Latest / Ryder Lee / Cosmic Peach | A Clockwork Shining: Kubrick's Odyssey 3

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Cosmic Peach | A Clockwork Shining: Kubrick's Odyssey 3 · Ryder Lee

• 0:00
  Speaker 1: All right, everyone, you know what it is. It's Cosmic
• 0:03
  Speaker 1: Peach Podcast and I have a very special guest lined
• 0:06
  Speaker 1: up for you today. I recently worked with him on
• 0:10
  Speaker 1: The Occult Rejects, so you may have already heard that episode,
• 0:13
  Speaker 1: but it's Rider Lee. How are you. What's going on?
• 0:17
  Speaker 2: I'm doing great, Julia. Thanks for having me on. Really
• 0:19
  Speaker 2: appreciate it. Yeah, and I'm glad you liked my movie
• 0:22
  Speaker 2: and you watched it.
• 0:24
  Speaker 3: Yeah.
• 0:24
  Speaker 1: I've watched it a couple times actually, So it is
• 0:28
  Speaker 1: available on Amazon Prime and is it anywhere else? That's
• 0:33
  Speaker 1: where I've been watching it.
• 0:34
  Speaker 2: But you can get it on Apple TV Plus and
• 0:38
  Speaker 2: you can also get it on to b Now, so
• 0:41
  Speaker 2: you got a few options there. And I think that
• 0:45
  Speaker 2: it was released in the UK also on Amazon Prime,
• 0:48
  Speaker 2: but it's not like a worldwide thing. So now that
• 0:52
  Speaker 2: it's out on to be more countries that people live
• 0:56
  Speaker 2: in can now watch it if you can get the
• 0:57
  Speaker 2: TV apps. So yeah to b yeah on Prime and
• 1:01
  Speaker 2: Apple TV Plus.
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  Speaker 1: Yeah, I mean I love it obviously. I actually watched
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  Speaker 1: the first two Kubrick's Odyssey that was Jay Widner and
• 1:11
  Speaker 1: then when I saw this one, my husband Colby, actually
• 1:15
  Speaker 1: I think has spoke to you about it from Conspiracy playtime.
• 1:20
  Speaker 1: We watched it together and yeah, we were both huge
• 1:25
  Speaker 1: fans of it right away. So I wanted to have
• 1:27
  Speaker 1: you on ask you my own questions about it, because
• 1:30
  Speaker 1: there's a lot to dive into there. But I guess
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  Speaker 1: I really first want to open up by saying, I'm
• 1:36
  Speaker 1: a huge Kubrick fan, obviously, as you can kind of
• 1:39
  Speaker 1: tell from my background, But what what is he to you?
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  Speaker 2: Like?
• 1:43
  Speaker 1: Is he a mad genius? Or is he like a
• 1:46
  Speaker 1: bad guy or a good guy, or like where who
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  Speaker 1: is he to you?
• 1:52
  Speaker 2: Well? I've always been a fan of filmmaking. I'm certified centiphile.
• 1:59
  Speaker 2: That's late when I grew up, like I would just
• 2:02
  Speaker 2: throw on a movie. It was like kind of my
• 2:03
  Speaker 2: escapism from you know, reality, and I always admired really
• 2:11
  Speaker 2: good filmmaking and Qubriic is definitely considered one of the
• 2:16
  Speaker 2: best filmmakers of all time, and just his cinematic style,
• 2:24
  Speaker 2: no one really does that anymore, right, It's all like
• 2:27
  Speaker 2: jump cuts. It's always don't let the shot hang on
• 2:33
  Speaker 2: anybody for too long, which is not the way that
• 2:36
  Speaker 2: it's You're supposed to tell a story through filmmaking, supposed
• 2:42
  Speaker 2: to be a story. You don't have to give everything
• 2:45
  Speaker 2: away in the exposition of the film, which is a
• 2:48
  Speaker 2: mistake that a lot of modern movies make. Now. They
• 2:52
  Speaker 2: don't tell the story through the actual They don't let
• 2:55
  Speaker 2: the camera tell the story. They let the characters within
• 2:58
  Speaker 2: the story tell the story. That's a really big mistake.
• 3:03
  Speaker 2: Now there are a few directors nowadays that you kind
• 3:07
  Speaker 2: of lean in that direction more. They're starting to, mostly
• 3:13
  Speaker 2: with horror movies. It's kind of they're starting to not
• 3:18
  Speaker 2: give things away within the actual movie and let the
• 3:21
  Speaker 2: audience put two and two together. And that's what Cubreak is,
• 3:24
  Speaker 2: basically what the Shining is. It's the audience having to
• 3:30
  Speaker 2: put two and two together to create their own theory
• 3:33
  Speaker 2: of what's going on. And at the end of our movie,
• 3:35
  Speaker 2: at Clockwork Shining Kubric's Odyssey three, we have that audio
• 3:40
  Speaker 2: clip of Cubriic talking I don't know if you listen
• 3:44
  Speaker 2: all the way to the end during the credits, but
• 3:46
  Speaker 2: he talks about the reason why he doesn't do very
• 3:51
  Speaker 2: many interviews is because he doesn't want to tell the
• 3:55
  Speaker 2: audience what the movie is actually about. He wants the
• 3:58
  Speaker 2: audience to figure out what the movie means to them, right,
• 4:03
  Speaker 2: And that's a really big deal within filmmaking because again
• 4:08
  Speaker 2: now it's not about that anymore. Now it's just giving
• 4:11
  Speaker 2: away the end. Though, like Long Legs, I don't know
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  Speaker 2: if you watch Long Legs with Nicholas Cage right.
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  Speaker 1: It's on my list. I haven't watched it yet, though.
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  Speaker 2: It is good, well, it's really good up until about
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  Speaker 2: the end when they tell you everything that's going on
• 4:29
  Speaker 2: throughout the entire movie. They don't give you anything because
• 4:33
  Speaker 2: you're trying to figure it out, right, and that's what
• 4:36
  Speaker 2: the movie is supposed to do. You're supposed to figure
• 4:39
  Speaker 2: things out as the movie goes along and then you
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  Speaker 2: put it together and by the end you've realized what's
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  Speaker 2: going on. But they don't do that anymore. It's more
• 4:48
  Speaker 2: of an it's an attention span thing because people don't
• 4:50
  Speaker 2: have the attention to sit down and watching an hour
• 4:53
  Speaker 2: and forty five minute movie. They want to be playing
• 4:56
  Speaker 2: on their phone or doing whatever. But when I'm watching
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  Speaker 2: a movie, it's like nothing else is going on, paying
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  Speaker 2: one focus to the movie. But in the movie Long Legs,
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  Speaker 2: they go through an hour and thirty minutes of this
• 5:08
  Speaker 2: movie and then at the end, right like right before
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  Speaker 2: it's getting ready to end, they explain everything that happened
• 5:17
  Speaker 2: throughout the movie, and it just ruins it the right
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  Speaker 2: when the audience could have they could have added a
• 5:23
  Speaker 2: few more scenes in there, and they the audience could
• 5:28
  Speaker 2: have put together exactly what's going on, and you didn't
• 5:30
  Speaker 2: have to tell everybody what happened through the movie. They
• 5:35
  Speaker 2: could piece it together on their own. And that's a
• 5:37
  Speaker 2: really big mistake. I would love to actually direct a
• 5:41
  Speaker 2: feature film with like actors and like do an actual film,
• 5:44
  Speaker 2: because I think that I could do it really well,
• 5:47
  Speaker 2: not like horror genre or horror genre or like some
• 5:52
  Speaker 2: something psychological psychological movies, like mind bending movies.
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  Speaker 1: It doesn't I feel like you'd be really good at that.
• 6:00
  Speaker 1: And it's just curious question, but how do you feel
• 6:03
  Speaker 1: about Jordan Peel?
• 6:05
  Speaker 2: I do like Jordan Peele.
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  Speaker 1: Okay, I do too. I was just curious because he is,
• 6:10
  Speaker 1: to me, a modern day storyteller with some of the
• 6:16
  Speaker 1: things that he's coming. I was just curious if you
• 6:19
  Speaker 1: thought he was any good, because I do.
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  Speaker 2: But my people, I didn't really like candy Man, but
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  Speaker 2: all of his other ones, Nope, Nope, was really good.
• 6:29
  Speaker 2: And it was great. Get Out was really good. That
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  Speaker 2: other one that he did that was like his next
• 6:34
  Speaker 2: mess Us, Yes, yeah, I was really good too. Like
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  Speaker 2: when you have the formula for a psychological thriller mind
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  Speaker 2: bending movie. I think that the the problem with directors
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  Speaker 2: in like Hollywood is they think that it's going to
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  Speaker 2: be too psychological to where the audience can't figure it out.
• 6:56
  Speaker 2: But the audience is way but that that encourages rewatchability.
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  Speaker 2: Half the movies has come out in the modern day
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  Speaker 2: have no rewatchability. Right then once and you're done, but
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  Speaker 2: not qubic. I've watched The Shining hundreds of times just
• 7:20
  Speaker 2: making the movie, and I watched it hundreds of times
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  Speaker 2: before that. When I was developing my theory of exactly
• 7:26
  Speaker 2: what Stanley Kubrick was trying to say within the movie.
• 7:30
  Speaker 2: I watched it hundreds of times. Okay, there's not another
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  Speaker 2: movie or another genre of movie, or anybody other than
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  Speaker 2: Stanley Kubrick that you can rewatch over and over and
• 7:44
  Speaker 2: over and over again and get something new because they're
• 7:50
  Speaker 2: like one and done movie. I will never rewatch a
• 7:55
  Speaker 2: Marvel movie once, right.
• 7:59
  Speaker 1: Yeah, it's like you know, they compared to go into
• 8:02
  Speaker 1: like an amusement park. When you watch a Marvel movie,
• 8:06
  Speaker 1: you know, because it's all just like fun in games
• 8:09
  Speaker 1: and whatever, and then it's over and there's like explosions
• 8:13
  Speaker 1: and you know, bright flashing colors or whatever. It's like
• 8:16
  Speaker 1: candy movie, you know, for like just zoning out. But
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  Speaker 1: I've been watching The Shining since I was a little kid,
• 8:25
  Speaker 1: and every time I watch it, immediately, just like with
• 8:29
  Speaker 1: the opening when it's going through the lake and the
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  Speaker 1: trees and like you're kind of getting the landscape and
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  Speaker 1: it's just transcendent almost, it like immediately takes you inside
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  Speaker 1: the movie. And it doesn't matter how many times I
• 8:45
  Speaker 1: watch it, I always feel like I've stayed at the overlook.
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  Speaker 1: By the time the movie is over, I feel like
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  Speaker 1: I've went through the experience. And so I did find
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  Speaker 1: it interesting that you and Jay Wider mentioned in the
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  Speaker 1: movie that it's not actually a horror film though, and
• 9:04
  Speaker 1: so what would you say that it is.
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  Speaker 2: I would say that it is a psychological mind bending movie.
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  Speaker 2: And but it was categorized when it first came out
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  Speaker 2: as like a horror movie, as like Stephen King's masterpiece
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  Speaker 2: horror movies. But there's very few horror elements. Within Stanley
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  Speaker 2: Kubrick's The Shining, there's very there's not any jump scares,
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  Speaker 2: one jump scare. It's more of a psychological thriller, and
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  Speaker 2: that brings on an entirely new meaning when you watch
• 9:43
  Speaker 2: our movie at Clockwork Shining Cubic's Hodesty three, because the
• 9:48
  Speaker 2: whole thing is psychological. It's a psychological experiment. They're running
• 9:53
  Speaker 2: a psychological experiment up there on Jack. The entire thing
• 9:58
  Speaker 2: has ran as like an operation. It's a CIA mind
• 10:05
  Speaker 2: control operation that's going on up there. And once you
• 10:09
  Speaker 2: put all the pieces together and you realize exactly what's
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  Speaker 2: going on, the entire movie makes sense because there's not
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  Speaker 2: Everyone has their own theories of what's going on in
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  Speaker 2: The Shining, and that's not to say that any of
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  Speaker 2: those theories are wrong. They can all be right simultaneously right.
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  Speaker 2: But the overall arching theory is our theory that we
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  Speaker 2: present in A Clockwork Shining seems to be the thing
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  Speaker 2: that makes sense because it also makes everything else makes sense.
• 10:40
  Speaker 2: Big moon landing stuff, which would be one giant psychological
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  Speaker 2: operation faking the moon, which would be an MK ultra
• 10:53
  Speaker 2: program like live feed out to everybody in the world,
• 10:59
  Speaker 2: all at the same time of a fake moon landing.
• 11:02
  Speaker 2: That's if that's true, that's one of the greatest mk
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  Speaker 2: ultra mind control operations that's ever existed. Right, Can we
• 11:10
  Speaker 2: make everybody believe everyone in the world believe that we
• 11:13
  Speaker 2: went to the moon? And that's the type of things
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  Speaker 2: that they do. That's what the mk ultra programs is
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  Speaker 2: really about, is to change the perception of people, to
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  Speaker 2: make them believe something happened when it may or may
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  Speaker 2: not have actually happened. Right. We can implant memories, thoughts,
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  Speaker 2: and ideas into people's heads to make them think that
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  Speaker 2: something happened when it didn't happen, or vice versa, when
• 11:41
  Speaker 2: something really did happen, and will make them believe that
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  Speaker 2: it didn't happen. Right. It works about ways. You can
• 11:47
  Speaker 2: do it both ways. And when you look at you
• 11:48
  Speaker 2: and camera and what he was doing in Canada whenever
• 11:52
  Speaker 2: the CIA sub leased the programs into Canada, because that's
• 11:57
  Speaker 2: really where a lot of them went. They sub a
• 12:00
  Speaker 2: lot of these programs to private companies and private contractors
• 12:03
  Speaker 2: and private government contractors so that they wouldn't have to
• 12:09
  Speaker 2: reveal that they were doing these experiments. Right, Because it's
• 12:13
  Speaker 2: from a private company, and a private company is not
• 12:16
  Speaker 2: beholding to the same laws that the government is beholden to.
• 12:22
  Speaker 2: So they would use like hospital wings. They would open
• 12:24
  Speaker 2: up a giant hospital wings to just test mk ultra
• 12:28
  Speaker 2: mind control stuff. And they had this big hospital in
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  Speaker 2: Canada and several of the people from Canada that was
• 12:35
  Speaker 2: experimented on by you, and Cameron actually sued the Canadian
• 12:38
  Speaker 2: government for it and they won. But the thing that
• 12:41
  Speaker 2: he was doing was there's a process to this. There's depatterning.
• 12:48
  Speaker 2: So you depattern the mind of your subject, so you
• 12:52
  Speaker 2: essentially erase all of their cognitive behavior. You kind of
• 12:56
  Speaker 2: erase their memories, you erase what they think is actually
• 13:01
  Speaker 2: going on, any of their previous ideas of what's happening,
• 13:06
  Speaker 2: like the critical thinking and their awareness around something. And
• 13:13
  Speaker 2: that's normally done through trauma. So you traumatize somebody, you're
• 13:17
  Speaker 2: essentially deep patterning them. So after they traumatize them, they
• 13:22
  Speaker 2: can then drug them and then use a technique that's
• 13:28
  Speaker 2: called psychic driving, which psychic driving is implanting a thought
• 13:33
  Speaker 2: or an idea into somebody's head and some of their
• 13:38
  Speaker 2: original outlook of what psychic driving was the original definition
• 13:43
  Speaker 2: of how they did it was is they would take
• 13:45
  Speaker 2: in a tape recorder, a repeated audio looped tape recorder,
• 13:50
  Speaker 2: and they would play it repeatedly to these patients that
• 13:54
  Speaker 2: they had been deppatterned and druggy. Now, as we talk
• 14:00
  Speaker 2: about in the documentary at Clockwork Shining, there's a whole
• 14:03
  Speaker 2: list of drugs. Whenever Kathy O'Brien is talking about her
• 14:06
  Speaker 2: experiences within the mk Ultra Monarch program, we show a
• 14:11
  Speaker 2: list of all the drugs that were used by the
• 14:14
  Speaker 2: CIA and the mk Ultra programs, and it's hundreds of drugs,
• 14:17
  Speaker 2: from caffeine to adderall to weed, the anphetamine, the nicotine.
• 14:22
  Speaker 2: They used all of it. So it's not just LSD.
• 14:27
  Speaker 2: And that's a common misconception within the mk Ultra programs.
• 14:31
  Speaker 2: They think, oh, while they were just using some LSD,
• 14:33
  Speaker 2: they were just making people trip, which can put people
• 14:37
  Speaker 2: out of their mind. We talk about that too within
• 14:39
  Speaker 2: the documentary. If you're unknowingly dosed with LSD, you have
• 14:43
  Speaker 2: no idea what drug that you You're going to think
• 14:45
  Speaker 2: that you're losing your mind. It's going to put you psychosis.
• 14:51
  Speaker 2: If you're dosed with a high amount of LSD, and
• 14:53
  Speaker 2: there's proof of that with several people being unknowingly dosed
• 14:57
  Speaker 2: with LSD. I mean, Project Midnight Climax was all about that.
• 15:02
  Speaker 1: There was Frank Olsen stuff.
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  Speaker 2: Yeah, Frank Olsen he was unknowingly dosed with LSD and
• 15:09
  Speaker 2: jumped out of the what was it the thirteenth or
• 15:11
  Speaker 2: the fourteenth through.
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  Speaker 1: A closed window, no less, with a big concussion on
• 15:16
  Speaker 1: his head. So he somehow hid himself over the head,
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  Speaker 1: gave himself a deadly injection of something I think it
• 15:24
  Speaker 1: was LSD, and then it jumped out of a closed window.
