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Doctor Sleep Finale: Shine On · Divine Dialogue

• 0:01
  SPEAKER_00: Welcome divine listeners to the Divine Dialogue Podcast, where we dig deeper into the trove of wisdom and guidance stories have to offer.
• 0:10
  SPEAKER_00: Have you ever watched a movie and felt moved?
• 0:13
  SPEAKER_00: Felt called to make a change or reflect more deeply on your own life?
• 0:17
  SPEAKER_00: If so, this podcast has a lot to offer you.
• 0:20
  SPEAKER_00: If you're new here, welcome.
• 0:22
  SPEAKER_00: You have stumbled upon the Doctor Sleep finale that I will be finishing up today here.
• 0:28
  SPEAKER_00: This is part of a four-episode series, so if you are interested in the Doctor Sleep series, please check out the other three episodes preceding this, and there are other series as well to enjoy on the podcast.
• 0:40
  SPEAKER_00: So for this episode, I'm going to go over quite a bit of the ending here.
• 0:47
  SPEAKER_00: If you own the movie, it's gonna cover roughly the last half hour to 20 minutes, 20 minutes to half hour of the movie.
• 0:54
  SPEAKER_00: I'm gonna begin when Danny and Abra here are driving up to the Overlook Hotel.
• 1:02
  SPEAKER_00: Danny tells Abra she falls asleep on the car ride that they're going to Colorado and she asks why, and he explains it's the hungry place where you know the demons or the ghosts of the Overlook live, and then they arrive.
• 1:18
  SPEAKER_00: He tells Abra to stay in the car, and he enters the Overlook and says he has to wake it up.
• 1:24
  SPEAKER_00: So he enters in and then the lights turn on as he's walking through the hotel.
• 1:29
  SPEAKER_00: And then he makes his way through, you know, different areas.
• 1:34
  SPEAKER_00: He goes to the boiler room, he turns on, you know, the boiler, overloads it so that the hotel will be destroyed by the end.
• 1:42
  SPEAKER_00: So that's one thing he does, and then he finds himself in the same bar that his father goes to in the first movie in The Shining.
• 1:53
  SPEAKER_00: And I kind of wanted to focus on this scene quite a bit, and then I'll get into the later scenes as well.
• 2:01
  SPEAKER_00: But he sits down at the bar, and you know, a drink appears, or a bartender appears to pour him a drink, kind of just out of the blue, and he's offered, you know, the biggest temptation that he's been trying to avoid and you know overcome his whole life pretty much, and who's standing across from him pouring the Jack Daniels whiskey is his father.
• 2:28
  SPEAKER_00: And in The Shining, if you've seen the first movie, his father was talking to Lloyd, who was the previous bartender, and now Danny's father has taken the role over from Lloyd, but he still calls himself Lloyd.
• 2:43
  SPEAKER_00: And Danny's trying to talk to him, but his father is essentially just it's like talking to a brick wall.
• 2:51
  SPEAKER_00: He's not really getting through to him.
• 2:53
  SPEAKER_00: He keeps telling Danny, you know, you must have me mistaken for someone else.
• 2:56
  SPEAKER_00: I'm Lloyd.
• 2:57
  SPEAKER_00: I don't understand what you're talking about.
• 2:59
  SPEAKER_00: And I want to touch on this scene because, first of all, when I watched it, I could deeply relate to it on multiple levels.
• 3:08
  SPEAKER_00: But I really think that, you know, Danny, we talked about in the last episode how he overcame his or resit resisted the urge to go unconscious when Abra was kidnapped and his best friend was killed, and Abra's dad was also killed.
• 3:23
  SPEAKER_00: He was able to resist the temptation to drink, and this is kind of the cap to overcoming that demon and tapping into his divinity.
• 3:35
  SPEAKER_00: This is the final piece of that.
• 3:38
  SPEAKER_00: Like a lot of people might think Rose the Hat, the confrontation with her, is the final piece.
• 3:41
  SPEAKER_00: I really think for Danny, this is the final piece of his transition from basically being a fear-based good guy into a divine, you know, man.
• 3:52
  SPEAKER_00: Because he faces his father, he, you know, he's vulnerable.
• 3:57
  SPEAKER_00: Like he's very emotional when he's talking to him because he really like I really think it in this scene, like his inner child is really trying to get his father to, you know, meet him with compassion, but his father meets him with indifference, denial, and tries to pull him back into the current of addiction and to forget who he is.
• 4:24
  SPEAKER_00: That's that's basically what he's battling as he's talking to his father.
• 4:28
  SPEAKER_00: And, you know, he gets more emotional as it goes.
• 4:32
  SPEAKER_00: You know, he gets frustrated.
• 4:34
  SPEAKER_00: He's like, you know, don't you want to hear about it?
• 4:37
  SPEAKER_00: I'm talking about your wife, I'm talking about your family, you know, like why are you acting as if none of this is real and none of this is essential to talk about?
• 4:47
  SPEAKER_00: And he just keeps hitting, you know, a blank wall.
• 4:51
  SPEAKER_00: And then his father says, you know, that the alcohol is medicine.
• 4:56
  SPEAKER_00: He says the mind is a blackboard and this, and he picks up the glass is the eraser.
• 5:03
  SPEAKER_00: And he goes on to talk about how life drains everything from you, and essentially blames Danny and his family, like his wife as well, for needing to take the medicine because there's so much demand on him as a provider, as you know, a man who needs to do all these things, and so he needs to drink.
