
• 1:17:51
  Speaker 1: to see this?
• 1:17:52
  Speaker 2: And yeah, is he trying to convince Is it.
• 1:17:55
  Speaker 1: Supposed to light a spark in someone to go take
• 1:17:57
  Speaker 1: down the Illuminati?
• 1:17:58
  Speaker 2: If these are supposed to be warnings, then why weren't
• 1:18:01
  Speaker 2: they clearer in the text instead of being symbols that
• 1:18:05
  Speaker 2: some lunatic has to dig through to apply meaning to
• 1:18:09
  Speaker 2: right in order to make this theory make sense.
• 1:18:12
  Speaker 1: And why would they wait until he was seventy eight
• 1:18:15
  Speaker 1: to kill him? That's what he's been doing his entire life, this, guys, Like.
• 1:18:20
  Speaker 2: It's really yeah, a very depressing theory. And if you
• 1:18:24
  Speaker 2: are a person like me who enjoys film and enjoys
• 1:18:28
  Speaker 2: the films of Stanley Kubrick, it is one of the
• 1:18:31
  Speaker 2: most frustrating experiences to sit through because I just kept
• 1:18:37
  Speaker 2: screaming at the screen, like, no, it does this has
• 1:18:42
  Speaker 2: nothing to do with any this is not what this means,
• 1:18:44
  Speaker 2: Like it's so.
• 1:18:45
  Speaker 1: Fus could no probably probably not even that.
• 1:18:49
  Speaker 2: I got so sick of his fucking phrasing by the
• 1:18:52
  Speaker 2: end of that thing, because it is literally again and
• 1:18:55
  Speaker 2: not the harp on it, but like it is just
• 1:18:57
  Speaker 2: I don't know, maybe.
• 1:18:59
  Speaker 1: That's what I'm saying. He presents this in a way
• 1:19:01
  Speaker 1: that he like doesn't want to take responsibility.
• 1:19:03
  Speaker 2: If you're making money off of it, just fucking say
• 1:19:05
  Speaker 2: it declaratively.
• 1:19:07
  Speaker 1: Yeah, and don't call yourself like his website is called
• 1:19:09
  Speaker 1: the Illuminati Watcher, Yeah.
• 1:19:12
  Speaker 2: You are an Illuminati speculator.
• 1:19:15
  Speaker 1: So that's the Stanley Kubrick conspiracy. Sure is uh episode
• 1:19:22
  Speaker 1: one of one. I can't picture going any deeper.
• 1:19:27
  Speaker 2: Like I can't even think of anything else that would
• 1:19:29
  Speaker 2: be worth talking about.
• 1:19:31
  Speaker 1: Yes, I'm not gonna watch The Shining one of my
• 1:19:35
  Speaker 1: favorite films for the twenty thousandth time, except this time
• 1:19:39
  Speaker 1: looking for reasons why it sucks, Like, yeah, I just
• 1:19:43
  Speaker 1: I can't.
• 1:19:44
  Speaker 2: Again, just the worst way to watch these movies.
• 1:19:47
  Speaker 1: Yeah, there's so much a notepad out, there's so much,
• 1:19:52
  Speaker 1: there's so much. The Shinings so fucking good. It's a
• 1:19:55
  Speaker 1: great movie, and that's a thing. Don't in any way
• 1:19:58
  Speaker 1: take this as an indict the films of Stanley Kuper.
• 1:20:01
  Speaker 1: No watch them all.