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  Speaker 1: I mean the amount of like craziness that goes in
• 15:33
  Speaker 1: this documentary of clockwork Shining. You touch on so many
• 15:38
  Speaker 1: there's so much to unpact because it is the Frank
• 15:40
  Speaker 1: Olsen LSD stuff, Monarch stuff. Stanley was friends with a
• 15:44
  Speaker 1: lot of higher up uppity people at NASA, and it
• 15:50
  Speaker 1: is about stuff like that Laurel Canyon big part of it.
• 15:54
  Speaker 1: And then it's like there are so many layers. It's
• 15:57
  Speaker 1: like a five layer burrito really. And one of the
• 16:01
  Speaker 1: things that caught my attention to is that you mentioned
• 16:05
  Speaker 1: this memo I think it was to the President talking
• 16:08
  Speaker 1: about how Stanley Kubrick was the most promising something or other,
• 16:15
  Speaker 1: and I think that he was working for the government
• 16:20
  Speaker 1: in some unspecified capacity, Like do you think that's part
• 16:24
  Speaker 1: of the MK thing.
• 16:27
  Speaker 2: Yeah, we don't know exactly what that project was because
• 16:29
  Speaker 2: it doesn't state it in the document, but the document
• 16:32
  Speaker 2: states that there are five film directors that are being
• 16:36
  Speaker 2: looked at for some unknown government project, with Stanley Kubrick
• 16:39
  Speaker 2: being looked at as the most promising. And we know
• 16:42
  Speaker 2: that Stanley Kubrick's had ties to the government because the
• 16:45
  Speaker 2: Air Force came to the set of Doctor Strangelow whenever
• 16:50
  Speaker 2: he did the he made a model of the inside
• 16:54
  Speaker 2: of the B two stealth bomber, and he'd asked the government,
• 16:57
  Speaker 2: the Air Force for if he could use like if
• 17:02
  Speaker 2: he could see the inside of a B too stealth
• 17:03
  Speaker 2: bomber so they can get the inside of it. Correct.
• 17:07
  Speaker 2: The military said, no, you can't do that because it's
• 17:10
  Speaker 2: top secret classified information. If we let you do that,
• 17:13
  Speaker 2: then when other countries this film is going to be
• 17:17
  Speaker 2: distributed in other countries, and if other countries see what
• 17:20
  Speaker 2: the inside of the B two stealth bomber looks like
• 17:22
  Speaker 2: and all of its gadgets and how it all works
• 17:24
  Speaker 2: and everything, then they can replicate it, right, So they
• 17:27
  Speaker 2: said no. Then Qubrick's project designer, his producer, which we
• 17:33
  Speaker 2: have talking about it in the documentary, he cut out
• 17:38
  Speaker 2: all of these like magazines and looked at models of
• 17:46
  Speaker 2: what people thought that the inside of a B too
• 17:47
  Speaker 2: stealth bomber looked like. And he compiled all this information
• 17:50
  Speaker 2: and then they recreated what they believed the inside of
• 17:54
  Speaker 2: the B too Stealth bomber looked like. So then when
• 17:56
  Speaker 2: the Air Force came to visit the side of Doctor
• 17:58
  Speaker 2: Strangelove and they watched them, they were like, what's that
• 18:03
  Speaker 2: going on here? We said, no, that you couldn't see
• 18:06
  Speaker 2: the inside of this B two stealth bomber, But yet
• 18:08
  Speaker 2: you have what the inside of a B two stealth
• 18:11
  Speaker 2: bomber looks like almost perfectly. Okay. So we believe that
• 18:16
  Speaker 2: that was the inception of Qubricks starting to work with
• 18:22
  Speaker 2: the government and these three letter organizations and the military.
• 18:26
  Speaker 2: And then if you fast forward into two thousand and
• 18:28
  Speaker 2: one A Space Odyssey, at the end of that movie,
• 18:31
  Speaker 2: there was credits there that he was thinking all of
• 18:34
  Speaker 2: these big corporations like lockeed Martin, Air Force Intelligence, Langley
• 18:41
  Speaker 2: Air Force Base, all these big military contractors and these
• 18:46
  Speaker 2: three letter organizations, right, and that all those credits ended
• 18:51
  Speaker 2: up getting cut out in the final run of the
• 18:54
  Speaker 2: movie because I'm sure that one of these military people
• 18:56
  Speaker 2: came to him and was like, Hey, you can't be
• 18:58
  Speaker 2: thinking all of us in the of this movie, because
• 19:01
  Speaker 2: then people are gonna know that we're involved in with
• 19:03
  Speaker 2: the production exactly, NASA. The cameras that he used for
• 19:09
  Speaker 2: filming two thousand and one Space Honesty came from NASA. Okay,
• 19:15
  Speaker 2: So there's connections all over the place here between military organizations,
• 19:20
  Speaker 2: three letter organizations, and direct ties with Stanley Kubrick. And
• 19:23
  Speaker 2: we also show within the documentary how many other movies
• 19:28
  Speaker 2: have been had production and has ties in the military
• 19:33
  Speaker 2: industrial complex. Die another Day, the James Bond movies, Transformers movies,
• 19:37
  Speaker 2: which all those came out way later than But what
• 19:41
  Speaker 2: we didn't know about that until the four year request
• 19:45
  Speaker 2: came back and then they got all that information. So
• 19:48
  Speaker 2: now the cat is out of the bag that the
• 19:50
  Speaker 2: three letter organizations in the military is involved with film production,
• 19:55
  Speaker 2: and then that ties into the Laurel Canyon stuff. Okay,
• 19:58
  Speaker 2: So Laurel Canyon, there's a military base called Lookout Mount
• 20:01
  Speaker 2: on top right outside of la on top of Laurel
• 20:05
  Speaker 2: Canyon called Lookout Mountain Air Force Base. There's a huge facility.
• 20:10
  Speaker 2: They had sound stages, they had movie sets. They that's
• 20:14
  Speaker 2: where the miniature bomb, the nuclear bomb explosions all took
• 20:21
  Speaker 2: place there. That was filmed on miniature sets, Okay, And
• 20:24
  Speaker 2: there was thousands and thousands of films that were made there.
• 20:27
  Speaker 2: And it's just a coincidence that this is right beside
• 20:30
  Speaker 2: la where Hollywood is, where all these films are being made. Like,
• 20:33
  Speaker 2: you got to be using mental gymnastics to not think
• 20:37
  Speaker 2: that the military is involved and is making films to
• 20:40
  Speaker 2: put out to the public. And also how much of
• 20:44
  Speaker 2: the stuff that we think is actually real footage of
• 20:47
  Speaker 2: real events happening were actually staged events film that Lookout Mount.
• 20:52
  Speaker 2: Because if they were doing this way back when, and
• 20:53
  Speaker 2: Jared Leto now owns the Lookout Mountain Air Force Base, yeah,
• 20:59
  Speaker 2: with the Mars and the cult that Jared Leto is
• 21:02
  Speaker 2: supposedly all involved with the White Road cult is what
• 21:07
  Speaker 2: they call it. And if they were doing it back then,
• 21:11
  Speaker 2: and they were so involved in making films, right and
• 21:14
  Speaker 2: we don't know what all those films were. Because it's
• 21:18
  Speaker 2: still all classified, we don't know what any of that was,
• 21:21
  Speaker 2: So again, you'd have to be using mental gymnastics to
• 21:26
  Speaker 2: think that they're still not doing that. That brings in
• 21:30
  Speaker 2: the question, like all this stuff, it brings in, brings
• 21:33
  Speaker 2: nine to eleven into question. It brings in, like the
• 21:37
  Speaker 2: jfk assassination, all of it into question because they can
• 21:41
  Speaker 2: literally just film something on a military soundstage and then
• 21:48
  Speaker 2: set off as something real in the public. They just
• 21:50
  Speaker 2: got to put it everywhere, right, and now they don't.
• 21:53
  Speaker 2: Necessarily that's evolved now they don't even have to use
• 21:57
  Speaker 2: real people. Now they don't even have to film it,
• 22:00
  Speaker 2: just use AI. And if anybody thinks that they don't
• 22:04
  Speaker 2: if they haven't perfected the technology of AI, the military
• 22:07
  Speaker 2: hasn't perfected it to where you legitimately cannot tell the
• 22:10
  Speaker 2: difference between if it's real or if it's one hundred
• 22:12
  Speaker 2: percent fake, just because we don't have that technology yet,
• 22:16
  Speaker 2: then you're only kidding yourself. Hundred percent have it and
• 22:20
  Speaker 2: they been using it for decades now. There's dual use
• 22:25
  Speaker 2: for all of these things. There's dual use. There's the
• 22:28
  Speaker 2: military use and then there's the public use. They figure
• 22:32
  Speaker 2: it all out within the military, how they can use
• 22:34
  Speaker 2: it for their operations and what they're doing, and then
• 22:36
  Speaker 2: later on they release it to the public. I mean,
• 22:38
  Speaker 2: how long do we have drones? How long were military
• 22:41
  Speaker 2: drones a thing before we got these little, tiny public
• 22:44
  Speaker 2: drones that people can use. Hey, they've been using drones
• 22:50
  Speaker 2: or freaking decades, years and years and years, way before
• 22:54
  Speaker 2: the public ever knew that the military had unmanned drones.
• 22:59
  Speaker 2: So if you use that same logic with AI and
• 23:02
  Speaker 2: with these soundstage military bases, then they're still doing the
• 23:08
  Speaker 2: exact same thing today. It's like a it's like a
• 23:12
  Speaker 2: mission of what they were doing before so that they
• 23:14
  Speaker 2: can kind of come out and be like, oh, well,
• 23:16
  Speaker 2: we stopped doing this. Is like the MK Ultra programs
• 23:18
  Speaker 2: when they shut when they disclose it to the public
• 23:20
  Speaker 2: in nineteen eighty five. Right, they kind of had to
• 23:22
  Speaker 2: do that so that the CIA would take the fall
• 23:24
  Speaker 2: for it and take the bad rap while all the
• 23:26
  Speaker 2: other all the other three letter organizations were also doing
• 23:30
  Speaker 2: the exact same thing. But it gets all of those
• 23:33
  Speaker 2: off of the hook. I mean, the Air Force has
• 23:35
  Speaker 2: been running MK Ultra programs almost since its inception, right,
• 23:40
  Speaker 2: Walter Bosley, the AFOSI Special Air Force agent within our documentary,
• 23:45
  Speaker 2: says that the Air Force he worked for the Air Force.
• 23:47
  Speaker 2: He said that the Air Force, out of all of
• 23:50
  Speaker 2: the military branches, was the most interested in MK ultra.
• 23:56
  Speaker 2: So they're all doing it.
• 23:58
  Speaker 1: No, yeah, I mean I think I think that they're
• 24:00
  Speaker 1: up to something else too with Lookout Mountain, because if
• 24:04
  Speaker 1: you look at who had top secret clearance to get
• 24:07
  Speaker 1: into that place, it's like Marilyn Monroe, Why the fuck
• 24:10
  Speaker 1: does she have top secret anything to get in there?
• 24:12
  Speaker 1: They're filming like what nuclear test footage? Why does Marilyn
• 24:17
  Speaker 1: Monroe need to be up in there? I mean, it's
• 24:20
  Speaker 1: just it's odd to me. And then I spoke with
• 24:22
  Speaker 1: a woman. She's a doctor, she's a psychiatrist now, her
• 24:28
  Speaker 1: name is doctor Juliet Engel, and she said that she
• 24:32
  Speaker 1: was taken there as a child as part of these
• 24:36
  Speaker 1: kind of like Kathy O'Brien like ritual sex abuse type
• 24:41
  Speaker 1: of thing, and that she said that she went to
• 24:43
  Speaker 1: Lookout Mountain Studio and that they were filming snuff films there,
• 24:50
  Speaker 1: and she said that like with one certainty, that that's
• 24:54
  Speaker 1: like part of the things that they were doing there.
• 24:56
  Speaker 1: And it just makes you wonder because of all of
• 24:58
  Speaker 1: the ritualism, and we know that they do have to
• 25:02
  Speaker 1: traumatize you in order to get your mind in a
• 25:06
  Speaker 1: certain place. I think if you look at Stanley's work,
• 25:11
  Speaker 1: it's like sprinkled throughout it. I would say probably Lolita
• 25:14
  Speaker 1: and eyes wide shut kind of our closer look at
• 25:18
  Speaker 1: maybe some of the sexual side of things, but clockwork,
• 25:21
  Speaker 1: orange and the shining are like the military side of things.
• 25:27
  Speaker 1: Does that make sense?
• 25:28
  Speaker 2: Well, yeah, absolutely. But also with Stanley Kubrick. We were
• 25:32
  Speaker 2: really nice to Stanley Kubrick. But after he died, one
• 25:38
  Speaker 2: of his best friends came had it was only had
• 25:42
  Speaker 2: one key to his office, right, he was the only
• 25:44
  Speaker 2: other person that had a key to his office. So
• 25:45
  Speaker 2: then he shows up at Kubrick's house, goes to open
• 25:49
  Speaker 2: up his closet, and whenever he rolls up to his house,
• 25:51
  Speaker 2: there's these men in suits better there and they're going
• 25:55
  Speaker 2: through all of Kubrick's stuff, taking a lot of his
• 26:02
  Speaker 2: things out of his office. Okay, now who else had
• 26:08
  Speaker 2: all the the almost that exact same thing happened to
• 26:11
  Speaker 2: them like diddy, Okay, they raided place. Yeah, given he
• 26:20
  Speaker 2: wasn't dead, whenever they did it, he was still alive,
• 26:24
  Speaker 2: but they raided his place. Epstein. Mm hmm. What's the
• 26:29
  Speaker 2: other what's the other filmmaker? The filmmaker producer that got
• 26:34
  Speaker 2: caught up in the me too movement?
• 26:37
  Speaker 1: That why uh what Harvey.
• 26:40
  Speaker 2: Harvey Weinstein Harvey. So when you put two two together here,
• 26:44
  Speaker 2: it's not looking too good for Kubrick. But also it
• 26:49
  Speaker 2: could be that because he had to have known about
• 26:51
  Speaker 2: Lookout Mound because he lived in LA during the time
• 26:53
  Speaker 2: that Lookout Mound was in operation. And if you're a filmmaker,
• 26:57
  Speaker 2: you're directing movies. He had a rich on that lived
• 27:00
  Speaker 2: in LA, so he moved to LA for like two
• 27:02
  Speaker 2: or three years. You had to know about Lookout Mountain
• 27:05
  Speaker 2: and if and if what you're saying is true that
• 27:07
  Speaker 2: they were doing like snuff films and like really weird operation.
• 27:10
  Speaker 2: But there's another thing too, is like but like crisis
• 27:13
  Speaker 2: actors as well. We know the crisis actors are one
• 27:16
  Speaker 2: hundred percent of real thing. Okay, So Marilyn Monroe could
• 27:19
  Speaker 2: have had a job up there to play different people
• 27:25
  Speaker 2: that are essentially like because a lot of people look
• 27:28
  Speaker 2: like Marilyn Monroe, right, A lot of these people look
• 27:32
  Speaker 2: very similar to other people throughout it. They're just modernized.
• 27:36
  Speaker 2: So and not only that, like with people like Britney Spears,
• 27:41
  Speaker 2: a lot of these people have body doubles. Okay, they
• 27:44
  Speaker 2: have body doubles that are used for their music videos
• 27:49
  Speaker 2: and famous musicians have them. Actors all have them, Actors
• 27:53
  Speaker 2: have stump stunt people body doubles, they all use them.
• 27:58
  Speaker 2: So if you can get somebody that looks similar to
• 28:01
  Speaker 2: somebody else, then they can be used as like a
• 28:05
  Speaker 2: like an actor, and that's like that would be like
• 28:08
  Speaker 2: the ultimate acting role, right, Like if you're if you're
• 28:12
  Speaker 2: a famous actor and you're trying to take your acting
• 28:14
  Speaker 2: to the pinnacle of where you want it to be,
• 28:17
  Speaker 2: what would be the greatest acting achievement? The greatest acting
• 28:22
  Speaker 2: achievement would be to completely impersonate somebody else in reality
• 28:29
  Speaker 2: make people believe that you are someone else. Now, I'm
• 28:33
  Speaker 2: not saying that everybody is doing this. I'm not saying
• 28:36
  Speaker 2: that everybody is like somebody else, right, but throughout history
• 28:41
  Speaker 2: this has to have happened at some point, right, someone
• 28:45
  Speaker 2: definitely had the idea was like, okay, well what if
• 28:49
  Speaker 2: we took you know, someone like Marilyn Monroe, and then
• 28:54
  Speaker 2: we turn them and turn them into a completely different
• 28:59
  Speaker 2: actor or in reality, and not give them the same
• 29:03
  Speaker 2: name as Marilyn and Rowe. Would people buy it? Would
• 29:07
  Speaker 2: people believe that that is a completely separate other person?
• 29:13
  Speaker 2: And I believe that they would because they would have
• 29:15
  Speaker 2: no reason to believe that it wasn't. So do you
• 29:20
  Speaker 2: think different people in many different roles throughout history that
• 29:23
  Speaker 2: is literally the same person?
• 29:25
  Speaker 1: Like for me, sometimes I question if people really die
• 29:32
  Speaker 1: in the way that they say, Like I don't know
• 29:35
  Speaker 1: if Jim Morrison really died or if they just repurposed him,
• 29:39
  Speaker 1: you know, or if Taylor Swift has been swapped out.
• 29:45
  Speaker 1: You know, there's a lot of talk about her. I
• 29:49
  Speaker 1: don't know Sharon Tate really died or if she's just
• 29:51
  Speaker 1: playing a new character. I mean, sometimes I think sensationalism,
• 29:55
  Speaker 1: especially coming out of the Laurel Canyon scene. I don't
• 29:59
  Speaker 1: know that those weren't just all actors who got repurposed
• 30:03
  Speaker 1: in some other unspecified capacity because they are useful. Why
• 30:08
  Speaker 1: would you kill them?