• 5:25
  SPEAKER_00: And Danny's just looking at him heartbroken, like you can see it in his eyes.
• 5:30
  SPEAKER_00: He's very emotional, and he's looking at the drink, and he's kind of realizing that, you know, because he mentions this earlier in the movie, that he understands that his connection to his father was through drinking and through anger.
• 5:48
  SPEAKER_00: And I think for him, you know, part of the reason he drank, a big reason in addition to just being traumatized, was because that kept him connected to his father as painful as it was.
• 5:59
  SPEAKER_00: He still wanted a connection with his father.
• 6:01
  SPEAKER_00: And then his father asked him, Are you gonna take your medicine?
• 6:05
  SPEAKER_00: And Danny says, No, I'm not.
• 6:07
  SPEAKER_00: And then his father, you know, swipes at the glass and breaks it at the end of the bar, sends it flying.
• 6:14
  SPEAKER_00: And then he does apologize after.
• 6:16
  SPEAKER_00: This is in the extended version, which I also thought was important to bring up because he takes Danny into that kind of infamous bathroom, like the red bathroom, where he cleans him up.
• 6:28
  SPEAKER_00: And if I remember right, I don't actually own the extended version, but I've watched the extended scenes.
• 6:33
  SPEAKER_00: He actually tells him to take Abra inside, which I thought was a very like I really wish they would have kept that in the theatrical cut of the movie because I think it's very important dialogue between the two of them, and I and I really like how it connects back to the first movie.
• 6:50
  SPEAKER_00: But he tells him you need to take Abra inside, and what he means is take her inside the energy of this hotel, because I actually think that the remnants of Jack that are still there, you know, in this character of Lloyd that has possessed him through the hotel's, you know, power is kind of trying to protect Danny in a really twisted way, because he's basically saying, you know, you can't fight this, you can't overcome this energy.
• 7:18
  SPEAKER_00: So you need to take her inside.
• 7:20
  SPEAKER_00: You need to let the hotel, you know, possess her and have her and harness her energy.
• 7:26
  SPEAKER_00: And it's really no different than what Danny was almost tempted to do by kind of letting Abra run her course with the true knot until Dick intervened and told him, you know, well, you should help her because I helped you and you need to pass it on and you need to pay your debt, you know.
• 7:43
  SPEAKER_00: And Danny, like I feel like it's kind of the same temptation coming back to him in a different way.
• 7:49
  SPEAKER_00: But I thought it was very interesting because it kind of reminded me of, I feel like just generational cycles where, you know, we look to our parents a lot of the times to tell us what to do.
• 8:00
  SPEAKER_00: And a lot of times all they can really tell us is to just follow the same path that they followed.
• 8:06
  SPEAKER_00: Like, you know, just take yourself inside this already paved path.
• 8:12
  SPEAKER_00: Like don't learn your own divine path.
• 8:15
  SPEAKER_00: Follow this, you know, prescripted path because it's already the foundation's been laid, it's not going to be rugged, it's gonna be smoother, but it goes against something very pure inside you that doesn't agree with it.
• 8:28
  SPEAKER_00: And I really like that extended scene because you know, he's tempting Danny with the old familiar ways that are, you know, essentially unhealed shadows, and Danny knows better because he's faced his, you know, temptation to go back into unconsciousness.
• 8:48
  SPEAKER_00: Like I said, I really think that previous scene where he throws the bottle to the ground and then taps into his stillness to find Abra was really the turning point for him where he wasn't going to go back into that state.
• 9:00
  SPEAKER_00: But his father does try to tempt him back into that state.
• 9:03
  SPEAKER_00: I mean, first at the bar with the drink, and then also in the bathroom, telling him, you know, to bring Abra inside.
• 9:09
  SPEAKER_00: Because if you remember from the shining, Jack, you know, he when he's chasing Danny through the hotel, the hotel wants him to bring Danny inside because Danny has a lot of shine, and so does Abra.
• 9:22
  SPEAKER_00: So the hotel wants it.
• 9:23
  SPEAKER_00: It's like what Dick says when he tells Danny at the beginning, like, you know, you were a megawatt battery for that hotel, and Abra is too.
• 9:31
  SPEAKER_00: She's very, very powerful.
• 9:33
  SPEAKER_00: So, you know, his father has essentially just become another mouthpiece for this consuming energy, this external power-seeking energy.
• 9:42
  SPEAKER_00: You can kind of look at the overlook hotel as that, like just an external power force that tries to siphon, you know, people's internal power.
• 9:52
  SPEAKER_00: It's it's basically like the true knot, but in building form, you know, and it just has a certain energy to it.
• 9:59
  SPEAKER_00: But I want, yeah, to talk about the the bar scene there because honestly, like when I was watching that scene, I guess I'll go into a little mini personal mirror here before I kind of jump to the next scenes, but when I was, you know, and still am healing certain things, like because I can really relate to how Danny feels in terms of trying to plead your case to the people who traumatized you, like the people who, you know, put these programs in your head who kind of lead you away from your divinity, whether it's maliciously or just ignorantly.
• 10:34
  SPEAKER_00: It can feel a lot like talking to someone the way that Lloyd, aka Jack, talks to Danny.
• 10:41
  SPEAKER_00: It's it's like he's he's sitting there vulnerable.
• 10:45
  SPEAKER_00: You know, the pain and the damage is he's he's the physical evidence of that.