• 1:20:04
  Speaker 2: He's one of the greatest filmmakers of all time, Like
• 1:20:07
  Speaker 2: he has been. His legacy has been co opted by
• 1:20:11
  Speaker 2: not just this guy, but like a bunch of these
• 1:20:13
  Speaker 2: shittiest people in the world right now, like the kind
• 1:20:16
  Speaker 2: of intellectual dark web types who have kind of tried
• 1:20:20
  Speaker 2: to claim him as one of their own, as one
• 1:20:23
  Speaker 2: of these logical, ripe brain thinkers who's like I, you know,
• 1:20:28
  Speaker 2: he's cold and hard and focused on facts and like
• 1:20:33
  Speaker 2: no man, his movies are so emotional and like they're
• 1:20:37
  Speaker 2: presented in this very matter of fact way, But the
• 1:20:41
  Speaker 2: whole idea is that they're that's contrasting with the emotions
• 1:20:45
  Speaker 2: going on. It's it's he's so much deeper than what
• 1:20:48
  Speaker 2: these people are trying to make him into. And definitely,
• 1:20:51
  Speaker 2: don't you don't hold any assholes opinion of Stanley Kubrick
• 1:20:57
  Speaker 2: against him. He was a great filmmaker.
• 1:20:59
  Speaker 1: And that and even then, I feel like the the
• 1:21:02
  Speaker 1: theory isn't necessarily presenting Kubrick as a bad guy. They're
• 1:21:05
  Speaker 1: like presenting him as this.
• 1:21:07
  Speaker 2: But the presenting hum has a.
• 1:21:09
  Speaker 1: Crusader of truth who was trying to let us know
• 1:21:11
  Speaker 1: about the Illuminati.
• 1:21:12
  Speaker 2: But at the same time they are though simplifying him
• 1:21:16
  Speaker 2: as a person into this purely like black and white,
• 1:21:21
  Speaker 2: like I'm just making movies about the Illuminati. I don't
• 1:21:24
  Speaker 2: know about what you guys are talking about. And whereas
• 1:21:27
  Speaker 2: he just had so much more going on. He was
• 1:21:29
  Speaker 2: such an more interesting person than anything that this movie
• 1:21:33
  Speaker 2: or this book would lead you to believe.
• 1:21:35
  Speaker 1: That he was.
• 1:21:37
  Speaker 2: Watch watch his movies, Watch watch two, Do one. It's great.
• 1:21:40
  Speaker 1: It's a great movie.
• 1:21:41
  Speaker 2: It really is super engaging and super interesting to watch.
• 1:21:45
  Speaker 2: That was I did want to say. He talks multiple
• 1:21:48
  Speaker 2: times about when when he's talking about how he's like,
• 1:21:50
  Speaker 2: how could Stanley Kuprick have envisioned humanity coming to rely
• 1:21:55
  Speaker 2: so much on technology and uh, creating these super advanced computers? Like,
• 1:22:00
  Speaker 2: I don't know, man, Maybe he saw human history leading
• 1:22:03
  Speaker 2: up to the sixties.
• 1:22:05
  Speaker 1: Maybe he's writing a or directing a work of science fiction. Yeah,
• 1:22:09
  Speaker 1: and that was a theme in all fucking science fiction.
• 1:22:13
  Speaker 2: Maybe ever, maybe he grew up in a world post
• 1:22:15
  Speaker 2: nuclear bomb attacks, Yeah, which altered the conception of reality
• 1:22:21
  Speaker 2: at the time.
• 1:22:22
  Speaker 1: Yeah. It's like science fiction has been fucking with these
• 1:22:25
  Speaker 1: themes forever and.
• 1:22:27
  Speaker 2: Also again, and it should not be It can't be overstated.
• 1:22:31
  Speaker 2: The three main texts, the three main movies that they
• 1:22:35
  Speaker 2: talk about that he talks about in this book and
• 1:22:38
  Speaker 2: documentary are based on novels written by different people, right,
• 1:22:43
  Speaker 2: and Stanley Kubrick adapted these things, so any sort of
• 1:22:48
  Speaker 2: symbology for the most part, Like, even though the Shining
• 1:22:51
  Speaker 2: is very different from the Stephen King book, like they're
• 1:22:54
  Speaker 2: still taking like so much of the stuff is from
• 1:22:57
  Speaker 2: the book that they are talking about, Right, It's like, well, no,
• 1:23:00
  Speaker 2: it's just.