• 30:10
  Speaker 2: You know, it's not out of the realm of possibility.
• 30:12
  Speaker 2: But then there's another possibility that people just randomly die too.
• 30:16
  Speaker 2: I mean that definitely is a thing. But when you
• 30:20
  Speaker 2: have parents that are high ranking military officials. Jim Morrison's
• 30:25
  Speaker 2: dad was a high ranking naval intelligence officer that was
• 30:28
  Speaker 2: responsible for the Gulf of Tonkin incident, to false fly
• 30:31
  Speaker 2: Golf of Tonkin incident that got us into the Vietnam War.
• 30:33
  Speaker 2: Sarance Tate dad was a high ranking military officer. Bob
• 30:39
  Speaker 2: Marley's dad was a British naval commander. Like, all of
• 30:44
  Speaker 2: these people have ties to military intelligence, so you can't
• 30:50
  Speaker 2: put much past them and what they would do to
• 30:56
  Speaker 2: get away with something. And it makes so much sense
• 31:00
  Speaker 2: to the reason why Jim Morrison was like so wild
• 31:03
  Speaker 2: and like crazy and was kind of just doing whatever
• 31:05
  Speaker 2: he wanted to do. And he was actually an actor
• 31:09
  Speaker 2: before he became like a musician and formed the Doors. Okay,
• 31:14
  Speaker 2: several of these people. Tupac was an actor, right, Yeah,
• 31:19
  Speaker 2: people are actors and then they get into it's it's
• 31:24
  Speaker 2: it's insanity, it's really insanity. But it makes sense with
• 31:29
  Speaker 2: Jim Morrison and the way that he acted. He acted
• 31:31
  Speaker 2: like he could do whatever he wanted to do and
• 31:33
  Speaker 2: that he wasn't going to get in trouble, and he
• 31:35
  Speaker 2: never did get in trouble. Yeah, he got arrested a
• 31:37
  Speaker 2: few times and maybe thrown in jail for a couple
• 31:40
  Speaker 2: of days or maybe a week or whatever, but he
• 31:42
  Speaker 2: was always let out. And the same with Charles Manson. Charles,
• 31:45
  Speaker 2: how many times was Charles Manson incarcerated whenever he was
• 31:48
  Speaker 2: growing up? How many psych wars did Charles Manson go
• 31:51
  Speaker 2: into m and he was just immediately let out? Right?
• 31:57
  Speaker 1: It makes you think kind of along those same like
• 32:00
  Speaker 1: with Program to Kill when Dave McGowan talks about how
• 32:04
  Speaker 1: many times serial killers were caught, but they weren't caught.
• 32:08
  Speaker 1: They were let back out, or they escaped, or some
• 32:11
  Speaker 1: in some way they got back out on the streets,
• 32:14
  Speaker 1: And it just makes me wonder. I mean, a lot
• 32:18
  Speaker 1: of this is just a big movie in and of itself.
• 32:24
  Speaker 1: I mean, we're living in a movie, I think. But
• 32:29
  Speaker 1: like with Lookout Mountain, laboratory is what it's called in
• 32:34
  Speaker 1: Dave McGowan's book. I don't know why they called it
• 32:38
  Speaker 1: a laboratory that. I don't know why that's significant, But
• 32:43
  Speaker 1: you compared it to Overlook Hotel because of how it
• 32:49
  Speaker 1: looks in the name. So I thought that was really
• 32:53
  Speaker 1: interesting and I had never considered that before. Did Stanley
• 32:56
  Speaker 1: have anything to do with where they pick to film
• 33:01
  Speaker 1: the movie.
• 33:02
  Speaker 2: Yeah, he sent a whole entire research team to try
• 33:08
  Speaker 2: and scout location to film the movie, but he ultimately
• 33:12
  Speaker 2: landed on just building a set. But the external shots
• 33:17
  Speaker 2: of the hotel within the Shining is at the lodge
• 33:23
  Speaker 2: in Oregon right around where you are. Timberline Lodge is
• 33:28
  Speaker 2: where the external shots of the hotel is filmed, which
• 33:32
  Speaker 2: creates continuity errors within the Shining as well, because the
• 33:37
  Speaker 2: exterior shots of the hotel is from the Timberline Lodge
• 33:41
  Speaker 2: and the rest of the shots is on a set.
• 33:45
  Speaker 2: So in the opening shot of the hotel, which I
• 33:48
  Speaker 2: have some slides here that I'm going to show here
• 33:50
  Speaker 2: a little bit later on, that goes over some of this,
• 33:53
  Speaker 2: but I think it's important to mention now it creates
• 33:55
  Speaker 2: a conninuity are because there's no maze in behind the
• 33:59
  Speaker 2: hotel in that first establishing shot of the Overlook Hotel
• 34:06
  Speaker 2: within the movie, but then later on there is a
• 34:09
  Speaker 2: maze back there because they're filmed in two different There's
• 34:13
  Speaker 2: also a ski what is it the ski line or whatever,
• 34:20
  Speaker 2: that's going up the web side of the mountain, whenever
• 34:22
  Speaker 2: Olmens says that there's no skiing up here, it creates
• 34:27
  Speaker 2: these problems when he decided not to film it on
• 34:32
  Speaker 2: an actual location, he found it on a set. But yeah,
• 34:36
  Speaker 2: he again, I think that this goes back to him
• 34:39
  Speaker 2: being aware of Lookout Mountain Air Force Base or Lookout
• 34:45
  Speaker 2: Mountain Laboratories and wanting to kind of design the same
• 34:54
  Speaker 2: type of structure or the hotel in the Shiny. It's
• 35:01
  Speaker 2: just a coincidence that is named almost the exact same thing.
• 35:05
  Speaker 2: And like the military was running definitely running experiments a
• 35:10
  Speaker 2: Lookout Mountain base, and you know, what are they doing
• 35:16
  Speaker 2: within the Shining. It's a it's an experiment on the
• 35:19
  Speaker 2: people within the Shining, it's an experiment on the audience,
• 35:21
  Speaker 2: and it's an experimental movie in a hole. So it's
• 35:25
  Speaker 2: like a triple whammy. You know, it's not only psychological
• 35:29
  Speaker 2: within the person that's watching the movie, it's psychological to
• 35:35
  Speaker 2: the actors within the movie as well. The giant psychological operation.
• 35:40
  Speaker 2: And and in the way that Kubrick is treating Shelley
• 35:46
  Speaker 2: Duvall within the filming of is something that a handler,
• 35:53
  Speaker 2: an M. K Ultra handler would do to a victim. MH.
• 35:59
  Speaker 2: And we see that within the documentary that Cubrick is
• 36:03
  Speaker 2: like berating her. He's telling the the staff and the
• 36:07
  Speaker 2: people that are working on the movie to not listen
• 36:09
  Speaker 2: to her, to not you know, tend to her needs.
• 36:14
  Speaker 1: Her hair was falling out, she was all fucked up.
• 36:18
  Speaker 1: And then I think the scene with like the baseball bat,
• 36:21
  Speaker 1: like as she's coming up the stairs, he made her
• 36:23
  Speaker 1: do that like one hundred and twenty seven times or
• 36:25
  Speaker 1: something like that, and her hands were raw and bleeding
• 36:29
  Speaker 1: and she was exhausted, And I mean, that is an
• 36:32
  Speaker 1: MK to me, Like that's that's MK. Like you, Jack Nicholson,
• 36:38
  Speaker 1: I think got off the hook other than the fact
• 36:40
  Speaker 1: that he Stanley pretty much rewrote the script every day
• 36:43
  Speaker 1: and everybody had to keep relearning everything. He was like
• 36:46
  Speaker 1: writing the movie as he was going. But I think
• 36:49
  Speaker 1: it's interesting that he picked that location because there is
• 36:54
  Speaker 1: a hotel that the Shining the book is based on
• 36:56
  Speaker 1: that you can go and stay at and visits in Colorado.
• 37:00
  Speaker 1: I went and stayed there with my husband for Halloween
• 37:04
  Speaker 1: one year. I mean, there's nothing special about it other
• 37:06
  Speaker 1: than the fact that Stephen King used it as the
• 37:09
  Speaker 1: inspiration for the book or whatever. But Stephen King hated
• 37:13
  Speaker 1: everything about The Shining so much that he went back
• 37:16
  Speaker 1: and made like a shitty like TV show called The Shining.
• 37:22
  Speaker 1: I'm pretty sure, and it was an epic failure. But
• 37:25
  Speaker 1: it's like Stanley purposely changed everything. He changed everything about
• 37:29
  Speaker 1: this story and even the location, so everything was picked
• 37:34
  Speaker 1: very specifically to his standard of what he was trying
• 37:40
  Speaker 1: to do. So yeah, I mean I thought that was
• 37:43
  Speaker 1: when he showed the side by side of like Lookout
• 37:46
  Speaker 1: Mountain and the Overlook and how the names are so similar,
• 37:50
  Speaker 1: I was like, what the actual fuck, Like, that's so crazy.
• 37:54
  Speaker 2: And why would you be writing a script as you're
• 37:58
  Speaker 2: shooting a movie. Nobody in their right mind would ever
• 38:03
  Speaker 2: do that. It would never be greenlit like that less
• 38:07
  Speaker 2: unless you're, you know, doing it on your own, unless
• 38:10
  Speaker 2: you're funding it yourself. Then you can do whatever you want,
• 38:13
  Speaker 2: but no studio is gonna dish out money to make
• 38:18
  Speaker 2: a movie where a script hasn't been written. And we
• 38:23
  Speaker 2: believe that Kubrick turned in a script that was more
• 38:29
  Speaker 2: aligned to Stephen King's novel okay, and then so that
• 38:37
  Speaker 2: the movie would get approved because it just came off
• 38:40
  Speaker 2: of a really bad movie, a really bad flop, which
• 38:42
  Speaker 2: was Barry Lindon Berry Lindon and not go over good.
• 38:45
  Speaker 2: It lost money. Warner Brothers was probably like, Okay, let's
• 38:49
  Speaker 2: you know, let's take Let's do something that's gonna that's
• 38:53
  Speaker 2: been proven to work, because they just had a big
• 38:56
  Speaker 2: hit with The Exorcist and William freaking directing novel and
• 39:00
  Speaker 2: it was a really big movie for them, made them
• 39:04
  Speaker 2: a lot of money. So they were like, Okay, well,
• 39:06
  Speaker 2: here's this new book by Stephen King, The Shining, why
• 39:11
  Speaker 2: don't you do a film adaptation of that? So then
• 39:13
  Speaker 2: he wrote them a script that was more a keen
• 39:16
  Speaker 2: to Stephen King's book. Then he decided to change it
• 39:23
  Speaker 2: as they were filming it, which would be a complete
• 39:29
  Speaker 2: and total nightmare. I could not imagine as a director
• 39:36
  Speaker 2: having to rewrite something as you're filming it. It doesn't
• 39:41
  Speaker 2: make any sense to do, like you're looking at a
• 39:44
  Speaker 2: disaster of a movie, which toward the end of the movie,
• 39:51
  Speaker 2: there was an original ending to The Shining that I
• 39:54
  Speaker 2: was just going.
• 39:54
  Speaker 1: To ask you about that the alternative ending.
• 39:59
  Speaker 2: So there was an alternative ending that doesn't that is
• 40:03
  Speaker 2: not the same ending to the ending that we're familiar
• 40:07
  Speaker 2: with with Jack just h he's out in the maze,
• 40:10
  Speaker 2: he's kind of going catatonic or whatever. And then the
• 40:13
  Speaker 2: next scene is you know, him dead, he's frozen in
• 40:16
  Speaker 2: the ice, and then it zooms up to the picture
• 40:19
  Speaker 2: on the wall. July fourth, nineteen twenty one. Right, So
• 40:24
  Speaker 2: Cubic originally had another ending in there where Windy wakes
• 40:28
  Speaker 2: up in the hospital, Almand comes to visit, and there's
• 40:32
  Speaker 2: this is one hundred percent reel. The script is online,
• 40:34
  Speaker 2: you can. We showed the script in the documentary, but
• 40:38
  Speaker 2: that's all that we have of it, and Wendy waking
• 40:41
  Speaker 2: up in the hospital, Almond coming to visit her in
• 40:44
  Speaker 2: the hospital, Danny is there. Almond pretty much explains to
• 40:48
  Speaker 2: her and is like, hey, we went up to the hotel.
• 40:51
  Speaker 2: We checked it out. Nothing like what you said happened.
• 40:57
  Speaker 2: We didn't find any evidence for it, okay, almost making
• 41:02
  Speaker 2: it seem like that it's a one operation. They just
• 41:07
  Speaker 2: went up there and cleaned everything out, right, They cleaned
• 41:10
  Speaker 2: it all up and made it seem like that it
• 41:12
  Speaker 2: didn't happen. Because Wendy has been traumatized to like no end.
• 41:15
  Speaker 2: So it's like, oh, who's gonna believe this? Very traumatized woman,
• 41:19
  Speaker 2: she's going to mix things up in her mind and whatever.
• 41:22
  Speaker 2: And then he meets Danny in the hallway and then
• 41:24
  Speaker 2: throws Danny the tennis ball that Jack was bouncing off
• 41:28
  Speaker 2: of the wall in the movie, and also is the
• 41:31
  Speaker 2: tennis ball that rolled toward Danny while he's in the
• 41:34
  Speaker 2: hallway before he goes in the room two thirty seven.
• 41:38
  Speaker 2: Okay and qbreak cut that section out of the movie. Now,
• 41:42
  Speaker 2: there's a few people that do remember seeing it, because
• 41:44
  Speaker 2: it did run in some of the test screenings in
• 41:49
  Speaker 2: California and I believe in New York, so some very
• 41:54
  Speaker 2: few people got to see the original ending to the Shining.
• 41:58
  Speaker 2: It's one of the like most infamous long lost pieces
• 42:04
  Speaker 2: of film media ever. And Stanley Kubrike, he's, you know,
• 42:11
  Speaker 2: famous for destroying all of his outtakes of movies, all
• 42:17
  Speaker 2: of the footage that he didn't use any had deleted
• 42:20
  Speaker 2: scenes or whatever, he just destroyed them.
• 42:23
  Speaker 1: Why do you think he took that ending off though?
• 42:25
  Speaker 1: Do you think it gave too much away? Like this
• 42:29
  Speaker 1: was all in your mind?
• 42:34
  Speaker 2: There was another scene that was also cut out that
• 42:36
  Speaker 2: was Jack going into the boiler room in the basement
• 42:40
  Speaker 2: and finding a scrap book of all the tragedies that
• 42:46
  Speaker 2: happened at the Overlook Hotel, and that's how he knew
• 42:50
  Speaker 2: who Grady was. So remember whenever he's in the bathroom
• 42:57
  Speaker 2: and talking to Grady and he was like, I know you,
• 43:00
  Speaker 2: I have seen you around here someplace before. He's referring
• 43:04
  Speaker 2: to the scrap book that he found in the base.
• 43:08
  Speaker 2: He's looking through all the photos and seeing the tragedy
• 43:12
  Speaker 2: that Ollman talked to him about whenever he was there
• 43:15
  Speaker 2: for the interview that a man named Pearls Grady, but
• 43:21
  Speaker 2: then later he's referred to as Delbert Grady, which makes
• 43:23
  Speaker 2: you believe that there's two different Grady's running around. But
• 43:30
  Speaker 2: he finds the scrap book and then that's how he knows.
• 43:32
  Speaker 2: And that remnant of that scene being in there is
• 43:37
  Speaker 2: prominent because we get that interaction with Grady and we
• 43:41
  Speaker 2: don't know what Jack is talking about because the scene
• 43:44
  Speaker 2: was cut out. But yeah, the end, it definitely gave
• 43:48
  Speaker 2: too much away because in our examination of the movie,
• 43:53
  Speaker 2: it's an mk Ultra program and this is setting up
• 43:58
  Speaker 2: the fact that the entire thing is a giant operation.
• 44:02
  Speaker 2: But they had all this stuff happen. They drug Jack
• 44:06
  Speaker 2: with the alcohol that was spiked with LSD or some
• 44:11
  Speaker 2: concoction of drugs. He goes up in the room two
• 44:13
  Speaker 2: thirty seven. He hallucinates the woman that's up there. It's
• 44:18
  Speaker 2: either an actor or a woman. So you can if
• 44:21
  Speaker 2: you think of the movie Shutter Island. Have you seen
• 44:24
  Speaker 2: the movie where within the movie, all of these people
• 44:31
  Speaker 2: are like LARPing their roles within them to convince Leonardo
• 44:38
  Speaker 2: DiCaprio's character that he's in like a mental institution.
• 44:43
  Speaker 1: Unlike he's a detective, and yes.
• 44:48
  Speaker 2: To ultimately trigger his memories of exactly what was going
• 44:51
  Speaker 2: on for therapy purposes. Right, Well, that's essentially what's going
• 44:56
  Speaker 2: on within the Shining. These people that are supposedly are
• 45:01
  Speaker 2: not really ghosts. That's why they're not prominently portrayed as
• 45:07
  Speaker 2: ghost like with Stephen King's version of the Horrible TV
• 45:12
  Speaker 2: series that he did, or like in Stephen King's novel
• 45:14
  Speaker 2: where things are all like mystical and like swing sets
• 45:18
  Speaker 2: are haunted. There's a haunted bush outside the turns in
• 45:22
  Speaker 2: the monsters and all this wacky weirdo paranormal garbage, which
• 45:26
  Speaker 2: is one garbage. Kubric decided to make the most realistic
• 45:34
  Speaker 2: version of this, so he made actual people playing these
• 45:39
  Speaker 2: roles within the movie. So Grady is a person. Whenever
• 45:45
  Speaker 2: Jack goes into the the Gold Room and all the
• 45:48
  Speaker 2: people are there having a party, all those people are
• 45:51
  Speaker 2: real people within the movie people. They're actors LARPing this
• 45:58
  Speaker 2: situation to convince Jack to murder and kill his family.