• 10:50
  SPEAKER_00: His body is the damage report, you know, his state, his emotional, you know, frequency, the way that he's sitting there with grief in his eyes and you know, close to tears during the conversation.
• 11:05
  SPEAKER_00: And you kind of get this flat response back, like this scripted, you know, it's it's as if someone has just such a wall there, like like the great wall of China, you know, like you can't bypass that wall, you can't reach them because they've chosen to kind of wall off their divinity.
• 11:26
  SPEAKER_00: And and Danny is speaking so authentically and so divinely and truthfully to this, you know, shell of a person, essentially.
• 11:36
  SPEAKER_00: I mean, his dad's dead at this point, but like the the meaning of it, I think you can relate to people that you try to express who you are, and it kind of just bounces off of them.
• 11:50
  SPEAKER_00: They don't really receive you.
• 11:52
  SPEAKER_00: You kind of feel like you're just talking to a brick wall, like you don't really feel like there's a a connection.
• 11:57
  SPEAKER_00: Like you you really, and you know, when it's your parents or your family or people that you're supposed to bond to in a safe way, that's a very, very painful place to be.
• 12:08
  SPEAKER_00: But I think Danny had to, you know, because I would actually say in most cases, pouring your heart out to someone who has hardened their heart is going to cause you more pain.
• 12:22
  SPEAKER_00: But I think for Danny, you know, it was actually healing for him because he was very aware and conscious of what was happening, like the the character character he was talking to, like was not his actual father, like not his father's soul.
• 12:36
  SPEAKER_00: You know, it was more the energy that took over his father, is who he was talking to.
• 12:41
  SPEAKER_00: And I think for him that was actually a really good closure because he resists the final temptation of essentially the person wearing the face of his father that tried to get him to drink.
• 12:55
  SPEAKER_00: And that was the last piece of his desire to drink was to preserve that connection.
• 13:00
  SPEAKER_00: But then he realizes talking to his father, aka Lloyd, who's really more of a character of the hotel at this point, that that connection cannot be preserved in a healthy way.
• 13:12
  SPEAKER_00: So when he denies the drink, that's essentially also the severing of the connection to his father, because that was the only thread he had, and he realizes that some threads are better off cutting versus preserving, even if it's to someone you're supposed to have a connection to.
• 13:29
  SPEAKER_00: Sometimes people become so twisted that you are better off not having that connection.
• 13:34
  SPEAKER_00: And I can just relate because really both my father and my mother, but especially my father in this case, because he's talking to his father, would never admit to any wrongdoing, like would never sit with his actions and decisions.
• 13:49
  SPEAKER_00: And anytime I would bring up anything, like it would barely be acknowledged, or if he was in a particularly bad mood, it would he would make me feel bad for bringing up things that were painful.
• 14:01
  SPEAKER_00: It would be almost like just insult to injury or like re-injuring, reopening, because it was never acknowledged.
• 14:08
  SPEAKER_00: And I know Danny's feeling that pain of a lack of acknowledgement because he's sitting there like, I have all this pain.
• 14:15
  SPEAKER_00: And, you know, there's a part of you, like especially the kid part of you, that wants your parents to acknowledge your pain and to acknowledge their role in your pain, not just say, I'm sorry, because they know you want to hear I'm sorry, but that they understand why they should be sorry for you know what you're going through.
• 14:34
  SPEAKER_00: That's a very human need.
• 14:36
  SPEAKER_00: And we kind of come back to you kind of have to be the parent to that part that you never had.
• 14:42
  SPEAKER_00: Because if you'd had parents that were, you know, compassionate, loving, and empathetic, that part would have never been severed from you to begin with.
• 14:51
  SPEAKER_00: So it's a very painful process to reparent that part.
• 14:54
  SPEAKER_00: But your parts kind of forget that you are older because they get frozen.
• 15:00
  SPEAKER_00: So you might have a part that's five or six years old and still thinks you're five or six years old.
• 15:05
  SPEAKER_00: And when you talk to them, you know, like going into a meditative state, and you talk to them and you tell them, oh, I'm actually in my 20s or 30s or 40s, they're kind of shocked to learn that.
• 15:16
  SPEAKER_00: But I think, you know, that that scene really is the cap on Danny's ability to come back to and really fulfill his divine purpose because we have some really beautiful things that also come back.
• 15:34
  SPEAKER_00: But I'm gonna get into kind of the next part of the closing here is when Rose the Hat arrives and Abra comes in to tell Danny because she's sitting outside, so that she wasn't exposed to the hotel any longer than she had to be.
• 15:52
  SPEAKER_00: But Danny tells her to watch for Rose the Hat, so she sees Rose the Hat pull up and he she says, She's here, she's here.
• 16:00
  SPEAKER_00: So they go to the same room where in the shining Jack would, you know, work on his writing and type, and they're standing at the top of the stairs, and Danny has the axe that his father chased him through the hotel with to defend himself and Abra against Rose the Hat.
• 16:20
  SPEAKER_00: And then she finds them, and then Abra and Danny tag team essentially their shine power, and it's really a beautiful connection back to the first movie because they bring in the maze from the first movie, and their collective shining power puts Rose the Hat in the maze, and Rose the Hat believes that she's chasing Abra because Rose the Hat still doesn't know who Danny is at this point, so she believes that this is Abra's mind, and it's an improvement from just the file cabinets that she encountered earlier.
• 16:55
  SPEAKER_00: She's like, Wow, you have like a whole maze now, you know, your mind is impressive.
