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Nephilim Death Squad · Ryder Lee

• 0:00
  Speaker 1: I'm productions.
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  Speaker 2: We are being hynotized people like this, news readers, politicians, teachers, lecturers.
• 0:15
  Speaker 3: We are in a country and in a world that
• 0:18
  Speaker 3: is being run by.
• 0:20
  Speaker 1: Unbelievably sick people.
• 0:23
  Speaker 3: The chasm between what we're told is going on and
• 0:26
  Speaker 3: what he's really going on is.
• 0:28
  Speaker 4: Absolutely Oh yeah, dude, basing that one ship.
• 0:32
  Speaker 3: It's like we all know what's going down, but no
• 0:35
  Speaker 3: one's saying what happens to the home of.
• 0:36
  Speaker 5: The brief.
• 0:39
  Speaker 3: Doing this now when no one's talking about it aside.
• 0:41
  Speaker 6: Every plase and everybody's just.
• 0:44
  Speaker 3: Walking around out in the problem to make up till
• 0:46
  Speaker 3: we're done in the.
• 0:47
  Speaker 4: Great but in little may.
• 0:49
  Speaker 1: We need to be ready to raise that.
• 0:51
  Speaker 7: Welcome to the end of everybody.
• 0:59
  Speaker 3: Welcome back, ladies, Jam into another episode of Nephilim Death Squad.
• 1:02
  Speaker 3: I am David Lee Corbo, aka the Raven that is
• 1:06
  Speaker 3: top Lobbsite, the Father of Disinformation. Before we get into
• 1:10
  Speaker 3: today's guest, I would like to remind all of our
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  Speaker 3: live viewers that this is a thirty minute preview only.
• 1:14
  Speaker 3: Sometime around the thirty minute mark, will be going live
• 1:16
  Speaker 3: exclusively to Patreon dot com backslash Nephilim Death Squad You can, however,
• 1:21
  Speaker 3: continue watching along and enjoying an ad free viewing experience
• 1:25
  Speaker 3: for free on patreon dot com backslash Nefhlin Death Squad
• 1:28
  Speaker 3: for a limited amount of time. Otherwise, give it a
• 1:32
  Speaker 3: couple of days and the episode will release everywhere else.
• 1:37
  Speaker 7: Probably what three days, four days.
• 1:39
  Speaker 3: Something like that.
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  Speaker 1: Top when we feel like it, when.
• 1:41
  Speaker 3: We feel like it is really yeah, that's really the
• 1:44
  Speaker 3: thing here coming getting into today's guest, we are joined
• 1:47
  Speaker 3: by rider Lee Ryder. For the audience who may not
• 1:50
  Speaker 3: be familiar with you, where can they find your work?
• 1:53
  Speaker 6: Thanks for having me on guys, really appreciate it is
• 1:55
  Speaker 6: looking forward to the conversation. You can find me on
• 1:58
  Speaker 6: raizby Giants, on YouTube and innion all cast platforms, and
• 2:01
  Speaker 6: if you would like to reach out to me personally,
• 2:02
  Speaker 6: you can find me on x at Raised by a
• 2:05
  Speaker 6: Giants eight and on Instagram at Raised by a Giants pod.
• 2:08
  Speaker 6: But yeah, I'm a filmmaker. I'm a director and editor.
• 2:12
  Speaker 6: I have two films on Amazon Prime. I have JFKX
• 2:15
  Speaker 6: Solving The Crime of the Century, which you can watch
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  Speaker 6: for free on Amazon Prime, and then my latest documentary,
• 2:21
  Speaker 6: A Clockwork Shining. Kubrick's Odyssey three is also on Amazon Prime.
• 2:26
  Speaker 6: And if you don't like Amazon Prime, and if you
• 2:28
  Speaker 6: think Amazon Prime is promoting free Masonic symbolism in their logo,
• 2:33
  Speaker 6: you can watch the movie on Vimeo as well. So
• 2:37
  Speaker 6: got you some options there.
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  Speaker 4: Nice, you're man, You're maybe your JFK film is about
• 2:41
  Speaker 4: to take off again if you can get in front
• 2:43
  Speaker 4: of the right eyes. We have some disclosure coming or
• 2:45
  Speaker 4: what they're calling disclosure. Will see what they decided to
• 2:48
  Speaker 4: tell us. But what angle did you take on that film?
• 2:53
  Speaker 6: It's unlike anything that anyone has really ever heard before.
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  Speaker 6: It takes is basically j It's his theory. And we
• 3:02
  Speaker 6: originally wanted to do the film on Stanley Kubrick first,
• 3:06
  Speaker 6: and then we were like, okay, well Stanley Kubrick film
• 3:09
  Speaker 6: was going to take a lot more money because he
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  Speaker 6: had already previously done two movies on Stanley Kubrick, which
• 3:14
  Speaker 6: was A Kubrick's Odyssey one and A Cubric's Odyssey two.
• 3:17
  Speaker 6: He's the originator of Stanley Kubrick, essentially showing that the
• 3:22
  Speaker 6: shining is his confession of faking the moon landing. That's
• 3:26
  Speaker 6: where a lot of people got that idea from was
• 3:28
  Speaker 6: from Jay Widner in those are Cubric's Odyssey films, and
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  Speaker 6: they don't give him enough credit for that. They kind
• 3:33
  Speaker 6: of take the idea and then put it out there
• 3:35
  Speaker 6: and throw clips and stuff. But who popularized that was
• 3:39
  Speaker 6: Jay Widner in the movie Room two thirty seven. That's
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  Speaker 6: where everyone really heard that movie, well heard that theory.
• 3:47
  Speaker 6: And so JFK Acts is a different take on the
• 3:52
  Speaker 6: assassination of JFK. And I don't want to ruin it
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  Speaker 6: for the people that haven't seen it. If you can
• 3:58
  Speaker 6: also watch it on tub as well as free to be,
• 4:00
  Speaker 6: so you can get on it's on Amazon, freeb and s,
• 4:03
  Speaker 6: type in jfkas and you can watch it on there.
• 4:06
  Speaker 6: Or if you got to be on your TV or
• 4:09
  Speaker 6: got the two b opp you just type in Jfkax
• 4:11
  Speaker 6: and you'll find it on there.
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  Speaker 3: Kubrick, he did this thing that has kind of solidified
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  Speaker 3: him as the man with the blueprint for subliminal messaging,
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  Speaker 3: or at least he did it to the highest level.
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  Speaker 3: You just mentioned that he admitted within the film The
• 4:28
  Speaker 3: Shining that he faked the moon landing. And so we
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  Speaker 3: find ourselves on this show bringing him up very often,
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  Speaker 3: because whenever you see a piece of media with subliminal
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  Speaker 3: messaging in the background. Well, he's always gonna end up
• 4:42
  Speaker 3: being part of the conversation. And recently we did a
• 4:47
  Speaker 3: deep dive on the Santa Baby video by Kim Kardashian,
• 4:52
  Speaker 3: And also we talk quite a bit about the movie
• 4:55
  Speaker 3: White Noise, which is starring Adam Driver. It's a film
• 4:58
  Speaker 3: on Netflix where they're depicting an Ohio train derailment, and
• 5:02
  Speaker 3: the background of that film is rich with storytelling if
• 5:05
  Speaker 3: you pay attention. But we don't really get into Kubrick
• 5:09
  Speaker 3: very much, and sometimes it doesn't dawn on me that
• 5:12
  Speaker 3: the audience might not know what I'm talking about. Something
• 5:15
  Speaker 3: that you take for granted, but it's not on everybody's radars.
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  Speaker 3: So I'd love to start picking this at part today,
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  Speaker 3: especially when it comes to the shining and clockwork Orange.
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  Speaker 3: How can a thing be a movie on one level
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  Speaker 3: but have a completely different story in the background. Well,
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  Speaker 3: that's what.
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  Speaker 6: Kubrick was a master doing, was telling the story through
• 5:38
  Speaker 6: the actual filmmaking process. And like we were mentioning before
• 5:42
  Speaker 6: the show started, so many filmmakers now want to give
• 5:45
  Speaker 6: everything away in the exposition of the movie, like long Legs,
• 5:49
  Speaker 6: did you guys see Long Legs with Nicholas Cage.
• 5:52
  Speaker 3: Yeah, I was told to watch Long Legs and I
• 5:55
  Speaker 3: don't know. It was a strange film. What do you
• 5:57
  Speaker 3: make of it?
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  Speaker 6: It was really good. I loved it up until the
• 6:01
  Speaker 6: last until her mom blows the back out of the head,
• 6:07
  Speaker 6: shoots the doll, and then her spirit or whatever gets released,
• 6:11
  Speaker 6: and then she's laying on the bed and then her
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  Speaker 6: mom comes to her and tells her the entire plot
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  Speaker 6: of the freaking movie. Yeah, ruins the entire thing. In
• 6:19
  Speaker 6: the same way with Smile Too. Smile Too did the
• 6:22
  Speaker 6: exact same thing, Like we didn't have to be told
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  Speaker 6: that all of it was happening in her head. We
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  Speaker 6: could have put two and two together whenever she woke
• 6:30
  Speaker 6: up on the stage and then she's the Smile character, like,
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  Speaker 6: we would have put two and two together and realized
• 6:38
  Speaker 6: that the entire movie was happening in her head. Like
• 6:41
  Speaker 6: the Smile entity did not have to tell her, this
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  Speaker 6: is all happening in your head. These are the problems
• 6:48
  Speaker 6: and the issues with filmmaking nowadays. This is literally all.
• 6:51
  Speaker 6: There's no wonder, there's no mystery, it's just all. And
• 6:55
  Speaker 6: whenever they build up that mystery where you're like, oh man,
• 6:57
  Speaker 6: this is super intrigued. I really like this, and then
• 7:01
  Speaker 6: instead of creating your own ideas and your own theories
• 7:05
  Speaker 6: about the movie, they just tell you exactly what the
• 7:07
  Speaker 6: movie is about. And that's what Kubric never wanted to do.
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  Speaker 6: And that's the reason why Kubric never did any interviews. Well,
• 7:14
  Speaker 6: he did very few interviews because he didn't want his
• 7:19
  Speaker 6: interpretation of the movie to be projected onto the audience,
• 7:22
  Speaker 6: because he felt that if he told the audience exactly
• 7:25
  Speaker 6: what the movie was about, then that ends all theory
• 7:28
  Speaker 6: and speculation as to what he might have been trying
• 7:30
  Speaker 6: to say with the movie.