• 46:06
  Speaker 2: That's what it's all about. And then whenever Jack goes
• 46:08
  Speaker 2: in there and takes the drink of alcohol, whenever Almonds
• 46:11
  Speaker 2: said that there's no alcohol in the premise, they remove
• 46:14
  Speaker 2: all the alcohol. Then he goes in and talks to
• 46:17
  Speaker 2: Lloyd the bartender, and Lloyd the bartender poison a glass
• 46:22
  Speaker 2: is laced with LSD. It's laced with some kind of drug.
• 46:25
  Speaker 2: And then Wendy comes in and says that Danny was
• 46:28
  Speaker 2: attacked by a lady upstairs, which was probably a real
• 46:33
  Speaker 2: lady right in the building. In that's a part of
• 46:40
  Speaker 2: this operation. I mean, the hotel is freaking huge. He
• 46:44
  Speaker 2: probably really was attacked by a lady because he stumbled
• 46:47
  Speaker 2: across the room that one of these agents, one of
• 46:50
  Speaker 2: these CIA agents was actually in, which then correlates to
• 46:54
  Speaker 2: the end of the movie. Whenever the Bear and the Man,
• 46:57
  Speaker 2: the bear is giving the blowjob to the man and
• 47:00
  Speaker 2: no one stands us seeing no one really knows exactly
• 47:02
  Speaker 2: what's going on other than all the other teddy bear symbolism,
• 47:05
  Speaker 2: which teddy bear symbolism is linked to pedophilia, right, which,
• 47:08
  Speaker 2: and then you have Lolita mm hmmm, which is all
• 47:12
  Speaker 2: about pedophilia very much. So those two people were actors
• 47:18
  Speaker 2: within the movie playing other actors LARPing to try and
• 47:21
  Speaker 2: get Jack to kill his family, okay, and whenever Whindy
• 47:26
  Speaker 2: stumbles across them, they think that the operation is like
• 47:29
  Speaker 2: over right, they're on their freaking lunch break.
• 47:31
  Speaker 1: Here, right, yeah. But you only see it through his
• 47:38
  Speaker 1: perspective though, which is why it's such a mind fuck,
• 47:42
  Speaker 1: And that's why at the end of the movie you're like,
• 47:44
  Speaker 1: what did I just even watch? Like what happened? Like
• 47:49
  Speaker 1: what is going on here? Because it's meant to show
• 47:52
  Speaker 1: you his journey but also take you on it too,
• 47:55
  Speaker 1: So like by the end of the movie you're like,
• 47:57
  Speaker 1: why do I feel like I just got mk? Like
• 48:01
  Speaker 1: it's crazy.
• 48:03
  Speaker 2: Well, because there's so many continuity errs within the movie,
• 48:06
  Speaker 2: which is to psychologically mess with the viewer's mind of
• 48:10
  Speaker 2: exactly what's going on in the movie. Because if you
• 48:13
  Speaker 2: just watch this for the first time, like try and
• 48:16
  Speaker 2: go back to the very first time that you ever
• 48:20
  Speaker 2: watched the movie. Did you know about any of these
• 48:23
  Speaker 2: continuity years.
• 48:24
  Speaker 1: I had absolutely no idea.
• 48:27
  Speaker 2: But it still mess with your mind subconsciously. And kubric
• 48:32
  Speaker 2: was very interested in subconscious manipulation. He was actually very
• 48:41
  Speaker 2: interested in advertising, like cigarette company. We know that the
• 48:45
  Speaker 2: companies put like little flashes of images within their movie
• 48:49
  Speaker 2: to subconsciously get the viewer to think something else, to
• 48:54
  Speaker 2: buy more products, which is the very simple version of it.
• 48:59
  Speaker 2: That's like the surface layer of it. But Kubrick was
• 49:03
  Speaker 2: very interested in that. And then at the end of
• 49:05
  Speaker 2: our movie, during the credits, he also talks about that.
• 49:09
  Speaker 2: He says, well, it's interesting to me whenever I make
• 49:16
  Speaker 2: a movie for the audience to think, oh, well, was
• 49:21
  Speaker 2: that on purpose or was that a mistake? All right,
• 49:26
  Speaker 2: so he wants to mess with the audience, which makes
• 49:31
  Speaker 2: you believe that all of these continuity errors and everything
• 49:35
  Speaker 2: that's wrong with the movie was one percent done on purpose.
• 49:42
  Speaker 1: Yeah, let me see some of these continuity years. I
• 49:46
  Speaker 1: actually had it in my notes to ask you about that,
• 49:49
  Speaker 1: because I feel like I caught one. But maybe it's
• 49:53
  Speaker 1: in your slides. If it's not, then I'll be surprised.
• 50:00
  Speaker 2: Okay, can you see it? Yes, Okay, all right, this
• 50:04
  Speaker 2: is a clockwork shining. And some of these are in
• 50:07
  Speaker 2: the movie. Some of them are not in the movie
• 50:10
  Speaker 2: because if we just focused on all these, it would
• 50:13
  Speaker 2: be the movie would have to be like four hours long,
• 50:17
  Speaker 2: and it was almost two hours long, so it was
• 50:19
  Speaker 2: already kind of rough. Okay, So the first one, which
• 50:25
  Speaker 2: is in the movie is this handprint on whenever Jack
• 50:32
  Speaker 2: is at the bar, he gets up, this lady walks past.
• 50:36
  Speaker 2: She's actually the one that bumps into Grady to have
• 50:40
  Speaker 2: him spill the alcoholic drink on Jack's shirt, Okay, and
• 50:47
  Speaker 2: it looks like that she has a a handprint like
• 50:53
  Speaker 2: on her ass, right, looks like a four fingered hand print.
• 50:58
  Speaker 2: And people have can tell the desk, They're like, oh, well,
• 51:01
  Speaker 2: it's a part of the dress. It's baked into the
• 51:03
  Speaker 2: drug ball. It doesn't matter if it's baked into the dress.
• 51:05
  Speaker 2: It still looks like a freaking bloody handprint. I think
• 51:08
  Speaker 2: that they I think that they think that I'm saying
• 51:11
  Speaker 2: that someone literally covered their handpaint hand in red paint
• 51:15
  Speaker 2: and then put it on her ass. That's not what
• 51:17
  Speaker 2: I'm saying. I'm saying that whatever is on the back
• 51:20
  Speaker 2: of her dress looks like a freaking handprint.
• 51:23
  Speaker 1: It sure does.
• 51:26
  Speaker 2: And if you think of what this kind of relates to,
• 51:32
  Speaker 2: which then you get into Castaway with Tom Hanks. Right,
• 51:36
  Speaker 2: you have a four fingered, bloody handprint on Wilson the volleyball.
• 51:41
  Speaker 2: Mm hmmm, all right, so that's the like prove and
• 51:46
  Speaker 2: show that you know, the four fingered handprints do exist.
• 51:52
  Speaker 2: It's on Wilson.
• 51:53
  Speaker 1: Now.
• 51:54
  Speaker 2: Granted, this movie came out in two thousand, uh, you know,
• 51:58
  Speaker 2: two decades after the Shining, but still it's then when
• 52:03
  Speaker 2: you connect the stuff about Tom Hanks, okay, and Stanley
• 52:10
  Speaker 2: Cube break, you can put two and two together on
• 52:12
  Speaker 2: your own there. So this one is one of the
• 52:16
  Speaker 2: ones that we showed in the documentary, which is a
• 52:18
  Speaker 2: light switch disappearing whenever h Blinking on his name right now, Yes,
• 52:29
  Speaker 2: whenever Hollerin is giving them a tour of the hotel.
• 52:34
  Speaker 2: Windy and Danny, there's a light switch that's above the
• 52:38
  Speaker 2: storage room. Whenever Wendy is carrying Jack's body to put
• 52:45
  Speaker 2: him inside the storage room, the light switch is gone.
• 52:49
  Speaker 2: Here's another light switch that is disappearing and reappearing.
• 52:52
  Speaker 4: This is one one is so crazy, like why where
• 53:00
  Speaker 4: did it go?
• 53:02
  Speaker 2: Yep in, Yeah, it's wild. So this is the top
• 53:07
  Speaker 2: frame of This top panel is whenever Jack is walking
• 53:12
  Speaker 2: into Almend's office to do the interview in the beginning
• 53:15
  Speaker 2: of the movie, there's not a light switch, and then
• 53:18
  Speaker 2: when Jack is walking back into almonds office later on
• 53:22
  Speaker 2: to destroy the radio to prevent Wendy and Danny from
• 53:26
  Speaker 2: leaving the hotel, there appears a light switch underneath the
• 53:29
  Speaker 2: picture frame. This is the maze that I was talking
• 53:34
  Speaker 2: about earlier in the establishing shot, there's not a maze,
• 53:39
  Speaker 2: and then later on obviously there is a maze behind it.
• 53:44
  Speaker 2: This one's interesting. The pattern on Jack's tie during the
• 53:49
  Speaker 2: interview looks like the identical pattern to the over establishing.
• 54:00
  Speaker 1: I got. That's crazy.
• 54:05
  Speaker 2: This one is the dwarfs sticker disappearing off of Danny's door.
• 54:13
  Speaker 2: So whenever Danny has the visions, there's a adope the
• 54:17
  Speaker 2: Dwarf sticker on the outside of his door, and then
• 54:19
  Speaker 2: whenever the doctor comes to visit Danny and check on him,
• 54:23
  Speaker 2: the adope the Dwarf sticker is missing. This one is
• 54:28
  Speaker 2: when Wendy is telling the doctor about how this one's
• 54:37
  Speaker 2: a dialogue error. So whenever Wendy is telling the doctor
• 54:43
  Speaker 2: how long it was that Danny was having these episodes
• 54:49
  Speaker 2: between the time that he abused Danny doesn't add up
• 54:54
  Speaker 2: to the same amount of time that Jack said to
• 54:59
  Speaker 2: Lloyd the bartender of how long it was, Jack says
• 55:03
  Speaker 2: that it was two years ago. So whenever he abused
• 55:07
  Speaker 2: Danny and injured his arm, which then made Danny, like
• 55:11
  Speaker 2: through trauma, start having these quote unquote psychic abilities, because
• 55:17
  Speaker 2: that's how the psychic abilities are developed. They're developed through trauma.
• 55:21
  Speaker 2: And that was one of the things through that they
• 55:24
  Speaker 2: discovered through the mk Ultra programs is that that is
• 55:27
  Speaker 2: a like a byproduct of trauma and putting people through
• 55:34
  Speaker 2: these programs is that it unlocks abilities within the person
• 55:40
  Speaker 2: that you're traumatizing. This one's the kool aid that's on
• 55:43
  Speaker 2: top of the fridge, which you know, drink the kool aid.
• 55:47
  Speaker 2: You got the the Jim Jones incident that wasp happened
• 55:52
  Speaker 2: during the filming of this movie, which is the Jim
• 55:57
  Speaker 2: Jones wasn't actual kool aid though, but it came synonymous
• 56:00
  Speaker 2: with cool light. I think it was.
• 56:01
  Speaker 1: Flavory, the Flavory Aid.
• 56:04
  Speaker 2: And the Jim Jones cult drinking Yes, Dying of, but
• 56:09
  Speaker 2: the incident has become synonymous with pool laid. This one's interesting.
• 56:16
  Speaker 2: This is a clear plastic tarp that is seen on
• 56:19
  Speaker 2: the set as Danny is driving his tricycle through the hotel.
• 56:26
  Speaker 2: This one is a chair that disappears, a chair and
• 56:30
  Speaker 2: a coffee table that disappears. Behind Jack, Windy is talking
• 56:37
  Speaker 2: to him about the sandwich, right, I'll meet you a sandwich,
• 56:40
  Speaker 2: and he's like, oh, well, when I'm in here, you
• 56:43
  Speaker 2: know that I'm working. You don't bother me when I'm working.
• 56:50
  Speaker 2: The first shot has a chair and behind it it
• 56:54
  Speaker 2: cuts to Windy the chair. When it goes back to Jack,
• 56:57
  Speaker 2: the chair and the coffee table is gone, it cuts
• 56:59
  Speaker 2: back to Windy than in this bottom right hand corner panel,
• 57:01
  Speaker 2: when it cuts back to Jack, the chair and the
• 57:03
  Speaker 2: table is back into the shop.
• 57:07
  Speaker 1: Do you think the significance is because like this? It's
• 57:11
  Speaker 1: when you look at it like this, it's like blatantly
• 57:13
  Speaker 1: obvious and you wonder why you haven't noticed it before.
• 57:19
  Speaker 2: You'd think that you would really notice this, and how
• 57:21
  Speaker 2: many people had to check this before? It ever was released, Like,
• 57:28
  Speaker 2: how many editors and how many production design sud designer
• 57:33
  Speaker 2: people did he how many eyes did this stuff pass
• 57:39
  Speaker 2: through before it was ever published? Right of This is
• 57:45
  Speaker 2: a really really obvious one that because it's there, it
• 57:49
  Speaker 2: disappears and then it reappears again. This is one of
• 57:53
  Speaker 2: the first ones that I noticed. This one is whenever
• 57:58
  Speaker 2: Olman is talking to Jack. It doesn't make sense. He
• 58:03
  Speaker 2: says that the hotel is shut down from a certain
• 58:07
  Speaker 2: period of time to another period of time, which then
• 58:10
  Speaker 2: doesn't correlate with how many months Jack and his family
• 58:15
  Speaker 2: will actually be staying at the hotel, which is another
• 58:17
  Speaker 2: dialogue air. This one is Almon. This is one that
• 58:23
  Speaker 2: Jay Widner has pointed out several times. It's also in
• 58:25
  Speaker 2: our movie. It's also in Room two thirty seven as well.
• 58:31
  Speaker 2: It's whenever Jack goes to meet Almond and shake his hand.
• 58:35
  Speaker 2: The paper tray on the desk makes it look like
• 58:38
  Speaker 2: Almond has a heart on. This one is another interesting
• 58:43
  Speaker 2: one that Jay Widner has pointed out that the Teddy
• 58:46
  Speaker 2: Bear in the background with the fire truck in the
• 58:50
  Speaker 2: background shot of Danny and Wendy before Windy goes down
• 58:56
  Speaker 2: to confront Jack and she finds out that he's not
• 59:01
  Speaker 2: actually writing a novel, and he's just writing the same
• 59:03
  Speaker 2: phrase over and over again, which is psychic driving, psyche driving.
• 59:08
  Speaker 2: That's exactly what they did with Sir Han Sir Ham.
• 59:16
  Speaker 2: If you look at his notebooks, it says RFK must
• 59:19
  Speaker 2: die or f G must die over and over and
• 59:21
  Speaker 2: over again. It's the same type of psychic driving programming
• 59:24
  Speaker 2: that they're doing to Jack within the Shining. They're just
• 59:27
  Speaker 2: having him write the same sentence over and over and
• 59:29
  Speaker 2: over again. And then when Windy comes down and discovers
• 59:33
  Speaker 2: that he's not actually writing a novel, he's just writing
• 59:36
  Speaker 2: the same sentence, he then gets triggered and tries to
• 59:41
  Speaker 2: you know, kill her, to commit violence against her. But
• 59:46
  Speaker 2: also this is where Windy picks up the baseball bat.
• 59:51
  Speaker 2: They see the baseball bat that's right beside the Teddy
• 59:53
  Speaker 2: Bear gets the baseball bat. So but the baseball changes
• 1:00:01
  Speaker 2: from where it is in the shots so earlier in
• 1:00:05
  Speaker 2: the movie. Well, there's a whenever the doctor comes to
• 1:00:09
  Speaker 2: visit Danny in the movie, there's a cartoon character that
• 1:00:14
  Speaker 2: is holding a baseball bat in the background here on
• 1:00:18
  Speaker 2: this curtain. And then also Goofy figure. This is obviously goofy,
• 1:00:23
  Speaker 2: but people have pointed out that this goofy person is
• 1:00:26
  Speaker 2: dressed exactly like Wendy. Wendy, Yeah, okay. So then whenever
• 1:00:32
  Speaker 2: Jack goes to look at the maze, you remember that
• 1:00:38
  Speaker 2: the really famous scene whenever he goes to look at
• 1:00:40
  Speaker 2: the model of the maze, and then the shot fades
• 1:00:43
  Speaker 2: into the shot of Wendy and Danny outside in the maze.
• 1:00:47
  Speaker 2: It's one of the most perfect shots of the entire movie.
• 1:00:52
  Speaker 2: But there's the baseball bat is sitting on the couch
• 1:00:57
  Speaker 2: downstairs right beside them all of the mates, and then
• 1:01:01
  Speaker 2: it appears later on right beside the Teddy Bear in
• 1:01:05
  Speaker 2: the fire truck upstairs in their apartment. Then that's where
• 1:01:11
  Speaker 2: she picks up the baseball bat off of the couch
• 1:01:14
  Speaker 2: upstairs in the apartment that she strikes Jack in the
• 1:01:19
  Speaker 2: head with. This one's interesting. This is a door that
• 1:01:24
  Speaker 2: this is all in the same shot. So for people
• 1:01:27
  Speaker 2: that's just listening, I'm showing photos of what's going on here,
• 1:01:33
  Speaker 2: Like the actual photos give you a good description, but
• 1:01:37
  Speaker 2: I'm gonna explain it because it's important for you to hear.