• 16:59
  SPEAKER_00: She's kind of legitimately impressed by that, but she's chasing her through the maze, and then Abra, you know, is being her very divine feminine with sassiness and edge, you know, like she's had the whole movie basically telling her, like, you're gonna die here, you know, you're not gonna beat us, basically, like just doesn't have fear, doesn't have maybe not even enough concern because she's I mean, I really think like she's the epitome of your divinity with no fear.
• 17:31
  SPEAKER_00: Um, I love her character so much, she's definitely my favorite character in the movie.
• 17:35
  SPEAKER_00: As I've said before, Danny I relate to more, unfortunately, but I Abra's just so great.
• 17:40
  SPEAKER_00: I love her character.
• 17:41
  SPEAKER_00: So Rose the Hat finally sees her, catches her, or sees her on the other side.
• 17:46
  SPEAKER_00: And Abra has, I believe it's the same knife that Rose the Hat used on Bradley.
• 17:54
  SPEAKER_00: I'm not entirely sure.
• 17:56
  SPEAKER_00: It looks like the same knife that she used.
• 17:58
  SPEAKER_00: I'm not sure how she got that knife, but she starts kind of running back and forth and cutting up her leg, disappearing and kind of, you know, respawning to cut her leg.
• 18:09
  SPEAKER_00: And then Rose the Hat closes her eyes, kind of feels into the stillness, and she's able to grab Abra by the neck.
• 18:17
  SPEAKER_00: And, you know, she keeps telling her, she keeps reiterating, like, you know, you're just like me, like you have this darkness as well.
• 18:24
  SPEAKER_00: And when you're older, like, you know, you have no idea what you'd do for time, like you would probably do the same kind of things I've done, you know.
• 18:31
  SPEAKER_00: And then we see one of Danny's boxes show up behind Rose the Hat.
• 18:37
  SPEAKER_00: And Abra's, you know, kind of smiling.
• 18:39
  SPEAKER_00: She's a little bit too happy that Rose the Hat is about to get boxed up like the other ghosts of the overlook, because this is actually Danny's mind.
• 18:47
  SPEAKER_00: And Rose the Hat puts it together right before he locks her away.
• 18:51
  SPEAKER_00: She's like, This isn't your mind, is it?
• 18:54
  SPEAKER_00: And then she's like, Oh, you're just the bait.
• 18:56
  SPEAKER_00: And then she says enough and slams her, you know, fist down, and then she snaps out of the maze and shows back up in the room with the typewriter and the stairs.
• 19:07
  SPEAKER_00: And, you know, Danny tells Abra to run.
• 19:11
  SPEAKER_00: And this scene in particular, when Rose the Hat is, you know, squaring up against Danny, I thought was incredibly interesting because and you know, she says a line in here that really grabbed me when I would re-watch this movie.
• 19:28
  SPEAKER_00: She says, like, how did we miss you?
• 19:31
  SPEAKER_00: You know, you hid your light under bushel for so long.
• 19:36
  SPEAKER_00: Because Danny, you know, told Abra towards the beginning, or not the beginning, but maybe towards the middle of the movie to hide her shine.
• 19:45
  SPEAKER_00: And she says, you know, I can make you an offer.
• 19:48
  SPEAKER_00: She's trying to get him to join, you know, the true not, or I don't know, because I mean the true knots all gone now, but join her.
• 19:58
  SPEAKER_00: But she says hiding his light under a bushel for so long is what she says to him.
• 20:02
  SPEAKER_00: And it's like, I immediately thought of, and this is something I've mentioned in previous episodes, when I talked about how I kind of adopted a very masculine posture because of the abuse I've seen like by men in my family towards women and just men in general towards women, I adopted this very masculine posture in response.
• 20:29
  SPEAKER_00: And I think in like kind of as an accidental consequence, like it did, and I didn't look at it this way as hiding my light, but it absolutely did because uh Danny like numbs his, you know, through substances.
• 20:45
  SPEAKER_00: I feel like for me, I just kind of threw in with you know uh the masculine side of energy over the feminine because it was a you know, I've likened it to the predator movie.
• 21:01
  SPEAKER_00: I brought this up, how you know Dutch covers himself in mud and the predator can't detect him is kind of what I did too.
• 21:08
  SPEAKER_00: Like I really hid my feminine.
• 21:11
  SPEAKER_00: And, you know, when she's talking about hiding his light, like I would say your inner light, like that's your feminine, that's your shine.
• 21:18
  SPEAKER_00: And he hid his shine under substance abuse.
• 21:22
  SPEAKER_00: I hid my shine under, you know, the masculine energy because I felt like the feminine, my shine, my light was way too vulnerable to the kind of abuse that I saw.
• 21:33
  SPEAKER_00: But Danny at this point, you know, he's not even at all tempted by her.
• 21:37
  SPEAKER_00: Like he doesn't consider the offer.
• 21:39
  SPEAKER_00: He's like, you know, forget it.
• 21:41
  SPEAKER_00: You know, he's like backing up with the axe, waiting to strike her, and he's like, you know, you must be lonely being the last one.
• 21:48
  SPEAKER_00: But I would essentially never, you know, join in your sick twisted, you know, cult anything like that.
• 21:58
  SPEAKER_00: So it that's not at all.
• 22:00
  SPEAKER_00: Like I said, I really think his final threshold into Divinity was with his father, but even more so when he refuses to drink back towards more the middle of the movie.