• 7:32
  Speaker 3: I wonder if those films performed well in the box office,
• 7:36
  Speaker 3: because it almost seems logical to me that where it
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  Speaker 3: will take some time for a Kubric film to potentially
• 7:45
  Speaker 3: find its audience, and that audience are people that like
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  Speaker 3: that sort of a thing, right, like that mystery, like
• 7:50
  Speaker 3: that speculation, and like having to think critically. But I
• 7:55
  Speaker 3: think we're being honest, the vast majority of people don't,
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  Speaker 3: especially today, right we just everything happened so fast, nobody's
• 8:03
  Speaker 3: got time, and so could it be that they're trying
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  Speaker 3: to appeal to a larger audience when they do that,
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  Speaker 3: because I would almost I wouldn't be surprised if it
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  Speaker 3: didn't perform well in the box office and then became
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  Speaker 3: a cult classic after the fact.
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  Speaker 4: Well I'm reading about it now. So the opening weekend
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  Speaker 4: it did just over half a million dollars and then
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  Speaker 4: like the domestic total when all of said and done,
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  Speaker 4: it was forty four million and worldwide forty seven million.
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  Speaker 4: So it started off like people like, what the hell
• 8:31
  Speaker 4: is this shit? And then it just took off. I
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  Speaker 4: guess it took his films take a little while to
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  Speaker 4: boil over and really think about.
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  Speaker 6: Yeah, he didn't really have that many large successes whenever
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  Speaker 6: they came out. I mean even two thousand and one
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  Speaker 6: of Space honestly was kind of trashed critically. But before
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  Speaker 6: he did the Shining his movie before that was Barry Linden,
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  Speaker 6: and Barry Linden was not a success at all, did
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  Speaker 6: not make It was probably Kubrick's worst performing film that
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  Speaker 6: ever hit theaters. It was not a critical success, it
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  Speaker 6: was not an audience success. And then after Barry Lyndon
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  Speaker 6: came out, Kubrick was then offered the Extorcist. He was
• 9:08
  Speaker 6: going to direct the Actorcist and he turned it down,
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  Speaker 6: and then they ultimately went to William Freaking, which is
• 9:17
  Speaker 6: the director of the Actressist, and that kind of became,
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  Speaker 6: you know, a really big film for Warner Brothers because
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  Speaker 6: it's based on a novel and really popular movie. And
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  Speaker 6: then it's kind of we sort of theorized in our movie,
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  Speaker 6: which there is some evidence for this is that Warner Brothers.
• 9:37
  Speaker 5: It was kind of Warner Brothers.
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  Speaker 6: Idea to give The Shining to Stanley Kubrick to make
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  Speaker 6: the movie because they had already had success with adapting
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  Speaker 6: a horror novel with William Freaking directing the actressists. So
• 9:51
  Speaker 6: it was probably pushed in Kubrick's way like here take this,
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  Speaker 6: because they had a pre published copy of The Shining
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  Speaker 6: from Stephen King, and they were like, here, Kubrick, you
• 10:02
  Speaker 6: know kind of you're you're on a downstreak right now.
• 10:04
  Speaker 6: Your last movie did not perform well, so we want
• 10:07
  Speaker 6: you to do an adaptation of Stephen King's The Shining.
• 10:12
  Speaker 6: And a lot of Kubrick's films, he changes things, he
• 10:16
  Speaker 6: doesn't base it off of the novel, and that's what
• 10:18
  Speaker 6: really upset Stephen King. Within The Shining is because Kubrick
• 10:22
  Speaker 6: put his own spin on the adaptation, and then King
• 10:26
  Speaker 6: came in and then made his miniseries on The Shining,
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  Speaker 6: which was complete and total dog shit.
• 10:32
  Speaker 5: It was not good.
• 10:33
  Speaker 6: It was haunted bushes and haunted freaking play swings and
• 10:39
  Speaker 6: like just a god awful disaster. And that's what Kubrick
• 10:46
  Speaker 6: was saying. He was like, yeah, King, you might be
• 10:48
  Speaker 6: a really good you might be able to write really
• 10:50
  Speaker 6: good novels, but you're not a filmmaker. You can't make
• 10:52
  Speaker 6: a good film. And we see evidence of that as
• 10:55
  Speaker 6: Kubrick is making the movie. Kubrick is rewriting the entire
• 11:00
  Speaker 6: movie as he's making it. He's rewriting the script, so
• 11:04
  Speaker 6: he's changing things, He's putting things in there, he's taking
• 11:06
  Speaker 6: things out. He probably submitted a more conducive script Warner
• 11:12
  Speaker 6: Brothers in the beginning to follow it along with King's
• 11:15
  Speaker 6: work so that they would greenlight the movie. No filmmaker
• 11:21
  Speaker 6: is ever going to be writing a script for a
• 11:24
  Speaker 6: film as you're shooting the movie. Unless you want to
• 11:28
  Speaker 6: complete an utter disaster of a movie. You just don't
• 11:32
  Speaker 6: do that.
• 11:33
  Speaker 3: What did you think about Doctor Sleep, which is the
• 11:36
  Speaker 3: sequel to the Shining.
• 11:38
  Speaker 6: I like Doctor Sleep, but it takes a completely different angle.
• 11:41
  Speaker 6: It's more about like astral projection and out of body
• 11:45
  Speaker 6: experiences and remote viewing and by location, which is a
• 11:50
  Speaker 6: really interesting concept which gets into a lot of the
• 11:53
  Speaker 6: remote viewing and I've done a lot of work into
• 11:56
  Speaker 6: researching the government's remote viewing program, the Stargate. I've had
• 12:00
  Speaker 6: a lot of those people on my show, the official
• 12:02
  Speaker 6: people that were in the program, doctor David Morehouse, Lim Buchanan,
• 12:06
  Speaker 6: Dell Graph. He was their originator that called the coin
• 12:10
  Speaker 6: the term Stargate, Doctor Paul Smith. I've had a lot
• 12:15
  Speaker 6: of them on my channel, and I've done a lot
• 12:17
  Speaker 6: of research into it, and I think that it's a
• 12:20
  Speaker 6: really interesting film. They took a completely different direction, and
• 12:23
  Speaker 6: obviously it's not a cubric film, though they do use
• 12:27
  Speaker 6: a lot of the symbolism, Like they use the carpet
• 12:29
  Speaker 6: from that Kubric used in The Shining. It's there and
• 12:32
  Speaker 6: they take it, take you back to the hotel at
• 12:35
  Speaker 6: the end of the movie, and then it, you know,
• 12:37
  Speaker 6: burns to the ground, which it was originally supposed to
• 12:40
  Speaker 6: burn to the ground at the end of the Shining book.
• 12:43
  Speaker 6: I'm pretty sure that that's what happened at the end
• 12:45
  Speaker 6: of Stephen King's novel The Shining is that the hotel
• 12:48
  Speaker 6: burned to the ground, But Cubrick didn't do that in
• 12:50
  Speaker 6: the first movie, so then they just did it at
• 12:53
  Speaker 6: the end of the movie of Doctor Sleep.
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  Speaker 5: But I liked it.
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  Speaker 6: I thought that the acting was good. Hugh McGregor was it.
• 13:01
  Speaker 6: But it has really nothing other than the surface level
• 13:05
  Speaker 6: stuff in Doctor Sleep.
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  Speaker 3: As a film, Yeah, I found that it didn't connect it.
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  Speaker 3: It almost felt like two different movies in a way,
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  Speaker 3: where you have that first chunk and then when they
• 13:15
  Speaker 3: go to the hotel, it almost feels like it's you're
• 13:18
  Speaker 3: watching something different in some way because outside of it,
• 13:22
  Speaker 3: it feels like it bears very little resemblance or connection
• 13:26
  Speaker 3: to The Shining except for you know, ew and McGregor's character.
• 13:29
  Speaker 3: But going back to the original film, I've watched some
• 13:36
  Speaker 3: segments of documentaries on it. You can find a lot
• 13:39
  Speaker 3: of people are fascinated. It's kind of the gift that
• 13:41
  Speaker 3: keeps giving, right because there seems to be replay value
• 13:46
  Speaker 3: in it where you can catch something where you didn't
• 13:48
  Speaker 3: see it the first time around, and it seems that
• 13:51
  Speaker 3: people are pretty comfortable with the idea that The Shining
• 13:54
  Speaker 3: is telling two stories in the background. One is, like
• 13:57
  Speaker 3: we said earlier, about the moon landing, and the other
• 13:59
  Speaker 3: is about the genocide of the Native Americans.
• 14:02
  Speaker 7: And I don't know if that's true.
• 14:04
  Speaker 3: So I'd love to hear your point of view on
• 14:06
  Speaker 3: what is it that Kubrick is trying to express in
• 14:09
  Speaker 3: The Shining.
• 14:10
  Speaker 6: Well, that gets really deep, and that's essentially what the
• 14:13
  Speaker 6: entire almost two hour movie is really all about and
• 14:16
  Speaker 6: is really setting out because it's a different theory that
• 14:19
  Speaker 6: no one has ever heard before, no one has ever
• 14:21
  Speaker 6: talked about before, and that is that Stanley Kubrick is
• 14:26
  Speaker 6: essentially telling us about MK Ultra mind control. That's what
• 14:31
  Speaker 6: the entire movie is really about. And it's mind control
• 14:35
  Speaker 6: on many levels. Because that doesn't discount the other theories
• 14:39
  Speaker 6: that are circulating about The Shining, like the faking of
• 14:41
  Speaker 6: the moon landing, because if they did indeed fake the
• 14:45
  Speaker 6: moon landing, that's going to be a giant MK Ultra operation.
• 14:48
  Speaker 6: And then when you look at why do none of
• 14:50
  Speaker 6: the TVs have look like they're plugged into anything in
• 14:54
  Speaker 6: the Shining. They're cordless, they're not, but they're running in
• 14:58
  Speaker 6: the Shining right, So it's like, if he did indeed
• 15:02
  Speaker 6: fake the moon landing, then he's trying to say that
• 15:04
  Speaker 6: what you were watching was fake because the moon landing
• 15:08
  Speaker 6: footage was supposedly broadcasted live everywhere in the world at
• 15:13
  Speaker 6: that time, I think, but mainly in the United States
• 15:15
  Speaker 6: because the United States was the one that was launching
• 15:17
  Speaker 6: the rocket. So if that's what he's trying to say,
• 15:20
  Speaker 6: it's an mk Ultra program on many different layers, but
• 15:23
  Speaker 6: there's so many subtle things like Hubert puts in there,
• 15:26
  Speaker 6: there's so many different continuity errors within the shining that
• 15:29
  Speaker 6: really doesn't make any sense unless he is trying to
• 15:35
  Speaker 6: break the psyche of the viewer. As the viewer is
• 15:39
  Speaker 6: watching the movie, and as Jack Torrence is also starting
• 15:42
  Speaker 6: to go deeper and deeper into this MK Ultra program
• 15:45
  Speaker 6: and getting his psyche split, he's subliminally trying to get
• 15:48
  Speaker 6: the audience to have their psyche split, to have them
• 15:51
  Speaker 6: start to question their reality subliminally by things disappearing or reappearing,
• 15:56
  Speaker 6: or moving around the screen, or being there in one shot,
• 15:59
  Speaker 6: disappearing in the.