• 1:01:41
  Speaker 2: So this is whenever Danny is rolling up to room
• 1:01:45
  Speaker 2: two thirty seven for the first time. There's a door
• 1:01:47
  Speaker 2: in this right hand corner panel that's shut, and then
• 1:01:51
  Speaker 2: it then it cuts to the door of room two
• 1:01:55
  Speaker 2: thirty seven, and then when it cuts back to Danny
• 1:01:58
  Speaker 2: the door that same door is now open, and the
• 1:02:03
  Speaker 2: carpets switches patterns when Danny is playing with the ball
• 1:02:07
  Speaker 2: and the ball rolls toward Danny, and then in the
• 1:02:10
  Speaker 2: next establishing shot the carpet is different, which people have
• 1:02:14
  Speaker 2: said that they just moved him over one hexagonal carpet pattern,
• 1:02:22
  Speaker 2: which would make sense, but why would you do that?
• 1:02:26
  Speaker 1: Right?
• 1:02:29
  Speaker 2: This is the teddy bear stuff is like setting up
• 1:02:32
  Speaker 2: a lot of the teddy bear symbolism. There's also a
• 1:02:37
  Speaker 2: painting of two teddy bears within the shining, a lot
• 1:02:42
  Speaker 2: of the artwork on the walls within the overlook there's
• 1:02:46
  Speaker 2: teddy bear symbolism. And then in the beginning of the movie,
• 1:02:49
  Speaker 2: when the doctor is visiting Danny and Wendy in their
• 1:02:52
  Speaker 2: apartment in Boulder, Danny is laying on a teddy bear
• 1:02:55
  Speaker 2: in this bottom quarter panel is what we were just
• 1:02:59
  Speaker 2: talking about a few minutes ago. When Wendy is traumatized
• 1:03:02
  Speaker 2: by seeing Haller and Dad on the ground. She then
• 1:03:06
  Speaker 2: goes upstairs and she sees this man and the other
• 1:03:09
  Speaker 2: man in the Teddy Bear costume supposedly blowing This dude
• 1:03:13
  Speaker 2: in the suit. Tang is spotted next to other kool
• 1:03:20
  Speaker 2: Aid bottles. Tang was a very important drink for astronauts
• 1:03:27
  Speaker 2: during the Apollo missions. They said that this was the
• 1:03:29
  Speaker 2: only type of drink that they could use because of
• 1:03:33
  Speaker 2: like some kind of gravity thing or whatever, so they
• 1:03:38
  Speaker 2: had to they had to use the Tang mix.
• 1:03:44
  Speaker 1: So this is like another clue.
• 1:03:50
  Speaker 2: Yes, it's another clue, and the Tang is what became
• 1:03:55
  Speaker 2: super popular after this, after it became the official drink
• 1:04:01
  Speaker 2: for the astronauts.
• 1:04:03
  Speaker 1: Right next to the MK kool Aid.
• 1:04:06
  Speaker 2: Yep, Man, that's got.
• 1:04:08
  Speaker 1: To be on purpose. That is so crazy.
• 1:04:13
  Speaker 2: This one is more about the moon landing. Jay Widener
• 1:04:16
  Speaker 2: has talked about this several times. It's in his Cuber's
• 1:04:19
  Speaker 2: Odyssey one and two movies that Danny is wearing the
• 1:04:22
  Speaker 2: Apollo eleven shirt. He stands up with the carpet potter
• 1:04:26
  Speaker 2: and the hexagonal carpor pattern which looks like the launch
• 1:04:28
  Speaker 2: pad to Apollo eleven. He then goes in the room
• 1:04:32
  Speaker 2: two thirty seven. The room was switched to two seventeen
• 1:04:36
  Speaker 2: in Stephen King's novel, and Cuber changed it the room
• 1:04:40
  Speaker 2: two thirty seven and two thirty seven was the amount
• 1:04:45
  Speaker 2: of miles that people thought that the moon was away
• 1:04:49
  Speaker 2: from Earth.
• 1:04:52
  Speaker 1: Definitely on purpose.
• 1:04:54
  Speaker 2: This this is the Shining Toy story reference. They got
• 1:04:59
  Speaker 2: the same carpet and that they have the shining carpet
• 1:05:02
  Speaker 2: and toy story that they have in The Shining and
• 1:05:07
  Speaker 2: which your toy story is about a fake astronaut mm hm.
• 1:05:12
  Speaker 1: And Tom Tom Hanks pedo Yeah.
• 1:05:16
  Speaker 2: Yep, Tom Hanks is Woody just a coincidence. Tom Hanks
• 1:05:20
  Speaker 2: is playing a character named Woody.
• 1:05:23
  Speaker 1: Right, and the Wilson ball. I'm telling you that that
• 1:05:26
  Speaker 1: stuff is definitely not an accident.
• 1:05:31
  Speaker 2: And then that print being like a that type of
• 1:05:38
  Speaker 2: print is like synonymous for like pedophilia.
• 1:05:44
  Speaker 1: Right, Yeah, that's so crazy.
• 1:05:48
  Speaker 2: It's one of the CIA's one of the things that
• 1:05:51
  Speaker 2: they said is like a not a trigger, but like
• 1:05:56
  Speaker 2: a a symbolic thing to let people know about pedophilia.
• 1:06:03
  Speaker 1: Right, Is it like a moniker?
• 1:06:05
  Speaker 2: Yes? Okay, So the next one is a TV not
• 1:06:10
  Speaker 2: being plugged into anything. Several TVs throughout the movie are
• 1:06:14
  Speaker 2: not being shown to be plugged into any outlet TV,
• 1:06:19
  Speaker 2: no power source to any of these TVs. Okay, so
• 1:06:23
  Speaker 2: what are they watching? This is an mk ultra program.
• 1:06:26
  Speaker 2: This would be exactly like what Kubrick would put in
• 1:06:29
  Speaker 2: here if he did fake the moon landing footage, and
• 1:06:32
  Speaker 2: that was because it would be like people are watching
• 1:06:35
  Speaker 2: nothing on their TVs because it's a pre planned, pre
• 1:06:40
  Speaker 2: filmed mm hmm, that's what I think. Anyway.
• 1:06:46
  Speaker 1: It almost makes me wonder if he didn't like put
• 1:06:51
  Speaker 1: whatever they're watching on like after like post, you know,
• 1:07:00
  Speaker 1: like whatever. They're just staring at blank screens and then
• 1:07:03
  Speaker 1: he chose like this specific scene or this specific talk
• 1:07:07
  Speaker 1: show for them to be watching. Do you think that
• 1:07:11
  Speaker 1: that's significant at all? Like what he chose for them
• 1:07:14
  Speaker 1: to be watching.
• 1:07:15
  Speaker 2: Some people have found a significance in the movie that's
• 1:07:20
  Speaker 2: being played up here. I think that this is a
• 1:07:22
  Speaker 2: cooking show down here in the bottom. But this top
• 1:07:27
  Speaker 2: movie that they're watching here in the top panel is
• 1:07:29
  Speaker 2: I believe, the Summer of sixty nine. I think some
• 1:07:35
  Speaker 2: people have put some connections together for it. This one
• 1:07:41
  Speaker 2: is the differences and names of Charles Grady and Delbert Grady.
• 1:07:46
  Speaker 2: So Allman says that his name is Charles Grady, and
• 1:07:52
  Speaker 2: then Charles Grady refers to himself as Delbert Grady. So Jack.
• 1:08:00
  Speaker 2: So there's not only like connuity errors between like the
• 1:08:04
  Speaker 2: like things appearing, disappearing, things being there and then reappearing then,
• 1:08:09
  Speaker 2: but there's also a lot of dialogue thererors as well,
• 1:08:13
  Speaker 2: which I think, uh pass over a lot of people's heads.
• 1:08:19
  Speaker 1: Well, actually, in that last one, this one right here,
• 1:08:23
  Speaker 1: I have in my notes and I just wanted to
• 1:08:27
  Speaker 1: get your your thoughts on it because the main guy,
• 1:08:32
  Speaker 1: the manager guy, he says that there was a caretaker
• 1:08:35
  Speaker 1: who had a girl, one was eight and one was ten,
• 1:08:40
  Speaker 1: and that he hacked him up with an axe. But
• 1:08:44
  Speaker 1: when they're shown, they're clearly twins, not one being eight
• 1:08:49
  Speaker 1: and one being ten. So I just wanted to get
• 1:08:51
  Speaker 1: your thoughts on that too, because I felt like that
• 1:08:54
  Speaker 1: was another like why would you mention that one was
• 1:08:56
  Speaker 1: eight and one was ten, but then when you show
• 1:08:59
  Speaker 1: them they're identical twins, And then you have like that
• 1:09:02
  Speaker 1: monarch post d in the background on the first siding
• 1:09:05
  Speaker 1: of the twins and stuff, It's like, what, really, why
• 1:09:09
  Speaker 1: put that in there and then show twins? You know
• 1:09:12
  Speaker 1: what I mean?
• 1:09:13
  Speaker 2: Yeah, that's what we were going to put together in
• 1:09:16
  Speaker 2: the we had to cut a few things out because one,
• 1:09:19
  Speaker 2: we didn't want this movie to be super ridiculously long.
• 1:09:23
  Speaker 2: I don't know if people have ever edited a almost
• 1:09:25
  Speaker 2: two hour long movie.
• 1:09:27
  Speaker 1: It becomes a pain daunting.
• 1:09:31
  Speaker 2: Yeah, I'm sure, unting, Like there was times I just
• 1:09:34
  Speaker 2: wanted to bang my head up against the freaking wall,
• 1:09:37
  Speaker 2: I'm sure. But we had a whole section in there
• 1:09:41
  Speaker 2: that ended up getting acts because Almond does say that
• 1:09:48
  Speaker 2: they were eating ten right, and we had a whole
• 1:09:50
  Speaker 2: section that was about the experimentations that the Nazis were
• 1:09:56
  Speaker 2: doing on twins, and you were gonna connect a bunch
• 1:10:02
  Speaker 2: of things to the twins within the movie. But then
• 1:10:07
  Speaker 2: we felt like that people would come at us because
• 1:10:11
  Speaker 2: they would say, well, they're not really twins, and then
• 1:10:13
  Speaker 2: that would just discount the entire you know, ten minutes
• 1:10:16
  Speaker 2: that we had on all the twins stuff.
• 1:10:18
  Speaker 1: But they were twins like that, like you could tell
• 1:10:21
  Speaker 1: that's what he was going for.
• 1:10:25
  Speaker 2: You know, Yes, it is odd, It is really odd.
• 1:10:31
  Speaker 2: It was it was Hitler's right hand man, blinking on his.
• 1:10:37
  Speaker 1: Name right now, but he was the one Mangola.
• 1:10:39
  Speaker 2: Joseph Manglo, Yes, Joseph Mangola was responsible for a lot
• 1:10:45
  Speaker 2: of the early mind control operations that Nazi Germany was doing,
• 1:10:51
  Speaker 2: and he was doing a lot of experimentation on twins.
• 1:10:57
  Speaker 1: So wasn't there also like a project Gemini or something
• 1:11:01
  Speaker 1: like that too that kind of like went along with
• 1:11:04
  Speaker 1: Monarch because when the first sighting, when Danny sees the
• 1:11:09
  Speaker 1: first sighting of the twins, it's like the twins standing there,
• 1:11:12
  Speaker 1: identical dress, everything, and then in the background is like
• 1:11:15
  Speaker 1: the Monarch poster on the wall, and it almost makes
• 1:11:19
  Speaker 1: you think like Gemini Twins Monarch, Like there's so much
• 1:11:24
  Speaker 1: going on just in that one little flash of a scene,
• 1:11:28
  Speaker 1: and if you're not paying attention, you'd never know. But
• 1:11:31
  Speaker 1: then Allman, when he's talking about Grady or whatever, he
• 1:11:36
  Speaker 1: says that they were just sisters eight and ten. So
• 1:11:39
  Speaker 1: Stanley Kuber definitely is trying to say something with just
• 1:11:43
  Speaker 1: visual work of the twins too, in my opinion at least.
• 1:11:49
  Speaker 2: And not only don't there's two of them that makes eleven?
• 1:11:52
  Speaker 2: There's eleven symbolism?
• 1:11:54
  Speaker 1: All oh right, right, yeah, yeah, I remember you mentioned
• 1:11:58
  Speaker 1: in that all.
• 1:11:59
  Speaker 2: The doors are double doors that are elevens. You have
• 1:12:05
  Speaker 2: the candle odors in the like around the hotel that
• 1:12:10
  Speaker 2: look like elevens, the lights hanging from the walls look
• 1:12:14
  Speaker 2: like there's there's just eleven twin type symbolism throughout the
• 1:12:21
  Speaker 2: entire movie. And then when you think of, okay, well,
• 1:12:23
  Speaker 2: why is all this like point eleven stuff in there?
• 1:12:28
  Speaker 2: And if you look at like this might be a stretch.
• 1:12:32
  Speaker 2: But some people believe that Hubert didn't actually die, that
• 1:12:38
  Speaker 2: he like faked his us so that he could work
• 1:12:41
  Speaker 2: for the intelligence world and the military as like a
• 1:12:45
  Speaker 2: deep black budget filmmaker. Wow, okay, so damn what better
• 1:12:56
  Speaker 2: person could you think of to completely fake something that
• 1:13:04
  Speaker 2: probably faked something before with the nineteen sixty nine moonlanding footage.
• 1:13:13
  Speaker 2: Did you do something like that with nine eleven?
• 1:13:17
  Speaker 1: Damn?
• 1:13:18
  Speaker 3: Man?
• 1:13:18
  Speaker 1: Stanley Kubrick is one of the deepest Pandora's box. I
• 1:13:23
  Speaker 1: mean that is just why I mean, I feel like
• 1:13:30
  Speaker 1: not the entire story is being told with ice white
• 1:13:34
  Speaker 1: shut and then him dying shortly afterwards. Was he repurposed?
• 1:13:40
  Speaker 1: I think that could be very likely, because maybe they
• 1:13:45
  Speaker 1: were mad at him for whatever that he was trying
• 1:13:49
  Speaker 1: to say with eyes white shut? Were they mad enough
• 1:13:51
  Speaker 1: at him to kill him? I don't know. I don't
• 1:13:56
  Speaker 1: think he'd died of a heart attack, that's for damn sure.
• 1:14:00
  Speaker 2: Yeah, they don't normally.
• 1:14:05
  Speaker 1: Kill assets, right, That's what I'm saying is like, so
• 1:14:09
  Speaker 1: what he made this movie Eyes Wide Shot? Like, did
• 1:14:15
  Speaker 1: you do you really think it was so bad that
• 1:14:17
  Speaker 1: they should that they would have killed him? I don't know, I.
• 1:14:22
  Speaker 2: Mean, And then there's also the the thought and their
• 1:14:26
  Speaker 2: idea that he could have had a heart attack. But
• 1:14:30
  Speaker 2: it is really suspicious how soon it was after he
• 1:14:35
  Speaker 2: showed as Wide Shot to the producers and the actors,
• 1:14:40
  Speaker 2: they had like a private screening, and then like six
• 1:14:43
  Speaker 2: days later he's dead. It's pretty right. Then they supposedly
• 1:14:47
  Speaker 2: recut the film mm hmmm mm hmm. And only people
• 1:14:53
  Speaker 2: that would be able to know if that wasn't the
• 1:14:57
  Speaker 2: original film that they saw would be like Nicole Kidman,
• 1:15:02
  Speaker 2: Tom Cruise and.
• 1:15:05
  Speaker 1: The executives, and they're scientologists slash occultists. They're definitely not
• 1:15:11
  Speaker 1: gonna say anything, right, but you know, okay.
• 1:15:15
  Speaker 2: So that's even if they would remember, because you know
• 1:15:18
  Speaker 2: how like you're just watch a movie one time, there
• 1:15:21
  Speaker 2: is there for a party or whatever. I would like
• 1:15:24
  Speaker 2: to talk to I would like to talk to Tom Cruse.
• 1:15:26
  Speaker 2: I would definitely talk to Tom Cruise. There's a footage of
• 1:15:30
  Speaker 2: him of Tom Cruise being interviewed about Stanley Kubrick and
• 1:15:33
  Speaker 2: he's like crying. But there's weird there's weird stuff about
• 1:15:39
  Speaker 2: Tom Cruise and Stanley Kubrick as well. Apparently, whenever Kubrick
• 1:15:44
  Speaker 2: was filming Eyes White Shot, the movie went on for
• 1:15:46
  Speaker 2: way longer or it was ever intended, like Tom Cruise
• 1:15:50
  Speaker 2: had to turn down several projects just to continue to
• 1:15:53
  Speaker 2: work with Stanley Kubrick on Eyes White Shot. But reportedly
• 1:16:00
  Speaker 2: there was a day of filming that Qubic made Tom
• 1:16:06
  Speaker 2: Cruise put on a dress and come out on set
• 1:16:14
  Speaker 2: to be berated by everybody.
• 1:16:17
  Speaker 1: What literally, But.
• 1:16:23
  Speaker 2: Then when you get into the all the dress stuff,
• 1:16:29
  Speaker 2: you know what I mean, the actors that are you know,
• 1:16:34
  Speaker 2: made to wear dresses?
• 1:16:37
  Speaker 1: Oh one hundred.
• 1:16:39
  Speaker 2: Is the dress ritual? Right?