• 22:12
  SPEAKER_00: So he refuses, you know, he takes a good swing at her, which they do the same kind of camera setup as the first one when his father swings the axe through the bathroom door.
• 22:22
  SPEAKER_00: And then it does strike her shoulder, but then she takes the axe and strikes his, I think she says femoral artery.
• 22:28
  SPEAKER_00: She has kind of a funny line when she's going back down the stairs towards him.
• 22:32
  SPEAKER_00: But he strikes her, she messes him up pretty bad, fucks him up pretty bad.
• 22:38
  SPEAKER_00: And then he falls down the stairs.
• 22:41
  SPEAKER_00: And then she isn't sure until she does it, because she's, I guess, gotten it in her head that, you know, children are the place that you get your shine.
• 22:56
  SPEAKER_00: So but then she discovers as he's like fighting, you know, underneath her because she's gonna kill him that well, no, you have shine that I can harvest too.
• 23:06
  SPEAKER_00: Cause she says, you know, so much fire, such a waste, or maybe not, and then she places her finger into his axe wound, and you know, the that's that whole pain purifies steam fear too.
• 23:17
  SPEAKER_00: So you understand that she gets his shine to come out of his mouth, like the steam comes out of his mouth, she takes it in.
• 23:23
  SPEAKER_00: And she's you know, it's it's actually like a very I find it to be like a very sexual scene, actually.
• 23:31
  SPEAKER_00: Like it seems like she's getting off on the shine that he has, like it's like exciting her, you know, like she's like, Oh, you know, yeah, you taste like whiskey.
• 23:41
  SPEAKER_00: Um and she's uh like almost aroused by like his fear and his terror and his dread.
• 23:48
  SPEAKER_00: And it's like so twisted.
• 23:51
  SPEAKER_00: So yeah, she just keeps taking and taking and taking, and then she uh senses or she sees the boxes because she's starting to see like memories too of him.
• 24:01
  SPEAKER_00: At least it seems to be implied.
• 24:02
  SPEAKER_00: I don't know if like no, I think she is seeing his memories.
• 24:05
  SPEAKER_00: I don't think that's just for us to see.
• 24:06
  SPEAKER_00: I think she's seeing them.
• 24:08
  SPEAKER_00: But she sees like some of the ghosts in the overlook, and then you know, she knows the maze is his mind, and he's got boxes, and and she sees it, and she's like, What's in those boxes?
• 24:20
  SPEAKER_00: And then he says they're not special, they're starving, and he releases the overlook ghosts.
• 24:26
  SPEAKER_00: So I don't know how many boxes that is, six or seven to defeat her.
• 24:30
  SPEAKER_00: So it's like he releases you know, six or seven demons to take one demon.
• 24:36
  SPEAKER_00: Not sure if that was a wise strategy or not, but they do take her out, you know, they take her shine, and she's pretty full of shine because she prior to this battle, you know, ingested all the shine that she had socked away in the RV, and then she had just fed off Danny, so she's full of a lot, so they extract from her until she disappears into steam.
• 24:58
  SPEAKER_00: And that's the end of Rose the Hat.
• 25:00
  SPEAKER_00: And then Danny is too weakened to lock them back up.
• 25:05
  SPEAKER_00: He's also probably pretty out of practice by this point locking them up because uh he tells Dick that it's been years since he saw the last ghost.
• 25:16
  SPEAKER_00: So, you know, he's weak, he's out of practice, it's all of them at once, it's too much for him.
• 25:22
  SPEAKER_00: And he does get consumed by, you know, the forces of the hotel.
• 25:25
  SPEAKER_00: And I do think that there are, you know, that that seems very interesting because I feel like we face our demons, but then sometimes they'll come back from another angle, from an you know, from another place.
• 25:39
  SPEAKER_00: And if if it's a collective attack, like of different things, it can very temporarily take us over.
• 25:45
  SPEAKER_00: And I feel I feel like that does happen with Danny, like it takes him over, and then he's you know, repeating his father's path again because he's got the axe, he's wounded, like his father was, hobbling through the hotel chasing Abra.
• 26:00
  SPEAKER_00: So it's exactly the same, you know, as his father chasing him, he's chasing Abra through the hotel, and she knows immediately when she looks at him that there's something wrong with him.
• 26:09
  SPEAKER_00: One of his eyes is like glazed over white, and he, you know, just doesn't look like Dan Torrance anymore.
• 26:14
  SPEAKER_00: And so she's running from him, he's chasing her.
• 26:17
  SPEAKER_00: And Abra does this thing that is so I mean, like I said, she's such a brave kid, very aware of her divine power, nothing is gonna throw her off of it, but she walks into you know, the worst room she could walk into 237.
• 26:35
  SPEAKER_00: And so that's the room with you know the old lady in the bathtub.
• 26:39
  SPEAKER_00: And Danny comes in and she has a brief, you know, back and forth with him, and she says, You're not Dan Torrance, you're a false face.
• 26:49
  SPEAKER_00: And I love that she says you're a false face because uh and I really do think that this speaks to kind of Abra's positioning versus Danny's and her starting point versus Danny's because Danny was talking to a false face at the bar too.
• 27:03
  SPEAKER_00: Like his father is a false face, like it's not actually his father he's talking to.
• 27:07
  SPEAKER_00: It's almost like a caricature of his father that's being displayed to him through the power of the hotel, like how the energy it's siphoned from everybody and it siphoned his father.