• 16:00
  Speaker 5: Next shot, or being there earlier.
• 16:01
  Speaker 6: In the movie and not being there later in the movie.
• 16:04
  Speaker 6: So those are some of the subliminal techniques. It's to
• 16:07
  Speaker 6: disorient the audience, as he's also disorienting the characters within
• 16:12
  Speaker 6: the movie. But there's there's so many different things. Like
• 16:17
  Speaker 6: the first time that we meet Wendy and Danny in
• 16:19
  Speaker 6: the movie, Wendy's reading the book by J. D. Salinger
• 16:23
  Speaker 6: called Ketcher in the Rye. And I'm sure you guys
• 16:25
  Speaker 6: are familiar with the book. Ketcher and the Ryot has
• 16:27
  Speaker 6: been associated with two major assassinations within a year of
• 16:32
  Speaker 6: the release of The Shining, So Kubrick had this book
• 16:36
  Speaker 6: in his movie a year before both assassinations of John
• 16:42
  Speaker 6: Lennon and the attempted assassination on Ronald Reagan, and where
• 16:46
  Speaker 6: both books were found at the scene, and they've been
• 16:48
  Speaker 6: related to an mk Ultri style Manchurian candidate assassination. Kubrick
• 16:54
  Speaker 6: had this book in his movie and Wendy is reading
• 16:56
  Speaker 6: it a year before both of these assassinations.
• 17:00
  Speaker 3: It begins to suggest that, I mean, obviously, if you
• 17:04
  Speaker 3: are recruited to help fake the moon landing, then you
• 17:07
  Speaker 3: might be keen to other information or plans, right, That's
• 17:10
  Speaker 3: kind of what happens or the implications of that idea
• 17:14
  Speaker 3: and it seems like the elite, for lack of a
• 17:18
  Speaker 3: better term, they regard Kubrick pretty highly. It seems that
• 17:24
  Speaker 3: they celebrate his ability to do this sort of a thing,
• 17:29
  Speaker 3: to ingrain his media with these symbols that tell a story.
• 17:33
  Speaker 3: We were watching the Kim Kardashian video and in it
• 17:38
  Speaker 3: there is a scene where I actually have it right here.
• 17:40
  Speaker 3: I don't know if you want to bring this image
• 17:42
  Speaker 3: up top, give me one second, but there is an
• 17:45
  Speaker 3: homage to the shining and we've got this image here.
• 17:50
  Speaker 3: If you bring that up, you can see on the
• 17:53
  Speaker 3: right side there is that sort of a mascot down
• 17:57
  Speaker 3: along hallway and he's being you know, molested in one way,
• 18:03
  Speaker 3: shape or form by two men. And this is also
• 18:05
  Speaker 3: the same thing that you see in Jared Leto's thirty
• 18:09
  Speaker 3: Seconds to Mars video, the Kill, which is arguably one
• 18:14
  Speaker 3: of their more successful songs. I would say thirty seconds
• 18:19
  Speaker 3: to Mars that's probably like maybe their number one hit,
• 18:23
  Speaker 3: and the entire hit too. Was it their first hit,
• 18:26
  Speaker 3: And I think that was the moment that really launched
• 18:29
  Speaker 3: Jared Leto into the stratosphere as far as being you know,
• 18:33
  Speaker 3: a Hollywood icon goes. And so that entire music video
• 18:37
  Speaker 3: is one big short or not big, you know, but
• 18:40
  Speaker 3: it's a It's a Kubrick film in many ways. It's
• 18:43
  Speaker 3: done like the Shining. The whole thing is an homage
• 18:45
  Speaker 3: to the Shining. And when I see that, especially when
• 18:49
  Speaker 3: we're talking about Jared Leto, Hollywood elite, Kim Kardashian, you know,
• 18:53
  Speaker 3: Hollywood elite also probably a witch. These people, I think
• 18:58
  Speaker 3: they they guard Kubrick pretty highly.
• 19:03
  Speaker 6: Then when you look at Jared Leto, he owns Lookout
• 19:08
  Speaker 6: Mountain Air Force Base in Laurel Canyon in Hollywood.
• 19:12
  Speaker 1: Duzzy, come on, man, that's crazy.
• 19:15
  Speaker 6: And you look at Lookout Mountain. You look at the overlook.
• 19:20
  Speaker 6: There used to be a hotel that sat on the
• 19:23
  Speaker 6: grounds of where the Lookout Mountain Air Force Base is.
• 19:28
  Speaker 6: That was called the Lookout Hotel, and that hotel burnt
• 19:35
  Speaker 6: to the ground in the early nineteen hundreds. Then at
• 19:41
  Speaker 6: the end of Stephen King's novel and at the end
• 19:45
  Speaker 6: of Doctor Sleep, the overlook burns to the ground.
• 19:49
  Speaker 1: Yes, yes, so you Lookout Overlook.
• 19:52
  Speaker 6: You got all those connections there and then all these
• 19:55
  Speaker 6: high ranking there were so many films that was made
• 19:58
  Speaker 6: at Lookout Mountain Air Force that we don't even know
• 20:03
  Speaker 6: about to this very day, like thousands of films. There
• 20:05
  Speaker 6: was more films that were made up there Lookout Mountain
• 20:08
  Speaker 6: Air Force Base than was made all of Hollywood up
• 20:11
  Speaker 6: until that point. Several people had high ranking clearance for it.
• 20:14
  Speaker 6: Major Hollywood actors had high ranking clearance. This is where
• 20:18
  Speaker 6: all of the nuclear bomb testing footage was filmed up
• 20:22
  Speaker 6: there on miniature sets. Was that Lookout Mountain Air Force Base.
• 20:28
  Speaker 6: Marilyn Monroe, Carrie Grant, James Stewart, all these, Ronald Reagan,
• 20:34
  Speaker 6: they all had top secret security clearance for this Lookout
• 20:38
  Speaker 6: Mountain Air Force Base on top of the Lower Canyon,
• 20:40
  Speaker 6: right outside of Hollywood, And no one knows exactly what
• 20:43
  Speaker 6: they were doing up there, but it is factual that
• 20:46
  Speaker 6: that's where the nuclear testing bombs were filmed. They weren't
• 20:52
  Speaker 6: real bombs that were being dropped and filmed. They were
• 20:55
  Speaker 6: being filmed on miniature sets and they were being filmed
• 20:57
  Speaker 6: at Lookout Mountain Air Force Base out of Hollywood and
• 21:00
  Speaker 6: Laurel Canyon.
• 21:03
  Speaker 1: Right I might be locate. Oh I'm sorry, go ahead,
• 21:05
  Speaker 1: tap yeah, I'm gonna jump the gun here. Why do
• 21:09
  Speaker 1: you think they have to tell you?
• 21:11
  Speaker 4: Because we're describing in multiple, multiple ways how his movie
• 21:15
  Speaker 4: is pointing to events in the future in the past,
• 21:19
  Speaker 4: but like, why why even bother telling the general public
• 21:23
  Speaker 4: in this way?
• 21:26
  Speaker 6: Well, because I think that it's super cryptic, and I
• 21:28
  Speaker 6: think that it's like kind of an homage to the
• 21:32
  Speaker 6: other people that are in the know, like, oh, hey,
• 21:36
  Speaker 6: this is what we did, and if someone that knows
• 21:39
  Speaker 6: about it sees it, then they'll be clued in on
• 21:42
  Speaker 6: the clues to it. It's essentially them just playing playing
• 21:45
  Speaker 6: with people. That's what I personally think. I don't even
• 21:47
  Speaker 6: think it has anything to do with predictive programming or anything.
• 21:50
  Speaker 6: I think it's them just like sitting back and they're
• 21:54
  Speaker 6: a giant freaking dust star, rocking chairs and having a
• 21:59
  Speaker 6: good life of.
• 22:03
  Speaker 3: It's like when you're de see like if you ever
• 22:05
  Speaker 3: did something you played a trick on somebody and you
• 22:07
  Speaker 3: and your homie were in on the trick and somebody
• 22:09
  Speaker 3: else was the unwilling participant, and you might look over
• 22:11
  Speaker 3: and like give your buddy a nod, right because you're
• 22:14
  Speaker 3: in on it. It's it's uh, I guess it could be.
• 22:17
  Speaker 3: I look at these things like they could be a
• 22:18
  Speaker 3: form of communication. This is this is an interesting catch.
• 22:22
  Speaker 3: Just this morning, I believe it was just this morning
• 22:25
  Speaker 3: from Red Pill Drifter. It says, I'm sure you understand
• 22:27
  Speaker 3: what the cages are depicting in Toy Story three. What's
• 22:30
  Speaker 3: also strange is that they would give a nod to
• 22:32
  Speaker 3: Stanley Kubricks the shining on the camera and if you
• 22:35
  Speaker 3: zoom in, which I can't zoom in, it looks like
• 22:37
  Speaker 3: it says overlook H two three seven. So I mean,
• 22:43
  Speaker 3: it's Toy Story And I don't even have an answer
• 22:46
  Speaker 3: for that one. I don't know why. I don't know
• 22:49
  Speaker 3: why you would go through the trouble of putting that
• 22:52
  Speaker 3: little detail in Toy Story.
• 22:55
  Speaker 7: It could just be an animator having fun.
• 22:57
  Speaker 3: But that's a very lazy answer that I kind of
• 23:01
  Speaker 3: not a big fan of that. It's a lot of
• 23:04
  Speaker 3: it is just like, oh, animators are having fun. Right,
• 23:06
  Speaker 3: That's the same thing when it comes to Disney putting
• 23:08
  Speaker 3: all these strange, sumbliminal messages in their backgrounds. But when
• 23:13
  Speaker 3: you see that, I mean, do you think that that
• 23:15
  Speaker 3: is another one of these films just paying homage.
• 23:19
  Speaker 6: Well, I brought up a thing down here on the
• 23:21
  Speaker 6: bottom that is another Toy Story thing that shows the
• 23:24
  Speaker 6: exact carpet. Oh wow, what's going on there? And the
• 23:29
  Speaker 6: Overlook Hotel?
• 23:31
  Speaker 7: What the hell is that about?
• 23:33
  Speaker 3: Yeah?
• 23:34
  Speaker 6: Huh, Well, apparently the director of Toy Story is a
• 23:38
  Speaker 6: really big Stanley Kubrick fan and a huge Shining fan,
• 23:41
  Speaker 6: and he collects all the memorabilia and is like really
• 23:45
  Speaker 6: big into it. The director is actually of Toy Story
• 23:49
  Speaker 6: is actually the guy that funded the movie Room two
• 23:54
  Speaker 6: thirty seven that has all the theories in it.
• 23:58
  Speaker 3: When you so in the have you seen the Santa
• 24:03
  Speaker 3: Baby video with Kim Kardashian.