• 1:23:00
  Speaker 1: Like the book. In the movie, they're different, but like
• 1:23:03
  Speaker 1: the endings are radically different, but there are a lot
• 1:23:06
  Speaker 1: of similarities as well.
• 1:23:08
  Speaker 2: It is it is definitely an adaptation of the novel, right, so,
• 1:23:12
  Speaker 2: like you know, and same with the cloudberg Gornge, which
• 1:23:15
  Speaker 2: is very much an adaptation of the Anthony Burgess book.
• 1:23:18
  Speaker 2: And you know, you can't discount.
• 1:23:21
  Speaker 1: That Jack Nicholson was reading a playgirl in the lobby.
• 1:23:24
  Speaker 2: Yeah, oh my god, the playroll thing. They have no
• 1:23:27
  Speaker 2: idea what he's trying.
• 1:23:28
  Speaker 1: They're trying to say about Jack Nicholson's character in The
• 1:23:30
  Speaker 1: Shining No at all.
• 1:23:32
  Speaker 2: Yeah, there's just all sorts of they're throwing ship at
• 1:23:34
  Speaker 2: the wall.
• 1:23:35
  Speaker 1: And just read the book.
• 1:23:36
  Speaker 2: Read the book. It's a good book.
• 1:23:37
  Speaker 1: Yeah, read the book. You'll get an idea what Jack
• 1:23:39
  Speaker 1: Nicholson's character in that movie is.
• 1:23:41
  Speaker 2: Yeah, good dude, you know, he's a shitty.
• 1:23:43
  Speaker 1: Guy actually portrayed kind of favorably in the movie. Yeah.
• 1:23:46
  Speaker 2: I mean, I would say, if you want to late, like,
• 1:23:49
  Speaker 2: one of the criticisms that you could level at The
• 1:23:52
  Speaker 2: Shining movie is that he is insane. From frame one
• 1:23:56
  Speaker 2: of that film, he is a crazy person and instead
• 1:23:59
  Speaker 2: of starting out as a relatively normal guy with problems
• 1:24:03
  Speaker 2: who then devolves into madness.
• 1:24:06
  Speaker 1: Right, I could get it. That's a whole other, whole
• 1:24:08
  Speaker 1: other thing.
• 1:24:08
  Speaker 2: But like yeah, and then same with you know, and
• 1:24:10
  Speaker 2: then with two thousand and one. Like all of the
• 1:24:12
  Speaker 2: imagery that they're talking about comes from the Arthur C.
• 1:24:14
  Speaker 2: Clark book. It's not a Stanley Kubrick invention. Invention, Yeah,
• 1:24:18
  Speaker 2: so what's the point here? Why why Kubrick?
• 1:24:21
  Speaker 1: He's not saying this is real, He's just saying he's
• 1:24:25
  Speaker 1: just asking questions. I'm just telling you the evidence to
• 1:24:29
  Speaker 1: look for in the movie. It's just telling you there's
• 1:24:32
  Speaker 1: an eyeball in a clockwork orange.
• 1:24:35
  Speaker 2: Yeah, it's close to a triangle, right.
• 1:24:38
  Speaker 1: All right, So this is a long app This was
• 1:24:41
  Speaker 1: a shockingly long episode.
• 1:24:43
  Speaker 2: There's a lot to get to.
• 1:24:44
  Speaker 1: Yeah. Uh, we'll be releasing this as an ebook, as
• 1:24:49
  Speaker 1: a video, as a four hour podcast. This is just
• 1:24:54
  Speaker 1: the previews.
• 1:24:54
  Speaker 2: Yeah, we got to block out of time to do
• 1:24:56
  Speaker 2: all of the narration for the movie.
• 1:24:59
  Speaker 1: Yeah, we're going to do it all in one field, exactly.