• 27:18
  SPEAKER_00: But he is very heartbroken by that and still somewhat fearful of it.
• 27:24
  SPEAKER_00: Whereas Abra is like not fearful at all, very still, very sure.
• 27:30
  SPEAKER_00: And she says, You know, you're a mask, a false face.
• 27:34
  SPEAKER_00: And then he responds, Who else would I be?
• 27:38
  SPEAKER_00: And then Abra says, You're the hotel, but he's still in there, you know, and he's trying to get her to be afraid, but she's not, and she's smiling, and he asks, Why are you smiling?
• 27:51
  SPEAKER_00: And she says, Because you don't know where you're standing.
• 27:53
  SPEAKER_00: And then he, you know, is arrogant and says, I know these halls like my own face, child.
• 27:58
  SPEAKER_00: And then she says, I mean the body you're standing in, you know, the face you're wearing.
• 28:03
  SPEAKER_00: That's Dan Torrance, and you don't know him.
• 28:06
  SPEAKER_00: And then she explains, like, you know, he went to the boiler room, you know, he's gonna destroy the hotel.
• 28:12
  SPEAKER_00: Like, you can occupy his physical body, but you know, you're not him.
• 28:17
  SPEAKER_00: And then, you know, she does something again that like Danny would have never done in The Shining because he had such a traumatic life from so early on that I really don't think he had the same capacity to stand in the way of this as she does.
• 28:35
  SPEAKER_00: But she stands completely still as the axe is coming down towards her and makes the axe stop.
• 28:42
  SPEAKER_00: Like the axe just stops, and then she puts her hand on him, and just the touch of like her stillness, her feminine power, like he succumbs to that.
• 28:55
  SPEAKER_00: Like he drops the axe and then he comes back briefly, like his eyes change.
• 28:59
  SPEAKER_00: She says, There you are.
• 29:01
  SPEAKER_00: And then he's like, You were supposed to get out of here, and she's like, Well, I didn't want to leave.
• 29:05
  SPEAKER_00: And he says something that is really touching.
• 29:08
  SPEAKER_00: He says, I'm exactly exactly where I'm supposed to be, which is what one of the patients told him when he was, you know, a caretaker at the hospital or hospice.
• 29:17
  SPEAKER_00: They said, You're exactly where you're supposed to be.
• 29:19
  SPEAKER_00: So he's he knows that, you know, because masculine in its divinity will always protect the feminine.
• 29:25
  SPEAKER_00: So he's representative of that energy.
• 29:28
  SPEAKER_00: And she's obviously representative of the divine feminine, and she's also a child, so of course he's gonna protect her, but he tells her, you know, you have to leave, and she doesn't want to leave, but he's been consumed by the hotel, like, you know, she if they would have been, if there would have been more time, maybe she could have helped extract that from him kind of in the same way that he, you know, kind of joins her in the car to kill the crow and get her out of that situation.
• 29:57
  SPEAKER_00: Maybe there could have been some kind of a you know return for him in his body, but he knows you know, he's he's been fatally wounded anyway, with his artery being blown to bits by that axe.
• 30:12
  SPEAKER_00: So he tells her to get out.
• 30:14
  SPEAKER_00: And then as soon as she runs away, as soon as the feminine leaves, basically that takes over him again, and then he runs to the boiler room, or the hotel runs to the boil boiler room through him to try to get him to turn off the boiler, and he stands in front of it and fights, you know, like he has so he's still in there, so he fights the urge to twist the the knob to turn it off.
• 30:39
  SPEAKER_00: And you know, eventually he's able to be still enough that he backs away and kneels down, so surrenders, surrenders completely, and the fire, you know, sparks from the boiler being turned up so high.
• 30:58
  SPEAKER_00: And essentially I kind of look at this as I mean, I know like he dies, obviously, in the end, that's a the like the very surface level interpretation, but I see him kneeling as like a surrender, like a surrender to not being possessed by the hotel energy, by the characters of the hotel, by these false faces of him.
• 31:21
  SPEAKER_00: He surrenders to that, and then the fire shows up, and fire is obviously a purifier, and so he's surrendering his allegiance, his connection to these false faces, which is also so beautiful in the sense that, like, you know, as he's dying, his mother comes back to him and he had mentioned to his father earlier, he said, you know, I could hardly look at her because I could tell she was gonna die because he was see the the death flies, the black flies around her.
• 31:50
  SPEAKER_00: And it's so beautiful because when she touches his face, we see him looking at her and she's looking back at him.
• 31:58
  SPEAKER_00: And then when the camera pans completely to her and then pans back over, he's become a little boy again.
• 32:05
  SPEAKER_00: So Danny, little Danny, is looking in her eyes, she's looking in his eyes, just to tell him, like, you know, yeah, I'm here, I love you, like you're gonna come home, which is really a beautiful ending to a very tragic, you know, path for him.
• 32:19
  SPEAKER_00: And then Abra's like waiting outside and hoping he comes out, but he doesn't come out.
• 32:24
  SPEAKER_00: And then we do see her talk to him later in her house, and he, you know, being on the other side now, he's essentially like Dick was to him, he's that to Abra now.
• 32:38
  SPEAKER_00: And you know, he tells her, I told you to hide your shine and stay low, you know, stay out of sight, like repress it basically.
• 32:49
  SPEAKER_00: And he says, you know, I was wrong.
• 32:51
  SPEAKER_00: Shine on Abra Stone, you shine on.