• 24:06
  Speaker 6: I watched it once and just to see what the
• 24:09
  Speaker 6: hype was about, but I really didn't analyze it to
• 24:12
  Speaker 6: the degree that you guys probably have.
• 24:15
  Speaker 3: Well, in one scene, there is a girl. She's in
• 24:19
  Speaker 3: a cheerleader's outfit. She's got a sort of a boulder
• 24:22
  Speaker 3: cap and it's covering one eye, and on her chest
• 24:25
  Speaker 3: is blatantly the A from Clockwork Orange same colors and everything,
• 24:32
  Speaker 3: and then of course her her cheerleader outfit is keeping
• 24:35
  Speaker 3: the same color theme. And we went in heavily. I mean,
• 24:40
  Speaker 3: look when I see that, to me, I go, oh,
• 24:45
  Speaker 3: they're trying to tell you that it's not about what's
• 24:47
  Speaker 3: happening in the foreground. It's what's about happen, It's about
• 24:51
  Speaker 3: what's happening in the background. And I think another great
• 24:53
  Speaker 3: example of that is something that I've talked about on
• 24:56
  Speaker 3: the show before. There's a film called White Noise. There
• 25:00
  Speaker 3: was a time a few years ago where we had
• 25:02
  Speaker 3: that train derailment in East Palestine, Ohio, and at the
• 25:09
  Speaker 3: same time we had a Chinese balloon spy balloon is
• 25:14
  Speaker 3: what we've dubbed it since then, traveling from the northwest
• 25:19
  Speaker 3: all the way to the southeast of America kind of diagonally.
• 25:23
  Speaker 3: And so that film is, you know, it takes place
• 25:26
  Speaker 3: in the nineteen eighties. It stars Adam Driver, and in
• 25:28
  Speaker 3: it a train derailment happens in Ohio. It turns out
• 25:32
  Speaker 3: that a lot of the people in the film, a
• 25:35
  Speaker 3: lot of the actors, were locals from East Palestine. And
• 25:40
  Speaker 3: on the surface, if you watch the film for some reason,
• 25:43
  Speaker 3: the dialogue is captivating and it's well shot, and all
• 25:47
  Speaker 3: of the actors are likable, But if you really pay attention,
• 25:51
  Speaker 3: they're not really saying anything. They're not explaining the situation,
• 25:55
  Speaker 3: and there's no narrative that's really unfolding in the dialogue.
• 26:01
  Speaker 3: But if you look at the background, there's a narrative,
• 26:04
  Speaker 3: and that narrative is UFOs. There's TVs in the background,
• 26:10
  Speaker 3: there's news reports running UFOs are landing. You'll see newspapers
• 26:13
  Speaker 3: occasionally about UFO sightings. And this theme continues all throughout
• 26:17
  Speaker 3: the film. And it's fascinating because in real life, two
• 26:21
  Speaker 3: weeks later after this film's release, a train derails, and
• 26:25
  Speaker 3: of course, before we knew it was a spy balloon
• 26:28
  Speaker 3: or whatever the hell it was, we were speculating wildly
• 26:32
  Speaker 3: as to whether or not it was a UFO. And
• 26:33
  Speaker 3: at that same time, there were reports coming from a
• 26:36
  Speaker 3: bunch of different countries Canada, Uruguay, China and a few
• 26:41
  Speaker 3: others claiming to have either seen UFOs or have shot
• 26:46
  Speaker 3: them down. And those reports went away and there was
• 26:50
  Speaker 3: nothing ever made about them. But that was our backdrop
• 26:53
  Speaker 3: while we had a train derailment in East Palestine, Ohio.
• 26:56
  Speaker 7: So, I mean, I don't even know really what to
• 27:00
  Speaker 7: make of that.
• 27:01
  Speaker 3: You know, you start to ask these questions, is this
• 27:04
  Speaker 3: revelation of the method, Is this elites communicating back and forth?
• 27:10
  Speaker 3: Have you seen that film? Do you have any thoughts
• 27:12
  Speaker 3: on that?
• 27:13
  Speaker 6: I have not seen the film. I wanted to watch it,
• 27:15
  Speaker 6: but I just got it was one of those things
• 27:18
  Speaker 6: where I started it. I normally watch a movie until
• 27:21
  Speaker 6: the very end, but I started it and it was
• 27:24
  Speaker 6: really late and it was not picking up speed at all,
• 27:27
  Speaker 6: and I didn't really know what was going on because
• 27:29
  Speaker 6: I don't really like to watch previews or trailers and movies,
• 27:33
  Speaker 6: because that's another problem, is the trailers give away so
• 27:36
  Speaker 6: much about the movie. Yeah, and I didn't know anything
• 27:40
  Speaker 6: about it. I didn't know what it was really about
• 27:43
  Speaker 6: or you know, what was going on within the movie,
• 27:45
  Speaker 6: and it was just seemed like really slow. But I'll
• 27:47
  Speaker 6: definitely have to go back and check it out. But
• 27:49
  Speaker 6: there's another movie that's called White Noise that came out
• 27:51
  Speaker 6: in like the early two thousands that is like a
• 27:53
  Speaker 6: horror movie. So that's whenever you first said White Noise,
• 27:56
  Speaker 6: I was like, Oh, that old early two thousands horror movie.
• 28:01
  Speaker 6: But Kubrick has been known to like, there's been several
• 28:04
  Speaker 6: things throughout Kubrick's career that it's kind of like what
• 28:08
  Speaker 6: you're talking about with art imitating reality or reality imitating art.
• 28:13
  Speaker 6: That's a common theme throughout Kubrick's entire film just like
• 28:17
  Speaker 6: what I was mentioning with Ketcher in the Rye. He
• 28:19
  Speaker 6: has the book Catcher in the Rye in his movie
• 28:21
  Speaker 6: a year before both of the assassinations, the one a
• 28:24
  Speaker 6: real assassination on the Beatle John Lennon and then the
• 28:29
  Speaker 6: attempted assassination on Ronald Reagan. But before that was Lolita.
• 28:36
  Speaker 6: So the movie Lolita is a very touchy film that
• 28:41
  Speaker 6: deals with you know, pedophilia essentially of a really young
• 28:46
  Speaker 6: girl and uhs a thirteen year old girl. But it
• 28:49
  Speaker 6: turns out that the exact same thing that the movie
• 28:53
  Speaker 6: is about is actually happening to the main actor of
• 28:58
  Speaker 6: the movie in real life on the set with Qubrick's
• 29:04
  Speaker 6: production manager. And she's essentially the things that she's acting
• 29:12
  Speaker 6: about is really happening to her in real life from
• 29:16
  Speaker 6: Kubrick's production manager. And yeah, it's like it's just this
• 29:21
  Speaker 6: common thing with cubrics and also with the clockwork Orange.
• 29:26
  Speaker 6: Whenever that movie came out, crime rose like heavily. There
• 29:31
  Speaker 6: was literally newspaper articles.
• 29:33
  Speaker 5: There was like the clockwork.
• 29:35
  Speaker 6: Orange gangs, the clockwork Orange murderers, like and there. It
• 29:38
  Speaker 6: was eventually pulled from a lot of other countries, especially
• 29:42
  Speaker 6: in the uk Kubrick pulled the film because it was
• 29:45
  Speaker 6: inciting violence in real life. And then when you look
• 29:49
  Speaker 6: at The Shining as well, and the things how Cubrick
• 29:53
  Speaker 6: was treating Shelley Duvall on the set of The Shining,
• 29:57
  Speaker 6: which essentially ruined Shelley do entire career. She was never
• 30:02
  Speaker 6: really the same. She did a few other acting things,
• 30:04
  Speaker 6: but was never really as big as you know, The
• 30:08
  Speaker 6: Shining and these other Popeye that she was in before.
• 30:12
  Speaker 6: It kind of wrecked her entire career. And that was
• 30:15
  Speaker 6: due to the abuse, the mental abuse, and sometimes like
• 30:21
  Speaker 6: wouldn't really call it physical abuse because he never really
• 30:24
  Speaker 6: physically abused her, but he would tell the people on
• 30:26
  Speaker 6: the set not to tend to her, not listen, don't
• 30:29
  Speaker 6: listen to her, don't tend to her needs, and like
• 30:33
  Speaker 6: pretty much verbally abusing her a lot. And that's like
• 30:36
  Speaker 6: a common thing with like what happens in MK ultra programs.
• 30:40
  Speaker 6: It's like the thing that you want to do the
• 30:43
  Speaker 6: most is psychologically break them down, to fracture their mind.
• 30:47
  Speaker 6: So therefore you can put and you would use the
• 30:49
  Speaker 6: excuse as you know, well, I'm just trying to get
• 30:52
  Speaker 6: a good performance out of her. Because obviously Kubrick did
• 30:55
  Speaker 6: not think that she was that great of an actor,
• 30:58
  Speaker 6: which is a solid excuse, but you're also using these
• 31:02
  Speaker 6: types of techniques on her that is like verbati in
• 31:06
  Speaker 6: what would be being done in some sort of mind
• 31:10
  Speaker 6: control operation, and it essentially.
• 31:13
  Speaker 5: Wrecked and ruined her career afterwards. And she just passed.
• 31:17
  Speaker 6: Away last year. And we actually have a title screen
• 31:21
  Speaker 6: at the end of our movie and you know, in
• 31:23
  Speaker 6: memory of Chello Duval. But yeah, she became like a
• 31:27
  Speaker 6: wreck after.
• 31:28
  Speaker 1: I remember she was.
• 31:29
  Speaker 6: On Doctor Phil and like that Doctor Phil's series whenever
• 31:33
  Speaker 6: he had her on is like brutal.
• 31:36
  Speaker 4: I remember hearing the scene, you know, he was Johnny
• 31:40
  Speaker 4: that that scene. They did it over one hundred times.
• 31:43
  Speaker 4: I think it has a Guinness Guinness World Book record
• 31:46
  Speaker 4: or something for a scene, that one scene that was
• 31:49
  Speaker 4: filmed the most.
• 31:50
  Speaker 1: And it's like.
• 31:52
  Speaker 4: That's the peak of the movie right where he's like
• 31:54
  Speaker 4: about to murder ax murder you and he's been torturing
• 31:58
  Speaker 4: you this entire time, and he finally gets in and
• 32:00
  Speaker 4: it's just like here's Johnny to make somebody relive that. Yeah,
• 32:04
  Speaker 4: is fucking brutal man.
• 32:07
  Speaker 7: You imagine that doing it enough eventually.
• 32:10
  Speaker 1: You could be becoming real to you.
• 32:11
  Speaker 3: Right, yeah, it becomes That's what I was gonna say.
• 32:13
  Speaker 3: It becomes real to you.