• 1:16:43
  Speaker 1: The humiliation and the Okay, okay, let me get your
• 1:16:46
  Speaker 1: thoughts on this because I want to kind of tie
• 1:16:49
  Speaker 1: it in with this scene here when Jack goes for
• 1:16:55
  Speaker 1: the interview. This was definitely in your documentary. Almond mentions
• 1:17:01
  Speaker 1: the people in Denver several times, but we don't know
• 1:17:04
  Speaker 1: who the fuck he's talking about. They never specify who
• 1:17:07
  Speaker 1: are the people in Denver? And I find it interesting
• 1:17:14
  Speaker 1: that he filmed Eyes Wide Shut in Colorado. I believe
• 1:17:20
  Speaker 1: it was near Denver. And then Dave McGowan wrote all
• 1:17:27
  Speaker 1: this stuff about how when the Wonderland Pedophilia raids broke through,
• 1:17:31
  Speaker 1: a lot of people had pictures of John Benet Ramsey
• 1:17:35
  Speaker 1: like on, like naked pictures of her and weird stuff
• 1:17:38
  Speaker 1: like that, and she was from Colorado as well. So
• 1:17:43
  Speaker 1: in Program to Kill he mentions how there are these
• 1:17:46
  Speaker 1: elitist people Eyes Wide Shutters living in Colorado, Denver, Boulder area,
• 1:17:55
  Speaker 1: that they're all involved in this stuff. And I find
• 1:17:57
  Speaker 1: it interesting that the shining Eyes Wide Shut, the Wonderland raids,
• 1:18:07
  Speaker 1: the Eyes Wide Shut parties and stuff like that, we're
• 1:18:13
  Speaker 1: all are all kind of connected. And there's like the
• 1:18:16
  Speaker 1: weird pageant queen that dies in Eyes Wide Shut, and
• 1:18:20
  Speaker 1: Jaban A. Ramsey was like a little pageant queen or whatever.
• 1:18:24
  Speaker 1: But it's almost like he's he. Everything is so layered
• 1:18:28
  Speaker 1: with like ritualism. I guess you would say, like, what
• 1:18:34
  Speaker 1: actually is going on with this stuff?
• 1:18:39
  Speaker 2: Well, Colorado has been known to be heavily intelligence like
• 1:18:46
  Speaker 2: especially Denver. I'm pretty sure Denver as a CIA headquarters
• 1:18:54
  Speaker 2: mm hmm. Currently, and a lot of colts come out
• 1:19:00
  Speaker 2: of Colorado. All of Stephen King's novels is basically based
• 1:19:11
  Speaker 2: out of Colorado, Colorail.
• 1:19:17
  Speaker 1: It's like they're telling you without telling you. But I
• 1:19:20
  Speaker 1: just wanted to.
• 1:19:21
  Speaker 2: Supposedly supposed to be set up as like the New
• 1:19:24
  Speaker 2: World Order headquarters. That's where That's why everybody wants to
• 1:19:28
  Speaker 2: go to Colorado. That's why they love car Why everybody
• 1:19:32
  Speaker 2: in California is like, go to Colorado. That's why all
• 1:19:36
  Speaker 2: the colorado Ons are pissed off at Whenever people come
• 1:19:41
  Speaker 2: in and they have a California idea or they have
• 1:19:43
  Speaker 2: California tags on their car, They're like, what, get the
• 1:19:47
  Speaker 2: fuck out of here. But everybody, everybody looks that lives
• 1:19:53
  Speaker 2: and has been born and raised in California look at
• 1:19:58
  Speaker 2: Colorado as California. Like other people that's not born in
• 1:20:03
  Speaker 2: California look at California mm hmm. People that are born
• 1:20:10
  Speaker 2: in other states, they look at like California as like
• 1:20:12
  Speaker 2: the I'm not everyone, but most people look at California
• 1:20:16
  Speaker 2: as like the pinnacle, like that's where you want to live.
• 1:20:22
  Speaker 2: But well, in California look at Colorado as the pinnacle,
• 1:20:27
  Speaker 2: like I've I lived in Colorado for around three years,
• 1:20:32
  Speaker 2: and then I moved back to California. So I had
• 1:20:35
  Speaker 2: lived in California for about five years, moved to Colorado,
• 1:20:38
  Speaker 2: lived there for about three and then moved back to California.
• 1:20:41
  Speaker 2: And then when a new city in a new area
• 1:20:46
  Speaker 2: more north than where I was in southern California before,
• 1:20:51
  Speaker 2: and whenever people ask me like, oh, well, where are
• 1:20:54
  Speaker 2: you from, and I normally just say, you know, I'm
• 1:20:58
  Speaker 2: I'm from college. Because I just recently moved back to California,
• 1:21:01
  Speaker 2: I normally don't say, all lived in California before and
• 1:21:05
  Speaker 2: I'm just back here again, and because we just recently
• 1:21:08
  Speaker 2: came from Colorado. And then they're like, oh, well, why
• 1:21:11
  Speaker 2: did you decide to move to California. I wouldn't have
• 1:21:14
  Speaker 2: done that, so they look at like I would never
• 1:21:20
  Speaker 2: have left Colorado. So it's like they all look at
• 1:21:25
  Speaker 2: Colorado as like this great, amazing right that is going
• 1:21:29
  Speaker 2: to be set up as like the essentially New World
• 1:21:35
  Speaker 2: Order headquarters the people been talking about for a really
• 1:21:39
  Speaker 2: long time, that they moved everything to Colorado.
• 1:21:43
  Speaker 1: And that's where I would agree with you with that,
• 1:21:45
  Speaker 1: because it's like after the Laurel Canyon stuff and like
• 1:21:49
  Speaker 1: all the weirdness came up out of California, it did
• 1:21:52
  Speaker 1: seem to kind of shift over and then it was
• 1:21:57
  Speaker 1: like in the nineties with like the Wonderland raids and
• 1:22:00
  Speaker 1: stuff like what David McGowan was writing about. All that
• 1:22:03
  Speaker 1: stuff was coming up out of Colorado. So those two
• 1:22:06
  Speaker 1: places are like the epicenters for a lot of this.
• 1:22:13
  Speaker 2: And think about it. Colorado is landlocked. Okay, the coasts
• 1:22:19
  Speaker 2: aren't safe states to be in. If another country attacks,
• 1:22:26
  Speaker 2: then they're going to hit the coast. They're not going
• 1:22:29
  Speaker 2: to be able to hit the freaking center of the
• 1:22:32
  Speaker 2: United States, right, Yeah, they're going to come on boats.
• 1:22:38
  Speaker 2: Then they're gonna hit one of the coasts. They're going
• 1:22:41
  Speaker 2: to be the coast for the West Coast, So Washington, Oregon, California, Florida, Oregon, Florida,
• 1:22:55
  Speaker 2: North Carolina, South Carolina, Virginia. Right, that's where the attacks
• 1:23:01
  Speaker 2: are going to come from. So it used to be
• 1:23:05
  Speaker 2: more onlike the East coast was like their hideout in
• 1:23:07
  Speaker 2: their you know, where they planned all of their operations,
• 1:23:13
  Speaker 2: unlike the East, like northeast. But I think that they
• 1:23:19
  Speaker 2: have switched it and they have just gone to the
• 1:23:22
  Speaker 2: pretty much the Midwest. They're right in the center. Because
• 1:23:28
  Speaker 2: that would also say from you'd be safe from any
• 1:23:31
  Speaker 2: kind of cataclysm, like if there was a giant tsunami,
• 1:23:34
  Speaker 2: you'd be safe in Colorado. There's there's actually a CIA document.
• 1:23:40
  Speaker 2: I don't know if you've read it. It's called the
• 1:23:44
  Speaker 2: it's called Adam and Eve. It's called the Adam and
• 1:23:47
  Speaker 2: Eve Story, and it's a document that talks about that
• 1:23:52
  Speaker 2: there is going to be a giant cataclysm that's going
• 1:23:55
  Speaker 2: to come that's basically going to eradicate the entire population.
• 1:24:00
  Speaker 2: They don't know when it's going to be, but when
• 1:24:04
  Speaker 2: it happens, the only place in North America that you
• 1:24:11
  Speaker 2: could go to survive it is the Rocky Mountains.
• 1:24:16
  Speaker 1: Really yep, Oh okay, that makes a lot of sense.
• 1:24:24
  Speaker 1: I mean, so they're predicting like John Cusack twenty twelve movie,
• 1:24:29
  Speaker 1: but like in real life.
• 1:24:33
  Speaker 2: Yeah. There, it's a legitimate, legitimate it's CIA documents on
• 1:24:38
  Speaker 2: the CIA website. I think it's called oh this is
• 1:24:44
  Speaker 2: trying to pop this up on my other screen here,
• 1:24:46
  Speaker 2: but it's called the Adam and Eve. Let me get
• 1:24:50
  Speaker 2: out of this. We'll come back to that in a minute. Okay,
• 1:24:54
  Speaker 2: let me google real quick Adam and E CIA docu
• 1:25:04
  Speaker 2: Adam and Eve story. Yep, this is it.
• 1:25:08
  Speaker 1: And what a name too? How cryptic?
• 1:25:13
  Speaker 2: Okay, so I want to get rid of this. Okay.
• 1:25:16
  Speaker 2: So Adam and Eve Story by Chan Thomas. It's a
• 1:25:20
  Speaker 2: declassified CIA document on the CIA website. It's a pretty
• 1:25:27
  Speaker 2: long document. There's a lot of pages to it. There's
• 1:25:31
  Speaker 2: fifty seven pages. But it gives you like a timeline
• 1:25:35
  Speaker 2: of like all of the great supposed catastrophes in the
• 1:25:39
  Speaker 2: past and then that we are going to experience a
• 1:25:45
  Speaker 2: here's the contents, the next cataclysm, the great flood, the story,
• 1:25:49
  Speaker 2: the event, genesis, and the conclusion. It's a very fascinating.
• 1:25:55
  Speaker 2: What does the Noah's Flood have been six thousand and
• 1:26:01
  Speaker 2: five hundred years ago? There was another flood like Adam
• 1:26:07
  Speaker 2: and Eve's flood that happened eleven thousand and five hundred
• 1:26:10
  Speaker 2: years ago, So it seems like it's kind of working
• 1:26:14
  Speaker 2: in like five thousand to six thousand.
• 1:26:16
  Speaker 1: Year cycles, right, So it's like we're due for one.
• 1:26:21
  Speaker 2: Yeah, fuck, let me see. Okay, So within three hours
• 1:26:33
  Speaker 2: of the Fantastic Wall of water moves across the continent,
• 1:26:36
  Speaker 2: burying when ravage land under two miles of seething water
• 1:26:40
  Speaker 2: coast to coast. In the all the vicinities of civilizations
• 1:26:45
  Speaker 2: are gone. The great cities Los Angeles, San Francisco, Chicago, Donallas,
• 1:26:50
  Speaker 2: New York are nothing but legends. Barely a stone is
• 1:26:53
  Speaker 2: left for millions walk just a few hours before a
• 1:26:57
  Speaker 2: few lucky ones who managed to find shelter from the
• 1:27:00
  Speaker 2: screaming wind and lee landslide of Pike's Peak, which the
• 1:27:05
  Speaker 2: sea is molten fire, break through the quaking valleys below.
• 1:27:09
  Speaker 2: The raging waters flow appeeling higher and higher, streaming over
• 1:27:12
  Speaker 2: the molten earth fire and rising almost to their feet.
• 1:27:17
  Speaker 2: Only great mountains such as this can withstand the cataclysmic onslaught.
• 1:27:22
  Speaker 2: The North America is not alone in her death throws.
• 1:27:25
  Speaker 2: Central America suffers the same concaid wind, earth and fire.
• 1:27:32
  Speaker 2: South America finds the Andes not high enough to stop
• 1:27:35
  Speaker 2: the cataclysmic violence pounded out by the nature of her
• 1:27:38
  Speaker 2: berserk rage. In less than a day, Alsalvador, Peru, and
• 1:27:43
  Speaker 2: Western Brazil are shaken madly by the devastating earthquake, burned
• 1:27:47
  Speaker 2: by molten earthfire, buried under a two big miles of
• 1:27:51
  Speaker 2: Pacific seas and turned into a frozen hell. Everything freezes, man, beast, plant, mud,
• 1:27:57
  Speaker 2: all rock hard in less than four hours. They're talking
• 1:28:00
  Speaker 2: out a very big, giant cataclysm that within the matter
• 1:28:04
  Speaker 2: of hours everything is just completely destroyed Western Africa, Siberia.
• 1:28:11
  Speaker 2: The Earth is left unfrozen in the entire Eastern Asian continent,
• 1:28:14
  Speaker 2: most of which remains below sea level east of the
• 1:28:17
  Speaker 2: Royals in Western Siberia. A few lucky people survive the
• 1:28:20
  Speaker 2: fantastic winds and quakes. Antarctica and Greenland, with their ice
• 1:28:24
  Speaker 2: caps now rotate around the Earth into the tory Roid zone.
• 1:28:28
  Speaker 2: The Fury of the Winding Foundation match for six days
• 1:28:31
  Speaker 2: and nights. Six days and knights. This is supposed to
• 1:28:33
  Speaker 2: go on. During the sixth day, the ocean starts to
• 1:28:36
  Speaker 2: settle and the new homes running off of high grounds.
• 1:28:39
  Speaker 2: The seventh day, horrendous rampages over the Arctic ice is
• 1:28:42
  Speaker 2: ended and a new stone age begins. So this is
• 1:28:46
  Speaker 2: basically a let's make reset that is predicted in the future. Okay,
• 1:28:51
  Speaker 2: so have deep layer existing over the Great Plains and
• 1:28:56
  Speaker 2: exposed in the Grand Canyon, painted and bad lands. The
• 1:29:01
  Speaker 2: Bay of the Basin in the east of India is
• 1:29:04
  Speaker 2: now the North Pole. So this is like a big
• 1:29:09
  Speaker 2: like a tectonic plate shift, like a huge thing that
• 1:29:14
  Speaker 2: kicks off these big natural disasters. I'm just trying to
• 1:29:17
  Speaker 2: find where it says the safe places to be where.
• 1:29:21
  Speaker 2: But it was like the Rocky mountains, and then like
• 1:29:24
  Speaker 2: the part of the mountains and the springs like Colorado Springs. Wow,
• 1:29:34
  Speaker 2: but it's in this document. I don't want to waste
• 1:29:35
  Speaker 2: too much time on it, but that's just a part
• 1:29:38
  Speaker 2: of the whole thing. They I think that they believe
• 1:29:42
  Speaker 2: that Colorado is going to be like a safe haven
• 1:29:45
  Speaker 2: for not only cataclysmic disaster, but they can set up
• 1:29:50
  Speaker 2: their operations here as well.
• 1:29:54
  Speaker 1: That's horrific.
• 1:29:57
  Speaker 2: I would recommend looking at that document that your story.
• 1:30:01
  Speaker 1: Are you scared?
• 1:30:03
  Speaker 2: No, Because I don't think it's going to be for
• 1:30:04
  Speaker 2: a really long time.
• 1:30:05
  Speaker 1: I think, like really, like if you had to, if
• 1:30:07
  Speaker 1: you had a ballpark it. Are we gonna be old
• 1:30:10
  Speaker 1: or are we gonna be young enough to suffer?
• 1:30:16
  Speaker 2: I think I'll be way dead and gone by the
• 1:30:18
  Speaker 2: time anything really, but I might be back. I mean,
• 1:30:24
  Speaker 2: if reincarnation's real, we're probably all going to be the right.
• 1:30:28
  Speaker 1: Yeah, yeah, I mean if I'm like in a nursing
• 1:30:31
  Speaker 1: home and I have Alzheimer's, who cares, right, But if
• 1:30:34
  Speaker 1: it's gonna be in like ten years, twenty years, that's
• 1:30:38
  Speaker 1: gonna suck. I don't want to be in the apocalypse.
• 1:30:43
  Speaker 2: No, it won't be Okay. This next one is a
• 1:30:46
  Speaker 2: really crazy connuity are that a lot of people don't
• 1:30:50
  Speaker 2: even catch. I didn't even catch this one. This one's
• 1:30:54
  Speaker 2: really important though. Okay. So, when Hollerin is giving a
• 1:30:58
  Speaker 2: tour to the to Danny and Wendy, the first door
• 1:31:03
  Speaker 2: that he opens before the storage room is the freezer room. Right.
• 1:31:08
  Speaker 2: He opens the freezer room and he says, this is
• 1:31:10
  Speaker 2: the freezer room. This is where we keep the He
• 1:31:13
  Speaker 2: asks Danny if he likes pork or something like that,
• 1:31:16
  Speaker 2: or checking. And when he opens the door, you can
• 1:31:21
  Speaker 2: see on this top quarter panel on the left, the
• 1:31:25
  Speaker 2: handle is on the right side of the door. Okay,
• 1:31:29
  Speaker 2: and they enter into the freezer room. This is the
• 1:31:32
  Speaker 2: next quarter panel at the bottom of the screen is
• 1:31:35
  Speaker 2: when they exit the freezer room. The handle to the
• 1:31:41
  Speaker 2: door is on the opposite side of the freezer room door,
• 1:31:48
  Speaker 2: and the background is a completely different background.
• 1:31:52
  Speaker 4: Dude, that's not even the same location. And we never noticed,
• 1:32:00
  Speaker 4: never noticed. Why that is a fucking mind blower.
• 1:32:10
  Speaker 2: And what's really interesting about this one is that people
• 1:32:13
  Speaker 2: will claim that he just shot it from the other side. No,
• 1:32:17
  Speaker 2: but even if you shot it from the other side,
• 1:32:20
  Speaker 2: that doesn't change the side that of the.
• 1:32:24
  Speaker 5: Door handle, right, Oh my god, Yep, that's not even
• 1:32:38
  Speaker 5: the same room.
• 1:32:41
  Speaker 2: Nope, completely different room. Whenever they walk in, it has
• 1:32:44
  Speaker 2: the kitchen in the background. Whenever they walk out, it's
• 1:32:46
  Speaker 2: like in a it's a completely different thing. You have
• 1:32:50
  Speaker 2: these dishes and these uh, these utensils and everything. Whenever
• 1:32:54
  Speaker 2: they first go in, and you can see the background
• 1:32:56
  Speaker 2: of the kitchen. You can see the ventilation system that's
• 1:32:59
  Speaker 2: above the stove there. You have a chalk board in
• 1:33:02
  Speaker 2: the background. When they walk out, the whole background is different.