• 32:54
  SPEAKER_00: And it's just so beautiful because like he I almost feel like his inner child in a lot of ways was interacting with Abra as a you know, in the flesh child throughout the whole movie, and he got to see an example of a child being able to stand in the opposition to, you know, energy vampires, two forces that mean harm, and that she was able to stand her ground against that.
• 33:28
  SPEAKER_00: And I really think that that was his, you know, kind of final healing, like in terms of because I think even though he had stepped fully into divinity after he resists the temptation of his father at the bar, he still had pain, like his inner child had pain, and seeing her stand in the face of that really proved to him that you know it was the trauma talking that wasn't actually the truth.
• 33:53
  SPEAKER_00: Like she showed him that you can shine no matter how much darkness and trauma visits you, like you can still maintain your shine.
• 34:03
  SPEAKER_00: Now, of course, it's easier for her because from what we know, like she has a pretty stable, you know, home life.
• 34:10
  SPEAKER_00: Like by the end, yes, her father's been killed, but her parents seem to be from what we see, like they're a little bit spooked by her abilities, but they really love her and there's no abuse in her family.
• 34:22
  SPEAKER_00: So kind of something that I took from this movie, I guess in terms of a little bit of a personal mirror here as well, to kind of wrap up the ending, is that and it's kind of a a bit of a bleak interpretation, but and I know that there's a little more to it than this, but I've been saying how I relate to Danny so much and Abra not as much, even though I wish I related more to Abra.
• 34:44
  SPEAKER_00: I almost feel like I I wonder if you know Danny having a harder childhood, like a more traumatic start to life, like if he if if he was not even really able to not take the path he did in terms of like the pain that he went through and the the damage he did to like his body and his mind because the trauma had to kind of run its course.
• 35:17
  SPEAKER_00: I don't want to take that lesson from this movie, but I do think it's very important, especially when we look at people like in our lives who might have certain kind of struggles, like to be very compassionate about the different starting points we all have, because I feel like if you have a lot of trauma, that's gonna set you back a lot further on the field of play.
• 35:40
  SPEAKER_00: Like, and I I kind of like to think of it as like a football field, like because I'm a big sports nut, but you know, if you start like a standard life, you know, starts you at the 35-yard line or whatever.
• 35:52
  SPEAKER_00: But if you have a lot of trauma, you could definitely start at the five-yard line or the two-yard line and have very little safety.
• 36:03
  SPEAKER_00: Any of my football uh fans will understand what I just did there.
• 36:06
  SPEAKER_00: You don't really have a lot of space to make a mistake, and you have so far to go to you know get points to get in the game to you know succeed, basically.
• 36:20
  SPEAKER_00: It feels like you have to go so far, and maybe you keep getting pushed back.
• 36:24
  SPEAKER_00: And I guess you could kind of look at like the trauma re triggering as penalties that keep pushing you back, whereas other people they don't have those ghosts to fight, they don't have those things to integrate and overcome and heal.
• 36:37
  SPEAKER_00: And so their their trek to the end zone is a lot easier.
• 36:42
  SPEAKER_00: And I feel I for I really feel like I don't want to say that trauma stops you, but I also think that we really underestimate the amount of work it takes and the strength it takes to keep going down the field and the amount of extra effort it takes to get the same points because Danny, you know, really had I mean he had to be okay with dying.
• 37:10
  SPEAKER_00: Like he he had to make a decision because Rose the Hat tempts him, and even his father tempts him in a way like to kind of reside inside the energy of the hotel, and Rose the Hat is giving him a same kind of temptation, like borrow this external power so you can live, so you can indulge, so you can, you know, live long and eat well and be satisfied, basically.
• 37:34
  SPEAKER_00: And Danny has to be okay with facing his own mortality to fully heal.
• 37:40
  SPEAKER_00: And I feel like some people don't have the kind of trauma that would, I guess, make them accept that that that fate.
• 37:49
  SPEAKER_00: Like, like Abra wouldn't find herself in a position, I guess, because she doesn't have, you know.
• 37:56
  SPEAKER_00: I mean, we do see at the end that she locks away the lady in the bathtub like Danny did before.
• 38:03
  SPEAKER_00: But she's not even doing it for the same reason.
• 38:06
  SPEAKER_00: He did it almost to compartmentalize his trauma.
• 38:08
  SPEAKER_00: She's doing it just as like a boundary setting, but it's not because she's fearful.
• 38:14
  SPEAKER_00: Like we even see the difference in how they approach her.
• 38:17
  SPEAKER_00: Like when Danny at the beginning, he approaches her, you know, with sweaty palms and like knocking knees, and he's very afraid when he approaches her, and Abra's very calm, cool, and collected.
• 38:28
  SPEAKER_00: Like, okay, I'm just gonna put this bitch in a box, you know, and go on about my day.
• 38:33
  SPEAKER_00: So their approach to the same thing is even different.
• 38:36
  SPEAKER_00: And I just kind of wanted to, I guess that would be a good divine dialogue question.
• 38:40
  SPEAKER_00: If if you guys think, I'm curious, like if you want to comment or send me an email about this, which I'll also just mention in the show notes, you can see my email in there as well as my social media sites for when I post my shorts or just like promotions for the channel.
• 38:57
  SPEAKER_00: But I guess my divine dialogue question to you would be do you think, regardless of trauma, that you can reach the same place of divinity?