• 32:14
  Speaker 6: You want to see something really interesting real quick. So this,
• 32:18
  Speaker 6: Oh yeah, whenever Jack goes through the whenever he breaks
• 32:23
  Speaker 6: down the before he sticks his head and he says,
• 32:26
  Speaker 6: here's Johnny. You only see him break down one side
• 32:31
  Speaker 6: of the quarter panel of the door, right, It's only
• 32:36
  Speaker 6: on the right side, and he sticks his head through
• 32:38
  Speaker 6: and says, here's Johnny. But then whenever Hollerin shows up
• 32:42
  Speaker 6: in the snowmobile at the hotel and he turns around,
• 32:46
  Speaker 6: both sides of the quarter panel of the door have
• 32:48
  Speaker 6: been broken down.
• 32:51
  Speaker 3: Why is this done to create a certain effect on
• 32:55
  Speaker 3: the audience or is there is there maybe a coded mess?
• 33:00
  Speaker 3: What do you yea do people?
• 33:02
  Speaker 4: Do you think people even recognize when they're seeing it
• 33:05
  Speaker 4: or is it just like their subconscious psyche like being
• 33:08
  Speaker 4: fucked with.
• 33:08
  Speaker 6: I think it's subconsciously, because I mean, define this stuff.
• 33:12
  Speaker 6: You have to watch the movie so many times and
• 33:16
  Speaker 6: like go through like frame by frame by frame to
• 33:19
  Speaker 6: see a lot of this stuff that is there, and
• 33:22
  Speaker 6: that's just one of them. Like there's like there's like
• 33:26
  Speaker 6: at least sixty or seventy. Gee, these subtle things that
• 33:31
  Speaker 6: change and move throughout the Shining that is one hundred
• 33:35
  Speaker 6: percent obvious. It makes absolutely no sense as to why Qubria,
• 33:39
  Speaker 6: why this would be done. I mean, this has to
• 33:41
  Speaker 6: pass through so many people's hands, Like he has an
• 33:44
  Speaker 6: entire team working for him. So if he would have
• 33:48
  Speaker 6: made a mistake, which is probably highly unlikely because Kubrick
• 33:52
  Speaker 6: is a perfectionist, he gets all the details right. So
• 33:56
  Speaker 6: if it doesn't, if it passes by him, it also
• 34:00
  Speaker 6: has to pass by several other people. Like there's another
• 34:05
  Speaker 6: one that's really crazy. Let me try and pull this
• 34:07
  Speaker 6: one up. This one, this one is one that not
• 34:11
  Speaker 6: many people have ever seen, and it's so blatantly obvious.
• 34:16
  Speaker 6: And so whenever Hallarin is giving a tour to Wendy
• 34:20
  Speaker 6: and Danny in the beginning of the movie, he this
• 34:25
  Speaker 6: first room is the freezer room, right, so it goes
• 34:28
  Speaker 6: the freezer room and then the storage room, which the
• 34:30
  Speaker 6: storage room is really interesting because it plays a heavy
• 34:32
  Speaker 6: role later on in the Shiny onever Wendy is dragging
• 34:36
  Speaker 6: Jack's body into the storage room. But it sounds like
• 34:39
  Speaker 6: Hollarin says a story room. But Anyway, this is the
• 34:41
  Speaker 6: first room that Hallarin shows Wendy and Danny. He opens
• 34:46
  Speaker 6: it up. You see where the door handle is. It's
• 34:48
  Speaker 6: on the right side of the door. Ye yeah, okay,
• 34:51
  Speaker 6: So this the bottom panel here is them exiting that
• 34:55
  Speaker 6: same room, and you see where the handle is on
• 34:59
  Speaker 6: the the door is now on the left side.
• 35:02
  Speaker 1: It's not even in the same place.
• 35:04
  Speaker 6: It's not even in the same place. There's two completely
• 35:07
  Speaker 6: different places. The entire background is completely different.
• 35:10
  Speaker 4: Let me say something real quick, and this is nothing
• 35:12
  Speaker 4: to do with the shining. I let my kids watch
• 35:16
  Speaker 4: some shows. I'm careful what they watch, and I was like, Bluey,
• 35:19
  Speaker 4: it seems okay. I like the message of the I
• 35:21
  Speaker 4: don't know if you have kids, and I know this
• 35:22
  Speaker 4: is the craziest side, but I was like, Bluey seems fine.
• 35:26
  Speaker 4: And they my daughter's learning to spell. So she goes
• 35:29
  Speaker 4: on YouTube and she writes Bluey. And of course you're
• 35:32
  Speaker 4: not necessarily going to get full episodes. You're going to
• 35:34
  Speaker 4: get other things about Bluey, sometimes people making their own
• 35:38
  Speaker 4: Bluey things, sometimes playing with toys. This one turned out
• 35:41
  Speaker 4: to be a deep dive into blue It's the fucking
• 35:44
  Speaker 4: craziest thing. And my kids are sitting there watching this
• 35:47
  Speaker 4: for about five minutes before I look and I said,
• 35:49
  Speaker 4: what the hell are you guys looking at?
• 35:50
  Speaker 1: And it's just some dude.
• 35:51
  Speaker 4: He's like, well, here are the inconsistencies with the show, Bluey,
• 35:55
  Speaker 4: and it's riddled with them things just like this. And
• 35:57
  Speaker 4: he's like, look at the father Bingo as he sits here,
• 36:00
  Speaker 4: but in the next frame something is off, and he's like,
• 36:02
  Speaker 4: it shouldn't.
• 36:03
  Speaker 1: Be that way.
• 36:03
  Speaker 4: This is a strange oversight anyway, And I'm watching this
• 36:07
  Speaker 4: and it's just one after another after another. I'm like,
• 36:09
  Speaker 4: this fucking show is riddled with these things. And then
• 36:12
  Speaker 4: I started thinking the same thing. I'm like, I understand
• 36:15
  Speaker 4: animation to a certain level. I'm a graphic artist, but
• 36:18
  Speaker 4: I'm like, to get that wrong, you would have had
• 36:20
  Speaker 4: to intentionally design and draw a whole nother set, because
• 36:24
  Speaker 4: it doesn't this makes sense to get this one detail.
• 36:26
  Speaker 4: This is an asset that you would reuse in the
• 36:29
  Speaker 4: same spot always to redo. It is like intentional, and
• 36:33
  Speaker 4: that's what they did. I was like, get the fuck
• 36:35
  Speaker 4: out of here, man. I'm like, now I can't show
• 36:36
  Speaker 4: my kids Bluey. It's crazy.
• 36:37
  Speaker 7: I was watching YouTube with my son and all of
• 36:40
  Speaker 7: a sudden.
• 36:41
  Speaker 3: The next video that popped up that was recommended to
• 36:43
  Speaker 3: him was ipet goat.
• 36:45
  Speaker 7: Two, which is like super good Z.
• 36:48
  Speaker 3: That was recommended to him, And so I was able
• 36:50
  Speaker 3: to sit down with my son for the first like
• 36:53
  Speaker 3: you know, I mean, you end up pausing so much
• 36:56
  Speaker 3: and then and then and you know, establishing what all
• 36:59
  Speaker 3: these symbols mean, and a lot of it goes over
• 37:01
  Speaker 3: my head. But I'm still trying to explain to my son, like, look,
• 37:03
  Speaker 3: this is what he's nine years old. I'm just ruining him.
• 37:06
  Speaker 3: This is what symbols convey. These are all the different meanings.
• 37:09
  Speaker 3: And this is why it's a more effective form of
• 37:12
  Speaker 3: communication than spoken word, because one symbol can have so
• 37:15
  Speaker 3: many meanings and in conjunction with other symbols, there's a
• 37:18
  Speaker 3: never ending, you know, amount of branches you can go on.
• 37:21
  Speaker 7: But we were talking to Dave Snedeker, who used to.
• 37:26
  Speaker 3: Be a Hollywood guy, and oh yeah, one of the
• 37:29
  Speaker 3: things that he highlighted was like, you.
• 37:31
  Speaker 4: Hold on, wait, before you get into that, let's let
• 37:33
  Speaker 4: the people know because we're well past thirty minutes.
• 37:35
  Speaker 3: Yeah, thirty nine minutes. We gave them ten extra minutes, guys,
• 37:38
  Speaker 3: We are now cutting the stream to YouTube rumble elsewhere.
• 37:41
  Speaker 3: If you want to continue watching along, head on over
• 37:43
  Speaker 3: to patreon dot com backslash Nephlin Death Squad. You can
• 37:46
  Speaker 3: sign up for the free tier if you'd like and
• 37:48
  Speaker 3: continue enjoying an ad free experience and listening along with
• 37:51
  Speaker 3: this conversation. Otherwise, give it a few days and the
• 37:55
  Speaker 3: episode will release in its entirety.
• 37:57
  Speaker 7: Bye bye, So Snedeker.
• 38:00
  Speaker 3: One of the things that he highlights is that, you know,
• 38:03
  Speaker 3: in filmmaking, what's the what's the word continuity? I think
• 38:07
  Speaker 3: it's continuity. So so it's so important to have continuity
• 38:11
  Speaker 3: from one scene to the next scene. In other words,
• 38:13
  Speaker 3: if it's a cloud, it's if it's an overcast sky
• 38:15
  Speaker 3: in one shot and the next shot is still in that.
• 38:18
  Speaker 4: This one's gonna blow your mind, dude when he tells
• 38:20
  Speaker 4: you this shit.
• 38:22
  Speaker 3: What the uh? What I tell about the yeah, dude.
• 38:25
  Speaker 3: So basically what he does is that's the the anchor point.
• 38:28
  Speaker 3: It's like, look, you're looking for continuity from one scene
• 38:30
  Speaker 3: to the next. If the watches on the left wrist
• 38:32
  Speaker 3: in one scene, it had better be on the left
• 38:34
  Speaker 3: wrist in another scene. If there is overcast in one scene,
• 38:37
  Speaker 3: and and the camera switches, a frame switches, it had
• 38:40
  Speaker 3: still better be overcast, which he explained sometimes that's the
• 38:43
  Speaker 3: reason why they're in a rush to get these because
• 38:45
  Speaker 3: it's weather dependent, right, you need that. Everybody knows continuity
• 38:48
  Speaker 3: is is incredibly important. So for somebody like Kubert to
• 38:52
  Speaker 3: deviate from that is is, you know, strange, what are
• 38:54
  Speaker 3: you trying to do here? But what he shows us
• 38:57
  Speaker 3: is that in Joe Biden's inauguration there is really grotesque
• 39:03
  Speaker 3: examples of of you know, non continuity from one moment
• 39:08
  Speaker 3: to the next. In fact, he shows us this video
• 39:11
  Speaker 3: where where Hunter Biden is standing in one place and
• 39:14
  Speaker 3: the scene switches or the frame switches, and he's completely
• 39:18
  Speaker 3: in a different location. Oh, you actually have it?
• 39:20
  Speaker 4: Yeah, let me see. Okay, I think this is a scene. Yeah,
• 39:23
  Speaker 4: so he's on uh, he should be on this side.