• 1:33:06
  Speaker 2: There's these two double wide doors, which is the eleven
• 1:33:10
  Speaker 2: doors here the eleven symbolism of the door. You have
• 1:33:13
  Speaker 2: like some kind of switchboard here on the right. The
• 1:33:17
  Speaker 2: chalkboard is completely gone. You have two you have a
• 1:33:20
  Speaker 2: fire alarm and then a fire alarm bell above it,
• 1:33:24
  Speaker 2: and two windows.
• 1:33:26
  Speaker 1: But why it rider if Stanley is a perfectionist which
• 1:33:32
  Speaker 1: we know that he was. Why did he do this?
• 1:33:41
  Speaker 2: I believe that he did this to make the viewer
• 1:33:46
  Speaker 2: start to question their reality subconsciously, unknowingly, just lag Jack
• 1:33:52
  Speaker 2: is starting to question his reality within the movie. So
• 1:33:58
  Speaker 2: you feel like that you're going down the downward spiral,
• 1:34:01
  Speaker 2: and you don't really know why you're going down this
• 1:34:04
  Speaker 2: downward spiral because it's a subconscious layering to the movie.
• 1:34:09
  Speaker 1: But that's that transcendence I was talking about. Every time
• 1:34:14
  Speaker 1: I watch it, that's how I feel.
• 1:34:18
  Speaker 2: So it's affecting your subconscious mind to get you on
• 1:34:22
  Speaker 2: the same page as Jack as he's going through his
• 1:34:27
  Speaker 2: delusions and essentially going crazy by the CIA operation to
• 1:34:33
  Speaker 2: try and get him to kill his family. But you
• 1:34:35
  Speaker 2: don't know why because you don't pick up these things
• 1:34:40
  Speaker 2: on the first view or even through the twentieth view,
• 1:34:45
  Speaker 2: maybe even the fiftieth of view. You're not going to
• 1:34:48
  Speaker 2: see a lot of this stuff, okay, but you get
• 1:34:51
  Speaker 2: an uneasy feeling when you're working, definitely, And that is
• 1:34:57
  Speaker 2: the reason why, because he's subconsciously training your mind to
• 1:35:05
  Speaker 2: go to take this journey along with the characters in
• 1:35:10
  Speaker 2: the movie.
• 1:35:12
  Speaker 1: Wow, and that and there's the proof right there.
• 1:35:17
  Speaker 3: I mean, that's too much. It's interesting, it is insanity.
• 1:35:27
  Speaker 2: So this is the Beatles Connections to Abby Road. The
• 1:35:32
  Speaker 2: top photo is of the Beatles Abbey Road album cover,
• 1:35:39
  Speaker 2: and this is Almond, Wendy, Jack, and Bill Watson, which
• 1:35:45
  Speaker 2: is Alman's assistant, which we didn't really get too much
• 1:35:49
  Speaker 2: into Bill Watson in the documentary. We had a lot
• 1:35:54
  Speaker 2: more things on Bill Watson. We might end up doing
• 1:35:57
  Speaker 2: a like a director's cut of this movie and including
• 1:36:00
  Speaker 2: a lot more stuff in it, but we had this
• 1:36:03
  Speaker 2: whole section on Bill Watson and how we related him
• 1:36:06
  Speaker 2: to Sydney Gottlieb, which was head of the MK Ultra programs.
• 1:36:11
  Speaker 2: They even look similar, but it was difficult to do
• 1:36:15
  Speaker 2: because very few photos exist of Sydney Gottlieb out there,
• 1:36:22
  Speaker 2: but they looked strikingly similar. And then the Beatle, this
• 1:36:27
  Speaker 2: white beetle that's in the background of the Abbey Road photo.
• 1:36:31
  Speaker 2: So in Stephen King's novel, the beatle is a red beetle,
• 1:36:38
  Speaker 2: but the beatle that the Volkswagen Beetle that Jack drives,
• 1:36:42
  Speaker 2: and the shining is a yellow beetle. And then when
• 1:36:44
  Speaker 2: Allman is driving up to the Overlook Hotel, whenever he
• 1:36:48
  Speaker 2: flies in from Florida, which is another really strange. I
• 1:36:52
  Speaker 2: don't know if it's a connuity error or a dialogue era,
• 1:36:55
  Speaker 2: or a story or writing error. But if you remember
• 1:36:58
  Speaker 2: when Hallerin is Lane in the hotel room in Florida
• 1:37:04
  Speaker 2: for his vacation, the news said that the weather was
• 1:37:10
  Speaker 2: so bad that all flights had been canceled, but somehow
• 1:37:13
  Speaker 2: he got a flight into.
• 1:37:16
  Speaker 1: Calling Oh shit, I never caught that. Oh my god.
• 1:37:25
  Speaker 2: So then whenever he's trying to to the overlook, there's
• 1:37:29
  Speaker 2: the red Volkswagen beetle that had been crushed underneath a
• 1:37:34
  Speaker 2: semi which many have described this as being a stab
• 1:37:39
  Speaker 2: at Stephen King by Stanley Kubrick, like you know this
• 1:37:43
  Speaker 2: is this is him showing him that you know you
• 1:37:46
  Speaker 2: didn't write this. I wrote this. I'm the man. You
• 1:37:50
  Speaker 2: might be a good author, you might sell millions of
• 1:37:53
  Speaker 2: copies of your books, but I'm a filmmaker and this
• 1:37:57
  Speaker 2: is a film, and I'm going to do what I
• 1:37:59
  Speaker 2: want with this film.
• 1:38:01
  Speaker 1: It's like a like a fuck you, yep, Wow, that
• 1:38:06
  Speaker 1: is so crazy.
• 1:38:08
  Speaker 2: So you got the beatle, you got Stephen King's beadle
• 1:38:14
  Speaker 2: being changed from a red budle to a yellow beatle.
• 1:38:16
  Speaker 2: You have the beatle in the background of the abbey
• 1:38:18
  Speaker 2: Road photo. Then you have them looking like that they
• 1:38:21
  Speaker 2: are and this is John Lennon's uh beatle in the background.
• 1:38:27
  Speaker 2: Really yep, And then you have them looking like this
• 1:38:35
  Speaker 2: doing the exact same walk as the Abbey Road photo.
• 1:38:40
  Speaker 2: And Stephen King was inspired the name the book The Shining,
• 1:38:49
  Speaker 2: based off of a John Lennon song, instinct Karma.
• 1:38:54
  Speaker 1: What you didn't put that in the documentary, did you?
• 1:39:02
  Speaker 1: I was gonna say that is, Oh, you gotta do
• 1:39:05
  Speaker 1: a director's cut. This stuff is too good. That is wild.
• 1:39:13
  Speaker 2: We all shine on? Uh huh? The how the song
• 1:39:19
  Speaker 2: instant Karma goes? And Stephen King got that inspiration to
• 1:39:23
  Speaker 2: call the novel The Shining based off of that John
• 1:39:25
  Speaker 2: Lennon song.
• 1:39:27
  Speaker 1: And was it the original script like that they gave
• 1:39:31
  Speaker 1: or like Kubrick was. They basically said, hey, you're gonna
• 1:39:35
  Speaker 1: make this movie because he turned down The Exorcist and
• 1:39:39
  Speaker 1: they were like, well, you're going to do this one.
• 1:39:40
  Speaker 1: And it was called The Shine.
• 1:39:43
  Speaker 2: Yeah, So that was the original Because Warner Brothers got
• 1:39:48
  Speaker 2: a pre published copy of The Shining and it was
• 1:39:54
  Speaker 2: titled The Shine. That was the original title. For Stephen
• 1:40:00
  Speaker 2: King's novel. I mean we and we show that in
• 1:40:04
  Speaker 2: the movie. The the pre published copy is The Shine
• 1:40:10
  Speaker 2: by Stephen King. Okay, so then he changed it to
• 1:40:15
  Speaker 2: The Shining. Okay, so that's all the Beatles. The Beatles
• 1:40:22
  Speaker 2: thing is insane. But I don't know if I have
• 1:40:25
  Speaker 2: the slide in here or not. I'm I don't think
• 1:40:29
  Speaker 2: that I do, which is a shame. But shit, I
• 1:40:34
  Speaker 2: can't believe I didn't put this one in here.
• 1:40:37
  Speaker 1: Isn't a Beatles thing.
• 1:40:38
  Speaker 2: Yeah, it's a Beatles thing. So Kubrick was asked to
• 1:40:47
  Speaker 2: direct j. R. R. Tolkien's Lord of the Rings movie. Okay,
• 1:40:54
  Speaker 2: no shit, And this was supposed to be the the
• 1:41:01
  Speaker 2: Beatles were going to be all the Hobbits.
• 1:41:05
  Speaker 1: What yeah, oh stop it.
• 1:41:14
  Speaker 2: So ultimately Stanley Kubrick turned it down because he said
• 1:41:18
  Speaker 2: that the technology wasn't right at the time. They didn't
• 1:41:24
  Speaker 2: have the technology to do it. And then it you know,
• 1:41:27
  Speaker 2: later on. Peter Jackson then picked it up and directed
• 1:41:31
  Speaker 2: the Lord of the Rings movie. But Stanley Kubrick was
• 1:41:37
  Speaker 2: in talks with the Beatles and with J. R. Tolkien
• 1:41:43
  Speaker 2: to direct the Lord of the Rings movies, with the
• 1:41:45
  Speaker 2: Beatles acting as the Hobbits and the Lord of the
• 1:41:48
  Speaker 2: Rings movies.
• 1:41:50
  Speaker 1: So Laurel Canyon meets Tavis Stock and they fucking have
• 1:41:55
  Speaker 1: a Lord of the Rings baby. Oh my god, can
• 1:41:59
  Speaker 1: you imagine imagine Ryder what that would have been like?
• 1:42:05
  Speaker 2: Yep, yep. I don't know where that slide is. I
• 1:42:07
  Speaker 2: think it's in here somewhere. But that's what this slide
• 1:42:12
  Speaker 2: is about, is that Kubrick was being, uh, it's in
• 1:42:18
  Speaker 2: here somewhere. I don't know where it is.
• 1:42:20
  Speaker 1: But can you imagine even what The Exorcist would have
• 1:42:23
  Speaker 1: been like if it was a Kubrick film. I mean,
• 1:42:26
  Speaker 1: I love The Exorcist as it is. I mean, I
• 1:42:28
  Speaker 1: think Freedakin nailed it, crushed it. It's going to be
• 1:42:33
  Speaker 1: an eternal movie. But I do wonder what it would
• 1:42:38
  Speaker 1: have been like as a Kubrick film, because his mind
• 1:42:42
  Speaker 1: just works so differently.
• 1:42:45
  Speaker 2: It probably would not have gone over well because he
• 1:42:47
  Speaker 2: would have made it very practical and not be supernatural.
• 1:42:53
  Speaker 1: Supernaturally yeah, freaking.
• 1:42:58
  Speaker 2: Dead with it. As Kubrick didn't believe in the paranormal.
• 1:43:04
  Speaker 2: I mean, there's there's an interview with Stephen King talking
• 1:43:07
  Speaker 2: about how Cubrick would call him up at like three
• 1:43:10
  Speaker 2: am or like in the morning and be like, hey,
• 1:43:14
  Speaker 2: do you believe in God?
• 1:43:18
  Speaker 1: Oh my god? Can you imagine? No wonder? Stephen King
• 1:43:22
  Speaker 1: was like, fuck this guy, I'm making my own movie.
• 1:43:28
  Speaker 1: Oh my god, poor Stephen King.
• 1:43:33
  Speaker 2: But yeah, that's uh, that's just super interesting to me.
• 1:43:36
  Speaker 2: All the Beatles stuff and all the connections.
• 1:43:38
  Speaker 1: Oh one hundred wild.
• 1:43:42
  Speaker 2: Then you have let me get to this other side. Okay,
• 1:43:48
  Speaker 2: so this is pretty much the smoking gun of our
• 1:43:53
  Speaker 2: entire synopsis of the movie at Clockwork Shining is that
• 1:43:58
  Speaker 2: Windy and the beginning of the movie is reading a
• 1:44:03
  Speaker 2: book by an intelligence officer named J. D. Salinger. What's
• 1:44:07
  Speaker 2: is called Catcher in the Rye, and the Catcher in
• 1:44:11
  Speaker 2: the Rye has been linked to two major assassinations. There
• 1:44:19
  Speaker 2: Don Lennon, which gets into the Beatles stuff. M this
• 1:44:28
  Speaker 2: was it, this happened. Stephen King had this novel in
• 1:44:31
  Speaker 2: his movie a year before both of these assassinations happened.
• 1:44:33
  Speaker 2: So John Lennon hadn't been assassinated yet, neither had the
• 1:44:38
  Speaker 2: attempted assassination on Ronald Reagan. Those are the two assassinations
• 1:44:43
  Speaker 2: that Catcher in the Rye was reportedly on the scene with. Okay,
• 1:44:48
  Speaker 2: so Mark David Chapman was found on the scene of
• 1:44:56
  Speaker 2: h after he shot John Lennon, and he was reading
• 1:45:01
  Speaker 2: the book. He was sitting on the curb waiting for
• 1:45:03
  Speaker 2: the police to arrive, reading the book Catcher in the Rye. Then,
• 1:45:08
  Speaker 2: and in his defense, he stood up and said, if
• 1:45:15
  Speaker 2: you want to know the reason why I did it,
• 1:45:17
  Speaker 2: then all you have to do is read the book
• 1:45:18
  Speaker 2: The Catcher in the Rye. And then when a a
• 1:45:20
  Speaker 2: psychiatrist visited him in prison, he was still reading the
• 1:45:26
  Speaker 2: book like two years later. This book has been synonymous
• 1:45:30
  Speaker 2: with researchers talking about how the Catcher in the Rye
• 1:45:35
  Speaker 2: book by intelligence officer JD. Salinger, is a trigger mechanism
• 1:45:41
  Speaker 2: for MK ultra assassin Windy is reading it in the
• 1:45:47
  Speaker 2: shiny So how did Stanley Kubrick know to put this
• 1:45:53
  Speaker 2: book in this movie a year before both of these
• 1:45:58
  Speaker 2: assassinations would happen, where both of the assailants was reading
• 1:46:05
  Speaker 2: The Catcher in the Rack.
• 1:46:08
  Speaker 1: I want to say it's because he's CIA. I don't
• 1:46:12
  Speaker 1: think he was a prophet or anything like that, and
• 1:46:15
  Speaker 1: he had some kind of psychic ability. I think he
• 1:46:18
  Speaker 1: was in upper echelon type shit. And they were cluing
• 1:46:24
  Speaker 1: him into some stuff.
• 1:46:26
  Speaker 2: In my opinion, I mean, it makes sense, right, makes sense.
• 1:46:32
  Speaker 2: This is like the again, this is a smoking gun
• 1:46:35
  Speaker 2: that we connect to the entire assassination and him being
• 1:46:41
  Speaker 2: programmed to like Jack within the movie being programmed. And
• 1:46:45
  Speaker 2: Jack is a writer too. I mean, that's exactly what
• 1:46:47
  Speaker 2: he says to Amend in the beginning of the movie
• 1:46:49
  Speaker 2: that he would love to be up here because then
• 1:46:52
  Speaker 2: you can focus on his novel. He's a right right,
• 1:46:57
  Speaker 2: Catcher in the Right was required reading in school.
• 1:47:02
  Speaker 1: And out of all the books you know, like in this,
• 1:47:06
  Speaker 1: in this this scene right here, it's and as we
• 1:47:11
  Speaker 1: talked about before, Stanley is a perfectionist. He does everything
• 1:47:14
  Speaker 1: on purpose. So out of all those books back there
• 1:47:17
  Speaker 1: that if it was just to be random that they
• 1:47:20
  Speaker 1: could have chosen, it's it has to be this one.
• 1:47:24
  Speaker 1: And even like what she's wearing. And I mean, I've
• 1:47:31
  Speaker 1: I've heard a couple of presentations on how they think
• 1:47:34
  Speaker 1: that there are little Catcher in the Rye clues in
• 1:47:37
  Speaker 1: the wardrobe and other other stuff throughout the shining that
• 1:47:43
  Speaker 1: that go back to the Catcher in the Rye, but
• 1:47:48
  Speaker 1: definitely on purpose. One hundred.
• 1:47:52
  Speaker 2: Then you have John Hinckley Junior. That was the attempt
• 1:47:55
  Speaker 2: at assassination on Ronald Reagan that was had the same
• 1:47:58
  Speaker 2: thing on this person. He ad the Catcher in the
• 1:48:01
  Speaker 2: Rye book. And both of these assassinations, the one assassination
• 1:48:05
  Speaker 2: on John Lennon by Mark David Chapman and then the
• 1:48:08
  Speaker 2: John Hinckley attims of assassination on Ronald Reagan both had
• 1:48:12
  Speaker 2: this book. So it's been discussed for a really long time.
• 1:48:16
  Speaker 2: The Catcher in the Rye is a mk ultra Manchurian
• 1:48:20
  Speaker 2: candidate style trigger for assassins. And it's an abysmal book.
• 1:48:27
  Speaker 2: It doesn't make any sense. The book is awful. It's
• 1:48:30
  Speaker 2: a garbage book.
• 1:48:32
  Speaker 1: But it's garbage for real garbage.
• 1:48:35
  Speaker 2: But like it's like an in cell book almost right,
• 1:48:40
  Speaker 2: That's that's what the main character of the story is.
• 1:48:46
  Speaker 2: He's basically like an insult, right, which which is what
• 1:48:50
  Speaker 2: we would you know call people that you know, don't
• 1:48:55
  Speaker 2: have any kind of social life, that don't think that
• 1:48:59
  Speaker 2: they're accepted by society that they're in. They're just you know,
• 1:49:02
  Speaker 2: in their mom's basement or whatever, playing video games all day.