• 39:09
  SPEAKER_00: Do you think that trauma is a wall or a obstacle to appro like to reaching divinity and to have a life that would be primarily described as a joyous life?
• 39:26
  SPEAKER_00: I'm I'm just curious what you guys think about that.
• 39:28
  SPEAKER_00: Because I've really struggled with trying to understand, because it seems to me in the movie that that seems to be one of the dark interpretations of it.
• 39:38
  SPEAKER_00: We'll see if my mind shifts on that in the future.
• 39:42
  SPEAKER_00: But it just seems to me like Danny is almost restricted in how far he can go because of his trauma versus Abra seems to be much more set up to kind of reach and maintain her divinity with a lot more cushion underneath her than Danny had.
• 40:08
  SPEAKER_00: And that's kind of just what I see from watching this movie.
• 40:11
  SPEAKER_00: So I'm curious what you think of that divine dialogue question.
• 40:15
  SPEAKER_00: But I guess I will go ahead and wrap this up because we're going on 40 plus minutes here, so that's a pretty hearty episode for you.
• 40:23
  SPEAKER_00: But yes, thank you very much for joining me for the conclusion of the Doctor Sleep series with this episode here.
• 40:30
  SPEAKER_00: As I mentioned in my Back to the Future special, which dropped on Wednesday, I will be doing one more special before we get into V for Vendetta, and I was going to announce that right now.
• 40:42
  SPEAKER_00: So, for those of you who have seen the movie Obsession, that's a horror movie that was very low budget and exploded.
• 40:50
  SPEAKER_00: We're going to be covering that movie in a special two-parter for Halloween Eve on the 30th and Halloween on the 31st, which is going to lead very nicely into V for Vendetta.
• 41:03
  SPEAKER_00: I would say Back to the Future, the special I did, and Obsession and V for Vendetta are all connected in a thread that has to do with the dangers of an alternate reality.
• 41:14
  SPEAKER_00: Alternate meaning divorced from your divinity and basically occupied by extreme ego with no compassion, no love, no empathy.
• 41:23
  SPEAKER_00: That's essentially the theme we're going with here for those three movies.
• 41:27
  SPEAKER_00: So I wanted to cover obsession because I was obsessed with it.
• 41:32
  SPEAKER_00: Literally, I thought it was such a great movie, especially when I learned it was so low budget.
• 41:37
  SPEAKER_00: Like I was very impressed with, you know, the storytelling that they did.
• 41:41
  SPEAKER_00: And I think it's also definitely a very culturally relevant movie to kind of what we're seeing in you know relations between men and women and the kind of nice guy trope that we see and how dangerous that can be depending on you know what's driving the nice guy demeanor of a particular man.
• 42:04
  SPEAKER_00: But so I will be spending two episodes on that.
• 42:08
  SPEAKER_00: And essentially I'm going to cover, which I will just go ahead and mention this now.
• 42:13
  SPEAKER_00: It's going to be an episode covering what I'm going to call the beautiful house part of the movie.
• 42:20
  SPEAKER_00: And then the second episode will be going into the screaming basement, which I had this quote come to me when I was doing something called automatic writing, which is kind of just where I let my stream of consciousness flow without an agenda and I just write out things.
• 42:34
  SPEAKER_00: But the beautiful house screaming basement kind of theme that I'm going with here is going to tie into V for Vendetta as well, because we see, you know, in the movie, just to give you a little kind of idea of where I'm going to go the next two episodes, is Bear has this very beautiful house idea in his obsession with Nikki, you know, the girl that he likes.
• 42:56
  SPEAKER_00: He has this very beautiful house fantasy idea of what their relationship could be, but he builds it over a screaming basement.
• 43:04
  SPEAKER_00: And we literally have scenes of her screaming in the movie after, you know, she her free will is essentially taken from her with his magic that he unknowingly does.
• 43:14
  SPEAKER_00: And that's gonna be a theme that shows up very heavily in, and I would say is the foundation of V for Vendetta as well: building a beautiful house over a screaming basement.
• 43:23
  SPEAKER_00: So we're gonna go into that.
• 43:24
  SPEAKER_00: And even the next movie after V for Vendetta will have the same theme as well.
• 43:29
  SPEAKER_00: So we're gonna essentially the rest of the year is gonna be focused on that theme of beautiful house screaming basement.
• 43:35
  SPEAKER_00: So those are gonna be phrases that you're gonna hear me use in the next coming months with the content.
• 43:40
  SPEAKER_00: So I just wanted to kind of lay out my trajectory there for you.
• 43:44
  SPEAKER_00: But thank you so much for listening.
• 43:46
  SPEAKER_00: If you're still with me, I really appreciate you listening to the full episode.
• 43:50
  SPEAKER_00: Um if you could please like on whatever media you're using to listen to the podcast, that would be great.
• 43:58
  SPEAKER_00: Uh, please leave comments with your, you know, insights and questions and suggestions.
• 44:03
  SPEAKER_00: I would love to have a divine dialogue with my listeners.
• 44:07
  SPEAKER_00: So thank you so much for hanging out with me and traveling through the Doctor Sleep series.
• 44:12
  SPEAKER_00: And please stay tuned on October 30th and 31st for the obsession uh special release.
• 44:20
  SPEAKER_00: And then, of course, the 5th of November, we will launch the V for Vendetta series.
• 44:24
  SPEAKER_00: So I look forward to walking you through those as well.
• 44:27
  SPEAKER_00: But yes, thank you very much for sticking around and I will catch you on the next one.