• 39:27
  Speaker 4: And this is filmed live right allegedly.
• 39:30
  Speaker 3: Yeah, And then when the scene switches because he walks
• 39:35
  Speaker 3: off right or something like that.
• 39:38
  Speaker 1: It's like a crossfade that goes.
• 39:40
  Speaker 3: On cross fade and then it goes and then he's
• 39:42
  Speaker 3: in a completely different location. That's not it yet, this
• 39:45
  Speaker 3: is it. He's going to walk away and then they'll
• 39:46
  Speaker 3: cross fade and then Hunter Biden is a completely different location.
• 39:52
  Speaker 4: So he steps down. He should be on the left
• 39:54
  Speaker 4: of Joe as he steps down. Now here's the here's
• 39:57
  Speaker 4: a crossfade. Well he's talking, he's.
• 40:00
  Speaker 3: Talking through it. Boom boom boom.
• 40:02
  Speaker 4: Yeah, this is great. This is really great TV that
• 40:05
  Speaker 4: we're showing people.
• 40:08
  Speaker 3: You really want to watch this one, all right, not
• 40:10
  Speaker 3: a listening one. Watch it and then.
• 40:12
  Speaker 4: See boom, so as show him he's on the he's
• 40:16
  Speaker 4: on the wrong side of Joe Biden.
• 40:19
  Speaker 1: Is basically what's going on here?
• 40:21
  Speaker 3: Yeah, yeah, I forget which moment it is, but but
• 40:25
  Speaker 3: either way that that is Needteker and he, like I said,
• 40:27
  Speaker 3: used to be a filmmaker. And so when when we're
• 40:32
  Speaker 3: saying here that it's not sloppy, like all these things
• 40:35
  Speaker 3: are done on purpose, there's somebody who they pay a
• 40:38
  Speaker 3: lot of money to put every single thing in the
• 40:40
  Speaker 3: background in a very particular way, very particular, you know
• 40:43
  Speaker 3: what I mean. It's like set designers get paid a lot.
• 40:46
  Speaker 3: It's a very important thing to them. This is not
• 40:48
  Speaker 3: something that you would just overlook. And then you said
• 40:51
  Speaker 3: writer that there's like upwards of like seven instances or
• 40:55
  Speaker 3: seventy instances of this, like that's not an accident at all,
• 40:58
  Speaker 3: and then you have to ask the question, what on
• 41:00
  Speaker 3: earth is Kubrick trying to express by these inconsistencies.
• 41:05
  Speaker 6: Yeah, I would, I have to absolutely agree. I mean,
• 41:08
  Speaker 6: the way that you could get away with that with
• 41:10
  Speaker 6: the Hunter Biden thing is if you just flipped the
• 41:14
  Speaker 6: video to the opposite direction, so you could just irritate. Yeah,
• 41:18
  Speaker 6: you could just mirrored it or like turn it around,
• 41:21
  Speaker 6: but I'm not sure. I'd have to look into that
• 41:23
  Speaker 6: one more. But yeah, the Shining is completely just riddled
• 41:27
  Speaker 6: with all of these inconsistencies, continuity errors, earlier setups in
• 41:34
  Speaker 6: the movie for things that are being paid off later
• 41:37
  Speaker 6: on in the movie, like whenever the doctor comes to
• 41:41
  Speaker 6: visit Danny, Danny's lane on a Teddy Bear, there's teddy
• 41:44
  Speaker 6: bear freaking paintings on the wall to overlook hotel, and
• 41:49
  Speaker 6: then later on whenever Wendy's She's essentially been traumatized because
• 41:54
  Speaker 6: Wendy hasn't been gotten to the degree that Danny and
• 41:58
  Speaker 6: Jack are at because the reason that Danny has his
• 42:02
  Speaker 6: ability is to be able to do anything is because
• 42:04
  Speaker 6: of the abuse that he's suffered by Jack, and this
• 42:07
  Speaker 6: is explained in the beginning of the movie between the
• 42:10
  Speaker 6: doctor Wendy, and Wendy that comes to visit.
• 42:12
  Speaker 5: Them in their apartment in Boulder.
• 42:15
  Speaker 6: The doctor asked her when when did these When did
• 42:18
  Speaker 6: he start showing these types of signs? When did he
• 42:20
  Speaker 6: start having these issues or these problems, because they're calling.
• 42:23
  Speaker 5: Them problems and they're not really the problems there.
• 42:25
  Speaker 6: He's essentially being able to remote view and like see
• 42:29
  Speaker 6: events that are going to happen in the future is
• 42:31
  Speaker 6: essentially what it is. And she's like, well, when did
• 42:34
  Speaker 6: he start experiencing this kind of stuff? And then Wendy says, well,
• 42:37
  Speaker 6: it wasn't long after Jack had hurt Danny's arm. Essentially,
• 42:44
  Speaker 6: that's not the exact verbatim words, I'm paraphrasing it, but
• 42:48
  Speaker 6: he started experiencing these problems whenever Jack injured Danny's arm.
• 42:51
  Speaker 6: And then Jack later on admits that to Lloyd the bartender.
• 42:55
  Speaker 6: He first off he says, oh, well, I didn't touch him,
• 42:58
  Speaker 6: and then he was like, oh, maybe I had, Maybe
• 43:00
  Speaker 6: I got him one time, but it was an accident.
• 43:03
  Speaker 6: It was four and amn years ago, which is another
• 43:06
  Speaker 6: there's dialogue continuity errors as well, because Wendy says in
• 43:10
  Speaker 6: the movie that Jack had been sober since the time
• 43:14
  Speaker 6: that he had hurt Danny's arm, and then Jack says
• 43:18
  Speaker 6: that it was I think he says that it was
• 43:21
  Speaker 6: three or four years ago, so it didn't make any
• 43:23
  Speaker 6: sense because Jack had only been sober for five months.
• 43:29
  Speaker 6: So it's a dialogue air. And there's other dialogue airs
• 43:31
  Speaker 6: as well in the movie. There's one with Grady, which
• 43:37
  Speaker 6: is the theory that there's two different Grady's in the movie,
• 43:40
  Speaker 6: but one that I didn't even catch that was brought
• 43:44
  Speaker 6: up whenever we had Mark Devlin on the show, because
• 43:46
  Speaker 6: Mark Devlin's in the documentary. We have Kathy O'Brien, which
• 43:50
  Speaker 6: is MK Ultra Mind Control Survivor. We have Joe Otwell,
• 43:54
  Speaker 6: which is an author and a researcher. We have Mark Devlin,
• 43:57
  Speaker 6: which is an author and researcher in his delved into
• 44:00
  Speaker 6: the music industry. That we have Walter Bosley, which is
• 44:03
  Speaker 6: a a FOSI former Air Force intelligence agent. They're all
• 44:08
  Speaker 6: in the movie, including me and uh and Jay Wider.
• 44:11
  Speaker 6: But Mark, brought up in our interview is the reason
• 44:15
  Speaker 6: why Grady's name changes throughout the movie. So whenever Jack
• 44:21
  Speaker 6: is sitting down for the interview with Ollmen. Allmend says that, uh,
• 44:30
  Speaker 6: he says Grady, he says his full name. Sorry, I'm
• 44:34
  Speaker 6: blinking on the exact name that he calls him.
• 44:37
  Speaker 5: He says, uh, fuck.
• 44:41
  Speaker 6: So later Grady calls himself Delberg Grady. So Jack has
• 44:45
  Speaker 6: seen Delbur Grady. Don't I know you from somewhere. I've
• 44:48
  Speaker 6: seen you around the hotel before. I've seen your pictures
• 44:50
  Speaker 6: on the wall, But we've never seen any picture of
• 44:53
  Speaker 6: Delburg Grady. But there was actually a scene that was
• 44:55
  Speaker 6: cut out of the movie of the Shining that Stanley
• 44:58
  Speaker 6: Kubrick actually filmed, which was Jack whenever he went down
• 45:01
  Speaker 6: into the basement, he found a scrap book of all
• 45:05
  Speaker 6: the events that had happened up at the Overlook Hotel.
• 45:08
  Speaker 6: So that's like a scene that was cut out, which
• 45:11
  Speaker 6: didn't make any sense because he says that he had
• 45:14
  Speaker 6: seen Delbert Grady's picture around the hotel, and the only
• 45:19
  Speaker 6: way that he would have seen that picture is if
• 45:20
  Speaker 6: he would have found the scrap book that was in
• 45:22
  Speaker 6: the basement, which was the scene that was cut out.
• 45:24
  Speaker 6: So there's remnants of that scene still being in there.
• 45:28
  Speaker 6: Later on in the movie whenever they're in the bathroom,
• 45:32
  Speaker 6: and then before.
• 45:33
  Speaker 1: It there's a reason, so he had a different name
• 45:36
  Speaker 1: in the book.
• 45:36
  Speaker 4: It's not the same name from the Stephen King book.
• 45:40
  Speaker 4: I think it was Delbert, and then it's Charles in
• 45:43
  Speaker 4: one version for whatever reason, and then it does it's
• 45:46
  Speaker 4: a weird slip, right, like they kind of like forget
• 45:50
  Speaker 4: that they did that.
• 45:52
  Speaker 6: That's right, it was Charles, Charles Grady. Whenever Allman was
• 45:55
  Speaker 6: saying talking to Jack, he said, the former caretaker, Charles Grady,
• 45:59
  Speaker 6: we had up here, ordered his his wife and his
• 46:01
  Speaker 6: two daughters. And then later whenever Jack and Grady is
• 46:05
  Speaker 6: in the in the bathroom and just cleaning the alcohol
• 46:08
  Speaker 6: off of Jack's blazer, he refers to himself as Delbert Grady.
• 46:16
  Speaker 4: Delbert is his name in the book. If because I
• 46:18
  Speaker 4: love Stephen King, I hate his politics. I think he's
• 46:21
  Speaker 4: a huge homo, but I just really like his writing
• 46:25
  Speaker 4: The Dark Tower or whatever.
• 46:26
  Speaker 3: I do.
• 46:27
  Speaker 4: Remember it's Delbert in the book and it's Charles. So yeah,
• 46:31
  Speaker 4: it's like they so they they intentionally he goes through
• 46:34
  Speaker 4: the trouble of changing this guy's name for really no reason,
• 46:36
  Speaker 4: because it's not even a real character in this in
• 46:39
  Speaker 4: this uh play, in this book or movie and then
• 46:43
  Speaker 4: accidentally like what would be the term mandela affecting himself Like.
• 46:50
  Speaker 1: I don't, I don't get it.
• 46:51
  Speaker 3: It's almost like a Mandela effect.
• 46:52
  Speaker 1: It's extremely jarring for anybody who is.