• 1:49:05
  Speaker 2: And it's just a coincidence that this was required reading
• 1:49:08
  Speaker 2: in public schools for a really long time, and then
• 1:49:10
  Speaker 2: we get an explosion of the exact same type of
• 1:49:17
  Speaker 2: character within this book in real life. And there's so
• 1:49:22
  Speaker 2: much of that throughout Stanley Kubrick's movies. Just like we
• 1:49:25
  Speaker 2: mentioned Lolita earlier, the whole movie is about pedophilia and
• 1:49:32
  Speaker 2: how this girl is being sayed by this older man. Okay,
• 1:49:39
  Speaker 2: that's exactly what was happening to Sue Lyon. The actor
• 1:49:44
  Speaker 2: that's playing Lolita was happening to her in real life
• 1:49:48
  Speaker 2: by Kubrick's producer, he James Harris. Yes, James Harris was
• 1:49:54
  Speaker 2: doing to her what she was portraying while shooting the
• 1:49:59
  Speaker 2: movie about what was actually happening to her.
• 1:50:04
  Speaker 1: Oh my god, it's so crazy too.
• 1:50:06
  Speaker 2: It's a mind fuck.
• 1:50:08
  Speaker 1: It's a mind fuck.
• 1:50:10
  Speaker 2: And not only that, like with a Clockwork Orange as well,
• 1:50:15
  Speaker 2: that same type of thing happened in like England and
• 1:50:18
  Speaker 2: then like in the UK and stuff, like whenever that
• 1:50:20
  Speaker 2: movie got released, we showed a bunch of newspaper clips
• 1:50:25
  Speaker 2: of like what was going on then whenever that movie
• 1:50:28
  Speaker 2: got released, like Crime Gone through the Roof, Like there
• 1:50:34
  Speaker 2: was these gangs that formed in like the UK and
• 1:50:37
  Speaker 2: the like England and stuff. They were called like the
• 1:50:39
  Speaker 2: clockwork gangs. There was like clockwork murders and stuff. And
• 1:50:45
  Speaker 2: then you have the point that Stanley Kubrick had to
• 1:50:50
  Speaker 2: take the movie out of theaters. You stopped really going
• 1:50:54
  Speaker 2: in the UK.
• 1:50:56
  Speaker 1: Clockwork Orange, Yes, I didn't know that. Have you heard
• 1:51:02
  Speaker 1: that the author of Clockwork Orange was inspired by Stanley
• 1:51:09
  Speaker 1: to ride it?
• 1:51:10
  Speaker 2: Yeah? I listened to a few interviews from him and
• 1:51:16
  Speaker 2: his relationship with Stanley Kubrick, and he said that after
• 1:51:20
  Speaker 2: the movie was made that Kubric never talked to him again. Really, yeah,
• 1:51:26
  Speaker 2: that you had tried to reach out to Cubric several
• 1:51:28
  Speaker 2: times and Kubert didn't have anything to do with him
• 1:51:32
  Speaker 2: after that. Wow. So interesting, It is super fascinating. All right,
• 1:51:41
  Speaker 2: let's get to this. This is a really weird connuity er.
• 1:51:46
  Speaker 2: So whenever Wendy and Danny is trying to escape from
• 1:51:49
  Speaker 2: John Affter, he busts down the first door, he says, Wendy,
• 1:51:55
  Speaker 2: I'm home. Whenever Wendy and Danny's a kind of escape
• 1:52:00
  Speaker 2: into the bathroom, the light on the table beside the
• 1:52:05
  Speaker 2: door is crooked. But in the very next scene, when
• 1:52:09
  Speaker 2: Jack walks in the light shade, the lampshade on the
• 1:52:14
  Speaker 2: table is straight. This one is really wild. This one's
• 1:52:21
  Speaker 2: almost like the one with Hallerin and the.
• 1:52:29
  Speaker 1: It is a completely the different background.
• 1:52:35
  Speaker 2: So whenever Jack tries to bust down the bathroom door
• 1:52:41
  Speaker 2: and he sticks his head through and says, here's Johnny whatever.
• 1:52:46
  Speaker 2: Then whenever he turns around and he hears Hollerin's snow
• 1:52:50
  Speaker 2: cat pulling up to the hotel, and he's kind of
• 1:52:54
  Speaker 2: alerted and he's like, what is that? And he turns around.
• 1:52:58
  Speaker 2: Both of the quarter panels of the door to the
• 1:53:02
  Speaker 2: bathroom have been knocked out. He never knocked out the
• 1:53:10
  Speaker 2: left side of the quarter panel right, he knocked.
• 1:53:16
  Speaker 1: Out, but it makes it look like an eleven.
• 1:53:19
  Speaker 2: It does. There's your eleven again.
• 1:53:23
  Speaker 1: That's so crazy.
• 1:53:26
  Speaker 2: Yep. So you literally only see him break the right
• 1:53:30
  Speaker 2: hand quarter panel of the door. That's the only one
• 1:53:34
  Speaker 2: that he put his ax through. Then whenever the shot
• 1:53:37
  Speaker 2: turns around, he hears and then you see the background
• 1:53:40
  Speaker 2: that both quarter panels have been knocked out.
• 1:53:45
  Speaker 1: Symbolism, Man, it has to be okay.
• 1:53:49
  Speaker 2: And here is the other smoking gun that we've mentioned already.
• 1:53:56
  Speaker 2: But the first time that Danny encounters anything strange in
• 1:54:02
  Speaker 2: the hotel is when he's in the games room and
• 1:54:06
  Speaker 2: he sees the twins and then to the left of
• 1:54:10
  Speaker 2: the double doors and now they're eleven here, So you
• 1:54:13
  Speaker 2: got the double doors, and behind the two girls that
• 1:54:16
  Speaker 2: are making an eleven, there's a poster to the left
• 1:54:23
  Speaker 2: of the door that says Monarch. And several people have
• 1:54:30
  Speaker 2: seen this before I seen it, Okay, so I'm not
• 1:54:33
  Speaker 2: claiming that I'm the only person to have ever seen this.
• 1:54:39
  Speaker 2: Other people have seen it, but they've misinterpreted what it means.
• 1:54:43
  Speaker 2: They think that it's like referring to like Monarch Mountain
• 1:54:47
  Speaker 2: or like the Kubrick's stare that all of them do
• 1:54:51
  Speaker 2: in the Kubrick's movies, like full metal Jacket, like a
• 1:54:55
  Speaker 2: clockwork orange and like the shining they do that you
• 1:54:59
  Speaker 2: know he's doing it in this the photo for if
• 1:55:03
  Speaker 2: you're a clockwork shine raised during that downward stare because
• 1:55:07
  Speaker 2: they think that this thing back here is either a
• 1:55:10
  Speaker 2: sky's skiing or maybe it looks like a minotaur or whatever.
• 1:55:14
  Speaker 2: But they never related the Monarch poster to MK Ultra Monarch.
• 1:55:24
  Speaker 1: That's the first thing I thought of, is Monarch mind control.
• 1:55:30
  Speaker 1: But again I think it wouldn't make sense unless you understood.
• 1:55:38
  Speaker 1: That's what the whole movie is about, you know what
• 1:55:41
  Speaker 1: I mean, Like this is just another clue.
• 1:55:46
  Speaker 2: It's another clue. And he could have put any poster
• 1:55:48
  Speaker 2: there that could have been anything, right, but he chose
• 1:55:52
  Speaker 2: to put a monarch poster.
• 1:55:57
  Speaker 1: In the background with a guy with like a lantern
• 1:56:00
  Speaker 1: over his face. It's like, it's almost like, I don't know.
• 1:56:03
  Speaker 1: To me, it's just there's just too much there for
• 1:56:06
  Speaker 1: that to be a coincidence.
• 1:56:09
  Speaker 2: And then we have County O'Brien of course that's in
• 1:56:12
  Speaker 2: the documentary that you know, talks about her experiences in
• 1:56:15
  Speaker 2: the MK Ultra Monarch program at a White House Pentagon level.
• 1:56:21
  Speaker 2: So he's telling us within the movie with this poster
• 1:56:30
  Speaker 2: that the thing is about mind control, so giant control operation.
• 1:56:39
  Speaker 2: And then this has been discovered before. This is the
• 1:56:43
  Speaker 2: Hitler mustache. That is when the picture fades to a
• 1:56:50
  Speaker 2: close up picture of July nineteen ninety and nineteen twenty one,
• 1:56:57
  Speaker 2: July fourth, it fades into a close a picture and
• 1:57:00
  Speaker 2: then you can see like a little Hitler mustache beginning
• 1:57:03
  Speaker 2: of Jack space here. And this is the one that
• 1:57:10
  Speaker 2: is a really big deal. Whenever they go through the
• 1:57:15
  Speaker 2: Gold Room, whenever almon Is giving them a tour. After
• 1:57:22
  Speaker 2: they're walking outside with the they're doing the Beatles walk,
• 1:57:28
  Speaker 2: they walk inside, they have they're walking through the Gold Room. Now,
• 1:57:33
  Speaker 2: the only way that I've seen this was because I
• 1:57:37
  Speaker 2: got to see the Shining on a big like in
• 1:57:40
  Speaker 2: the theater where I was living. Before we started filming
• 1:57:47
  Speaker 2: this movie. They did a Shining replay in theaters for Halloween.
• 1:57:55
  Speaker 1: Wow. I would have loved to went to one.
• 1:57:57
  Speaker 2: Of those, so I got to see it on the
• 1:58:01
  Speaker 2: big screen. I would never have seen this if I
• 1:58:06
  Speaker 2: didn't watch it on a big screen because it's so
• 1:58:09
  Speaker 2: in the background that you're gonna pass it every single time. Okay,
• 1:58:16
  Speaker 2: So in the background of when they're walking through the
• 1:58:19
  Speaker 2: Gold Room, if you look between Holman and Wendy, there's
• 1:58:25
  Speaker 2: a a swastika.
• 1:58:29
  Speaker 1: That's no doubt.
• 1:58:31
  Speaker 2: Put into the back of the wall, like faded into
• 1:58:37
  Speaker 2: the into the back of the wall. And when I
• 1:58:40
  Speaker 2: seen this, I was like, holy shit, I just see
• 1:58:46
  Speaker 2: what I thought that I seen?
• 1:58:49
  Speaker 1: Y right, you had to do double take, triple take,
• 1:58:53
  Speaker 1: like what the hell was that?
• 1:58:55
  Speaker 2: And then as I was editing the well, then I
• 1:58:58
  Speaker 2: because I had it on my phone too. And then
• 1:59:00
  Speaker 2: after we watching the theater. I was like, I gotta
• 1:59:03
  Speaker 2: zoom in on this and see if it's real. Now,
• 1:59:08
  Speaker 2: to my knowledge, no one has ever seen this before
• 1:59:10
  Speaker 2: until I brought it up. Now people will claim that
• 1:59:14
  Speaker 2: other people have seen this, but I don't, not.
• 1:59:18
  Speaker 1: To my recollection. And I I mean, it's like I
• 1:59:21
  Speaker 1: said before, I watched Jay Widner's Keybrick's Odestly I never
• 1:59:26
  Speaker 1: saw it brought up there. I mean, I would consider
• 1:59:29
  Speaker 1: myself to be pretty pretty proficient researcher into Kubrick stuff,
• 1:59:35
  Speaker 1: and I've never seen that. So yeah, I was surprised
• 1:59:40
  Speaker 1: for sure.
• 1:59:42
  Speaker 2: So that's uh. And that connects to the Hitler mustache.
• 1:59:46
  Speaker 2: It connects to the market Cramic, connects to the Twins,
• 1:59:49
  Speaker 2: it connects to MK Ultra, connects to mind control. You know,
• 1:59:53
  Speaker 2: he's trying to tell people that it's a giant MK
• 1:59:58
  Speaker 2: Ultra mind control program. It's uh, you know, that's what's
• 2:00:04
  Speaker 2: going on here, and he's showing it symbolism. He's trying
• 2:00:06
  Speaker 2: to tell you he has the TVs that are not
• 2:00:09
  Speaker 2: playing anything, it's not plugged into anything. It's it's mind control.
• 2:00:16
  Speaker 2: He's programming Jack to kill and murder his family. He's
• 2:00:21
  Speaker 2: been unknowingly drugged with an array of drugs. He goes
• 2:00:25
  Speaker 2: up and he he sees the woman turning, the very
• 2:00:29
  Speaker 2: attractive woman turning into an elderly woman. He then goes
• 2:00:33
  Speaker 2: up into his apartment and when he asked him, what
• 2:00:36
  Speaker 2: did you see anything?
• 2:00:37
  Speaker 1: You see anything over there?
• 2:00:39
  Speaker 2: He says, I didn't see a goddamn thing.
• 2:00:43
  Speaker 1: Right.
• 2:00:47
  Speaker 2: All of it adds up whenever you watch the movie,
• 2:00:49
  Speaker 2: because the movie goes into a lot more details than
• 2:00:54
  Speaker 2: what I've gone through here. But I think we've done
• 2:00:56
  Speaker 2: a really good job. And some things aren't that I
• 2:01:00
  Speaker 2: showed in the slides aren't actually in the movie, but
• 2:01:03
  Speaker 2: a lot of them are. And I just recommend for
• 2:01:08
  Speaker 2: people to watch the movie so that you can help
• 2:01:10
  Speaker 2: support my work and help me create my new documentary
• 2:01:15
  Speaker 2: that I'm getting ready to start on.
• 2:01:18
  Speaker 1: You want to give us any teasers about the new documentary.
• 2:01:24
  Speaker 2: Yes, that is going to be on the government's psychic
• 2:01:28
  Speaker 2: Spy program.
• 2:01:30
  Speaker 1: Oh shit, that's going to be amazing. I so if
• 2:01:36
  Speaker 1: you ever did do like a director's cut of a
• 2:01:40
  Speaker 1: clockwork shining, I'd be very interested to see what that
• 2:01:42
  Speaker 1: would look like, because I feel that you, much like myself,
• 2:01:47
  Speaker 1: are very invested into this topic and it's it's just
• 2:01:50
  Speaker 1: like never ending. After you find one thing, it leads
• 2:01:53
  Speaker 1: into another thing, into another thing, and you could go
• 2:01:55
  Speaker 1: on and on about it. So but for the listeners
• 2:02:01
  Speaker 1: one more time, where can they find a clockwork shining
• 2:02:04
  Speaker 1: if they want to watch it?
• 2:02:06
  Speaker 2: Oh? Really quickly, what was your thing that you found?
• 2:02:09
  Speaker 2: Was it in the slides?
• 2:02:11
  Speaker 1: It was, well, it was about the eight and ten
• 2:02:15
  Speaker 1: years old, and how he portrays them to be twins
• 2:02:21
  Speaker 1: and not an eight and a tent like two separate individuals,
• 2:02:24
  Speaker 1: but more as twins. And I thought, you know, if
• 2:02:29
  Speaker 1: he was going to visually give us twins, why did
• 2:02:32
  Speaker 1: he have the hotel manager make that distinction that one
• 2:02:37
  Speaker 1: was eight one was ten, Like he left that part
• 2:02:39
  Speaker 1: in there, but he showed us twins. So again, Stanley
• 2:02:43
  Speaker 1: Kubrick is a perfectionist. If he did that, it had
• 2:02:46
  Speaker 1: to have been on purpose. So I don't know, I
• 2:02:50
  Speaker 1: don't know.
• 2:02:52
  Speaker 2: Yeah, it's really odd, really strange, And I think that
• 2:02:55
  Speaker 2: we probably will do some kind of director's kind of
• 2:03:00
  Speaker 2: this in a few years, or we'll do some kind
• 2:03:03
  Speaker 2: of other maybe a clockwork shining too, that would be
• 2:03:08
  Speaker 2: a cool one. Yeah, we will see. But if people
• 2:03:11
  Speaker 2: would like to check out the movie, please do because
• 2:03:13
  Speaker 2: it helps support me and support my future projects. You
• 2:03:17
  Speaker 2: can find it on Amazon, Prime, Apple TV Plus, and
• 2:03:22
  Speaker 2: two B. Just type in a Clockwork Shining supers honestly,
• 2:03:26
  Speaker 2: three you don't even have to put in the whole title,
• 2:03:29
  Speaker 2: just the Clockwork Shining and it'll pop up. And if
• 2:03:32
  Speaker 2: you would like to follow my podcast, I do two
• 2:03:35
  Speaker 2: shows a week on YouTube. It's called Raised by Giants.
• 2:03:41
  Speaker 2: You can find it on YouTube and any and all
• 2:03:43
  Speaker 2: podcast platforms, And if you would like to reach out
• 2:03:45
  Speaker 2: to me personally, you can find me on Twitter at
• 2:03:49
  Speaker 2: Raised by Giants eight and Instagram at Raise by Giants Pod.
• 2:03:55
  Speaker 2: Thanks so much for having me on. Really appreciate it.
• 2:03:58
  Speaker 1: Yeah, you've been super generous with your time. It's been
• 2:04:01
  Speaker 1: over two hours. I'm really appreciative of that because I
• 2:04:04
  Speaker 1: feel like we covered a lot of ground and I
• 2:04:06
  Speaker 1: asked pretty much all the questions I had for you.
• 2:04:08
  Speaker 1: So I would love to have you back on we
• 2:04:12
  Speaker 1: can cover something different. We did Virginia Giffrey on The
• 2:04:17
  Speaker 1: Occult Rejects and that was another mind blower, so I
• 2:04:22
  Speaker 1: know you're doing some good work over there. I hope
• 2:04:24
  Speaker 1: the listeners go and find you, but thanks so much
• 2:04:27
  Speaker 1: for joining me this evening.
• 2:04:29
  Speaker 2: Thank you very much. It was delightful and thanks for
• 2:04:33
  Speaker 2: your time as well. Appreciate it. Let's do it again
• 2:04:36
  Speaker 2: sometime soon, anytime, anytime you want.
• 2:04:39
  Speaker 1: Awesome, Thanks so much, and to all the listeners out there,
• 2:04:42
  Speaker 1: thank you and we will catch you on the next one.