• 1:25:01
  Speaker 1: Get real tired by the end.
• 1:25:03
  Speaker 2: Honestly, you might as well just use this as the narration.
• 1:25:06
  Speaker 1: Yeah, that's true. I'll just put video over it.
• 1:25:08
  Speaker 2: There you go. We're gonna be about as much effort
• 1:25:10
  Speaker 2: as he puts it.
• 1:25:11
  Speaker 1: It's gonna be called debunking the Kubrick code, and it's
• 1:25:15
  Speaker 1: gonna be the second search result. That's actually not a
• 1:25:19
  Speaker 1: terrible idea, but uh, that's our episode for now. This
• 1:25:22
  Speaker 1: one warm me out.
• 1:25:24
  Speaker 2: It's it's exhausting like this.
• 1:25:27
  Speaker 1: Uh, subscribe to uh patreon dot com slash on pops
• 1:25:32
  Speaker 1: to get bonus conspiracy theory stuff. We're gonna be recapping
• 1:25:37
  Speaker 1: ancient aliens. Might do some interview type bonus episodes. Maybe
• 1:25:42
  Speaker 1: interview some aliens what to get. Yeah, that would be
• 1:25:47
  Speaker 1: that would be a gat I bet you get some
• 1:25:49
  Speaker 1: Patreon subscribers out of that. Uh, and uh follow me
• 1:25:54
  Speaker 1: on Instagram. I guess I'll probably I'm so fucking tired
• 1:25:57
  Speaker 1: of social media too, but I'm on Instagram at Adam
• 1:26:01
  Speaker 1: Todd Brown. Fucking ugh ha uugh. We need to take
• 1:26:06
  Speaker 1: it back to the days of websites and message boards
• 1:26:09
  Speaker 1: where we all hung out in our own little fucking
• 1:26:11
  Speaker 1: click and you had to HTML yep, burn it down,
• 1:26:16
  Speaker 1: but just to that, yeah, burn it down to like
• 1:26:19
  Speaker 1: yeah two thousand and six. Sure, in terms of Internet progress.
• 1:26:22
  Speaker 1: It's not like no everything else.
• 1:26:24
  Speaker 2: No, I would certainly not like to go back to
• 1:26:26
  Speaker 2: two thousand and six.
• 1:26:27
  Speaker 1: Yeah, well no one what we know now? No, Still,
• 1:26:31
  Speaker 1: maybe we don't air the Celebrity Apprentice.
• 1:26:33
  Speaker 2: Hey there you go. That would be if we could. Yeah,
• 1:26:36
  Speaker 2: that's like that's the new kill Baby Hitler thing. Yes,
• 1:26:40
  Speaker 2: go back, and I would stop the Celebrity Apprentice. Uh
• 1:26:44
  Speaker 2: all right, should we get out of here?
• 1:26:47
  Speaker 1: Uh? Sure? Do you have anything to plug? Just my podcast?
• 1:26:51
  Speaker 1: Is it?
• 1:26:51
  Speaker 2: It's called Lowest Common Phenomenator. It's on the Bobs Network.
• 1:26:55
  Speaker 2: We're talking about the top ten highest grossing films of
• 1:26:58
  Speaker 2: the year every year. We're starting in nineteen seventy five,
• 1:27:02
  Speaker 2: the Birth of the Blockbuster. It's very fun.
• 1:27:05
  Speaker 1: The host of with Vanessa Grittin. And you can find me.
• 1:27:07
  Speaker 2: You can find the podcast on social media at low
• 1:27:09
  Speaker 2: com phenom and you can find me on Twitter only
• 1:27:12
  Speaker 2: at high there.
• 1:27:13
  Speaker 1: Heidar very nice. All right, let us get the fuck
• 1:27:17
  Speaker 1: out of here. Olivia say goodbye bye, goodbye everybody. We
• 1:27:21
  Speaker 1: love you.