• 46:56
  Speaker 3: If he is creating all these inconsistencies in the hopes
• 47:01
  Speaker 3: that someone would notice, And if you notice, then you
• 47:04
  Speaker 3: might start looking for more inconsistencies. And to your point, writer,
• 47:08
  Speaker 3: it seems to be riddled with them. And then if
• 47:11
  Speaker 3: you're looking for those things and you're no longer paying
• 47:14
  Speaker 3: attention to the story, well then you might pick up
• 47:17
  Speaker 3: on the other one. So do you think it's a
• 47:19
  Speaker 3: form of like breadcrumbs left for the viewer so that
• 47:22
  Speaker 3: you will be cued.
• 47:23
  Speaker 7: Into the idea that something else is happening.
• 47:27
  Speaker 6: Yeah, there's a because whenever I was making the movie,
• 47:31
  Speaker 6: I originally wanted to make the movie, and I was
• 47:36
  Speaker 6: watching the Shining over and over and over again, and
• 47:39
  Speaker 6: I wasn't really privy to any of the other theories
• 47:41
  Speaker 6: surrounding the Shining Stars. Just watching the movie over and
• 47:44
  Speaker 6: over and over again, I'm trying to figure out and
• 47:46
  Speaker 6: see things that maybe no one had ever seen before.
• 47:50
  Speaker 6: And I believe that I did find things that no
• 47:53
  Speaker 6: one had ever seen before in the background of the
• 47:57
  Speaker 6: Gold Room. Hold on, let me try and okay, we're
• 48:01
  Speaker 6: on we're on on sunsory platform, right. Oh yeah, okay,
• 48:05
  Speaker 6: so if you want to screenshore.
• 48:07
  Speaker 1: This, oh that's right here.
• 48:10
  Speaker 6: So in the background of the Gold Room.
• 48:12
  Speaker 5: Whenever uh, they're being.
• 48:14
  Speaker 6: Walked through elementals giving them a tour of the Gold Room,
• 48:18
  Speaker 6: there's a fucking Nazi swastika in the background of the
• 48:24
  Speaker 6: Gold Room on the wall.
• 48:26
  Speaker 1: Nazis love their symbology, dude.
• 48:28
  Speaker 6: Yeah, and where did where did mind control in the
• 48:32
  Speaker 6: MK Ultra start?
• 48:35
  Speaker 4: Yeah, it's it's a shame that the Nazis get lumped
• 48:38
  Speaker 4: in with racism and like like politics, because like they
• 48:43
  Speaker 4: really do shine with their occult symbolism and and that
• 48:46
  Speaker 4: kind of stuff.
• 48:47
  Speaker 1: There ties to me and feto me.
• 48:48
  Speaker 3: Yeah, everybody's everybody's mad because they're they're they're racism, Like
• 48:51
  Speaker 3: you should be mad because they're occultists and yeah, and
• 48:55
  Speaker 3: they're clearly trying to do something pretty nefarious.
• 49:00
  Speaker 4: I mean, you're like channeling channeling ancient Atlanians and shit
• 49:03
  Speaker 4: like that. No problem, But did you hear about how
• 49:07
  Speaker 4: they felt about the Blacks, like all right, it's like
• 49:09
  Speaker 4: that's not good.
• 49:10
  Speaker 3: We're missing it. We're missing it here. Yeah, I see this.
• 49:15
  Speaker 3: I mean I wonder if why do.
• 49:17
  Speaker 4: You think, why do you think he put it here?
• 49:19
  Speaker 4: Because for me, it's like it's got to be the
• 49:20
  Speaker 4: occult symbolism of the Nazis, Like he's paying respect to
• 49:23
  Speaker 4: these these dudes who are looking for you know, uh,
• 49:27
  Speaker 4: this the spear of destiny that killed Jesus or that
• 49:29
  Speaker 4: you know, poked him inside.
• 49:30
  Speaker 3: Because it could be a nod to that, that MK ultra.
• 49:33
  Speaker 3: I mean, that's that's where it got its roots in
• 49:35
  Speaker 3: very many ways. And this is what you're doing. I
• 49:37
  Speaker 3: mean you're literally doing that to the actress in real time, right,
• 49:41
  Speaker 3: You're you're manipulating her via trauma. And so yeah, I
• 49:48
  Speaker 3: mean maybe maybe that's what it is.
• 49:50
  Speaker 6: I think that it was one hundred percent house to
• 49:53
  Speaker 6: do with a nod to the the MK ultra programs
• 49:56
  Speaker 6: that were started in in Nazi Germany during that time.
• 50:00
  Speaker 6: I mean there's other things as well that revolve around this.
• 50:04
  Speaker 6: Whenever Jack is in the gold Room and he's talking
• 50:07
  Speaker 6: to Lloyd the bartender, there's a lady that walks past
• 50:12
  Speaker 6: that has like this this outline of a bloody handprint
• 50:16
  Speaker 6: that's on her ass. Not people have said that this
• 50:19
  Speaker 6: is I was the first person to see this. I
• 50:21
  Speaker 6: was the only person that ever pointed this and pointed
• 50:23
  Speaker 6: this out like two years ago with Jay Winer on
• 50:25
  Speaker 6: my show, before we even met our documentary. It looks
• 50:27
  Speaker 6: like exactly, that's exactly what it is. Tom Hanks and
• 50:31
  Speaker 6: the Wilson volleyball, the four fingerprint thing. You can look
• 50:35
  Speaker 6: into freaking Tom Hanks and see all the weird ship
• 50:39
  Speaker 6: that he's been into, and then you know.
• 50:41
  Speaker 1: You go back to that, Yeah, yeah, there it is.
• 50:43
  Speaker 3: And then what do you suggest that that that that
• 50:47
  Speaker 3: bloody handprint is is actually representative of one in particular
• 50:51
  Speaker 3: torture victim, a child who would have been, you know,
• 50:55
  Speaker 3: the recipient of just horrifying things in an Epstein esque
• 50:59
  Speaker 3: kind of a scenario. Uh. And and they even allege
• 51:02
  Speaker 3: that people like Ellen DeGeneres and I think Jay z
• 51:05
  Speaker 3: and and a few others pay homage to that moment.
• 51:10
  Speaker 3: You'll see this this bloody handprint face thing and a
• 51:13
  Speaker 3: lot of things, and they'll wear it on a sweater
• 51:17
  Speaker 3: and there's resemblance. It's not quite the same thing, but
• 51:19
  Speaker 3: it does bear resemblance. It's a face and it's it's bloodied.
• 51:23
  Speaker 3: I've also seen it blown up as artwork, I think
• 51:26
  Speaker 3: in like Jay Z's house or somebody like that. I
• 51:28
  Speaker 3: think even maybe Tony Podesta. So I mean, yeah, this
• 51:31
  Speaker 3: this all becomes I mean, that just got real messy,
• 51:34
  Speaker 3: real quick.
• 51:36
  Speaker 6: It did. And that's one of the first things that
• 51:38
  Speaker 6: that I had seen while I was watching the movie
• 51:41
  Speaker 6: that no one else had ever brought up or ever
• 51:43
  Speaker 6: noticed before. And and with anything.
• 51:46
  Speaker 7: Too, like now that you see it's blatant.
• 51:48
  Speaker 6: Yeah, with anything that you first discovered, there's always people
• 51:51
  Speaker 6: that's gonna come out and try and say that's not
• 51:54
  Speaker 6: what it is because they're jealous that they're when they
• 51:56
  Speaker 6: didn't see it first, right, They're like, oh, that's not
• 51:59
  Speaker 6: that's it's just a part of the dross that's just
• 52:01
  Speaker 6: made into the dress. Well, regardless if it's a part
• 52:03
  Speaker 6: of the dress, were made into the dress. Cuba put
• 52:06
  Speaker 6: this costume designer to put a freaking the shape of
• 52:09
  Speaker 6: a bloody handprint on the back of this woman's dress
• 52:12
  Speaker 6: and it just happens to be on her ass, Like, right,
• 52:14
  Speaker 6: weren't her asses?
• 52:15
  Speaker 3: Yeah, but give me a break, great catch, great catch. Yeah,
• 52:19
  Speaker 3: I mean I mean as soon as you pointed it out,
• 52:21
  Speaker 3: that's where my mind went straight to the Wilson volleyball.
• 52:24
  Speaker 3: And like I said, it, it gets messy because the
• 52:27
  Speaker 3: implications of that are are massive. When did Castaway come out?
• 52:32
  Speaker 3: So when if this thousand I believe two thousand, and
• 52:35
  Speaker 3: when did The Shining come out?
• 52:37
  Speaker 6: Nineteen eighty?
• 52:39
  Speaker 5: Wow?
• 52:40
  Speaker 1: This is as a very long game.
• 52:42
  Speaker 3: It's a game. It really.
• 52:45
  Speaker 4: It makes me think though, like like damn, like as
• 52:47
  Speaker 4: as we're uncovering, like you did it, when did your
• 52:49
  Speaker 4: documentary about this release.
• 52:52
  Speaker 6: Release last year? Released the day before the election.
• 52:55
  Speaker 4: It's almost like almost fifty years fifty they've been Yeah,
• 53:00
  Speaker 4: I mean other people have been talking about it, of course, but.
• 53:02
  Speaker 3: You know, but I was saying to writer earlier, like
• 53:05
  Speaker 3: Kubrick Films, The Shining in particular is like, you know,
• 53:08
  Speaker 3: you think about a video game and its replay value.
• 53:11
  Speaker 3: This film has replay value and it just keeps giving.
• 53:15
  Speaker 6: It does it keeps giving and giving and giving it.
• 53:17
  Speaker 6: There's a movie that doesn't doesn't stop giving.
• 53:21
  Speaker 3: And it's in that way you look at Cubric and
• 53:24
  Speaker 3: it's like he's a he's a master.
• 53:28
  Speaker 6: He's a master, he's a master filmmaker, and he can
• 53:31
  Speaker 6: slide things in there that people won't notice.
• 53:33
  Speaker 5: For years and years and years.
• 53:35
  Speaker 6: I mean, yeah, I mean to the fact that we
• 53:39
  Speaker 6: can still watch the movie and find new things within
• 53:43
  Speaker 6: the movie that no one has ever seen before. Because
• 53:45
  Speaker 6: that was going to be that was my hurdle, right,
• 53:49
  Speaker 6: because I wasn't going to make the movie if I
• 53:53
  Speaker 6: was just going to be rehashing everyone's previously established theories, right.
• 54:00
  Speaker 6: And as I was watching it, this was the first
• 54:03
  Speaker 6: thing that I seen. And then I seen the swastika
• 54:08
  Speaker 6: in the background of the gold room. And then the
• 54:11
  Speaker 6: one thing that people really bring up a lot, but
• 54:15
  Speaker 6: they've misinterpreted is this photo right here. So whenever Danny
• 54:22
  Speaker 6: is in the games room and you're throwing darts at
• 54:23
  Speaker 6: the dartboard, he turns around and he sees the two
• 54:26
  Speaker 6: little girls, which is the twins. There's a lot of
• 54:28
  Speaker 6: eleven symbolism.
• 54:29
  Speaker 5: In the movie.
• 54:30
  Speaker 6: There's elevens everywhere. You got the twins right here that
• 54:33
  Speaker 6: are representing the eleven. You got the double doors behind
• 54:35
  Speaker 6: them that's also presenting the love in pretty much all
• 54:38
  Speaker 6: the doors in the entire hotel are two doors. There
• 54:40
  Speaker 6: are two double doors eleven the.
• 54:42
  Speaker 7: Light writer that Stranger Things.
• 54:46
  Speaker 3: The main character is eleven, and that is a trauma
• 54:48
  Speaker 3: based mk ultra you know, mind control entities on the
• 54:51
  Speaker 3: other side of the veil kind of a situation.
• 54:53
  Speaker 6: That's exactly right.
• 54:55
  Speaker 1: What's even stranger to is that?
• 54:56
  Speaker 4: I mean, if you want to get real, like supernatural
• 54:59
  Speaker 4: with it, Eleven they referred to or as l and
• 55:02
  Speaker 4: that's like an abbreviation of elohem, which would be full
• 55:06
  Speaker 4: if anything, from fallen angels to God the Creator. So yeah,
• 55:11
  Speaker 4: it's man, it's this shiic goes super deep, super super deep.
• 55:16
  Speaker 3: It's the nine to eleven thing too, right, I mean
• 55:18
  Speaker 3: they it's everywhere the buildings were they had names. Actually,
• 55:23
  Speaker 3: each individual tower had a name. They were considered like twins.
• 55:26
  Speaker 3: It was I forget exactly how that went, but yeah,
• 55:30
  Speaker 3: that so, I mean that eleven symbolism was done to
• 55:32
  Speaker 3: us on nine eleven two.
• 55:34
  Speaker 6: Yeah, the twin Towers, the twins in this movie, the
• 55:37
  Speaker 6: double Doors lives looking like Eleven's like, it's it's insane
• 55:40
  Speaker 6: whenever you look at all the eleven types of symbolism
• 55:43
  Speaker 6: within the Shining But this poster on the wall that's
• 55:45
  Speaker 6: in the background. People have pointed this all. This wasn't
• 55:49
  Speaker 6: something that I had seen. Others have pointed out this
• 55:51
  Speaker 6: poster before, but they got the meaning of what the
• 55:54
  Speaker 6: poster actually is wrong, and they think that it's referring
• 55:57
  Speaker 6: to the They they look at the poster and they
• 56:01
  Speaker 6: see the ski this guy and the ski looks like
• 56:04
  Speaker 6: you're skiing or whatever, and they bring but also they
• 56:07
  Speaker 6: think that it looks like a menotaur, which you have
• 56:10
  Speaker 6: like the famous Cubrick stairs that are prominent in his movies.
• 56:15
  Speaker 6: You had it in a clockwork Orange where Alex was
• 56:18
  Speaker 6: doing you know that stare that they do where they
• 56:20
  Speaker 6: bring the rye, they nod their head down and they
• 56:22
  Speaker 6: what's their eyes up?
• 56:24
  Speaker 1: Sampouku i or something like that.
• 56:26
  Speaker 3: Yeah, it's where you could see the whites of their
• 56:27
  Speaker 3: eyes on the bottom predominantly.
• 56:30
  Speaker 6: Yes, And that's also in full metal jacket. That's in
• 56:33
  Speaker 6: the Shining Cubrit does.
• 56:35
  Speaker 3: It all the time as well. Trump did it, and
• 56:37
  Speaker 3: obviously the painting of Lucifer is one of the more
• 56:39
  Speaker 3: famous examples of that. I forget who painted that. I
• 56:43
  Speaker 3: don't know if it was DaVinci or Michelangel or whatever,
• 56:45
  Speaker 3: but he is doing this kind of like you know,
• 56:49
  Speaker 3: it's it's indicative of like vengeance or something like that.
• 56:53
  Speaker 6: So when you take this poster for what it actually
• 56:55
  Speaker 6: means and you analyze.
• 56:58
  Speaker 5: The word monarchy, you have monarch.
• 57:01
  Speaker 6: Mk ultra right right right, so exactly, so you have
• 57:07
  Speaker 6: you have monarch mk ultra. You have Jack writing out
• 57:12
  Speaker 6: over and over and over again the same phrase, and
• 57:14
  Speaker 6: Windy comes in and finds it, and then Jack's then
• 57:17
  Speaker 6: triggered to do violence and try and murder his family
• 57:21
  Speaker 6: after that, which is a psychic driving technique that is
• 57:25
  Speaker 6: done where they would basically imprint. It's a famous technique
• 57:30
  Speaker 6: that was developed in Canada that they would take a
• 57:34
  Speaker 6: looped audio message into a room and have the subject
• 57:38
  Speaker 6: or the patient listen to the looped audio message over
• 57:41
  Speaker 6: and over and over again, so then it just gets
• 57:44
  Speaker 6: stuck in their head. So that's what they're doing to Jack.
• 57:47
  Speaker 6: They're essentially making him write the same thing over and
• 57:51
  Speaker 6: over and over again. And we see evidence of that
• 57:53
  Speaker 6: with sir Han. Sirhan which assassin was said to us
• 57:57
  Speaker 6: assassinated RFK. He did the same thing over and over
• 58:03
  Speaker 6: and over again in his notebook rfkmist die rfkm ustye
• 58:06
  Speaker 6: over and over and over again. And Jack is doing
• 58:08
  Speaker 6: his own version of that same exact technique, which a
• 58:11
  Speaker 6: psychic driving. He's all working, no play makes Jack a
• 58:14
  Speaker 6: doll boy. All work and no play makes Jack a
• 58:16
  Speaker 6: doll boy. It's the same exact technique. And then when
• 58:20
  Speaker 6: Windy comes in and sees it, he's just he's not
• 58:22
  Speaker 6: really writing a novel, He's just writing the same words
• 58:25
  Speaker 6: over and over and over again. He then becomes he
• 58:28
  Speaker 6: gets triggered. Yeah mk Ultramanchurian style candidate. Trigger that makes
• 58:34
  Speaker 6: him want to murder Wendy and Danny.
• 58:38
  Speaker 3: The image on the poster reminds me of like the
• 58:40
  Speaker 3: kind of the Lucifer, the morning Star, the light bearer,
• 58:43
  Speaker 3: the Promethean kind of a situation. It's like this man
• 58:46
  Speaker 3: carrying the light, but all these things, there's spells at
• 58:51
  Speaker 3: the end of the day. I mean, you were talking
• 58:53
  Speaker 3: before about how you know, not only are they doing
• 58:55
  Speaker 3: this to the actress while they're going through it, but
• 58:59
  Speaker 3: also it's is that clockwork orange is having this effect
• 59:02
  Speaker 3: wherever it's playing that suddenly, you know, violence is happening
• 59:06
  Speaker 3: around the areas where it's released, to the point where
• 59:08
  Speaker 3: they even remove it from the UK. That to me,
• 59:12
  Speaker 3: sounds just like at some point the music industry hijacked.
• 59:20
  Speaker 7: Predominantly black music.
• 59:21
  Speaker 3: I mean, obviously it's happened, but with hip hop in particular,
• 59:26
  Speaker 3: it wasn't always like this. Violence adduled sort of like
• 59:31
  Speaker 3: drug use, gang banging, disrespect to women, that kind of
• 59:36
  Speaker 3: a thing. It didn't used to be that when it
• 59:38
  Speaker 3: first happened. And then it seems like at some point
• 59:41
  Speaker 3: you can speculate as to why it's a prison industrial
• 59:43
  Speaker 3: complex trying to create a situation we're going to end
• 59:47
  Speaker 3: up imprisoning more black people because they get paid, or
• 59:49
  Speaker 3: or the crack epidemic right funding, the Iran contra wars,
• 59:52
  Speaker 3: all these things doesn't really matter. What eventually happens is
• 59:57
  Speaker 3: let's just put it in the most generous light possible.
• 1:00:02
  Speaker 3: They realize that violence, drug use, and things of that
• 1:00:07
  Speaker 3: nature sell very well, and so then what happens is
• 1:00:11
  Speaker 3: their artists start pushing that because look, if you're a
• 1:00:14
  Speaker 3: record label, like you got Talent, Kid, you just got
• 1:00:17
  Speaker 3: to change your messaging.
• 1:00:18
  Speaker 7: We know what works.
• 1:00:20
  Speaker 3: And then eventually what happens is where the art form
• 1:00:23
  Speaker 3: used to be a reflection of the culture, it then
• 1:00:26
  Speaker 3: mirrors itself back and the culture becomes a product of
• 1:00:29
  Speaker 3: the art form. So where the art form is now
• 1:00:31
  Speaker 3: pushing out into the world violence and you know, women
• 1:00:36
  Speaker 3: abuse and drug usage and glorifying like being in prison
• 1:00:40
  Speaker 3: and things like that, then the culture starts to emulate it.
• 1:00:43
  Speaker 7: So it becomes this like feedback loop.
• 1:00:44
  Speaker 3: And if you can do that to an entire community
• 1:00:48
  Speaker 3: of people and hijack a culture like that, well then
• 1:00:51
  Speaker 3: maybe you could do that with like world events. Maybe
• 1:00:54
  Speaker 3: if you could embed your plans for what's going to
• 1:00:57
  Speaker 3: happen in the future and enough of your media and
• 1:01:00
  Speaker 3: aim that at people, maybe somehow there's this exchange back
• 1:01:04
  Speaker 3: and we can kind of manifest these things. It's spellcraft,
• 1:01:07
  Speaker 3: it's just not in the way that we think about
• 1:01:09
  Speaker 3: spellcraft when you think about I don't know, like the
• 1:01:12
  Speaker 3: way children's cartoons or something presents it.
• 1:01:16
  Speaker 6: There's a lot of that too, with like double speak
• 1:01:18
  Speaker 6: within the community the you know, where people will mention
• 1:01:24
  Speaker 6: one thing but they mean something completely different, but the
• 1:01:28
  Speaker 6: audience and the people that are listening have a different interpretation.
• 1:01:31
  Speaker 6: And I think that it's a surface level when they
• 1:01:34
  Speaker 6: actually mean something, you know, I mean, look at the
• 1:01:36
  Speaker 6: alien invasion stuff. I mean, how long have people been
• 1:01:39
  Speaker 6: talking about an alien invasion. Well, we had an alien invasion.
• 1:01:43
  Speaker 6: It happened in twenty twenty, Biden, let it happen. It
• 1:01:46
  Speaker 6: came across our borders. When you're in another country, you're
• 1:01:50
  Speaker 6: considered an alien. If I were to go to any
• 1:01:54
  Speaker 6: other country right now, and I'm not a citizen of
• 1:01:56
  Speaker 6: that country, I'm an alien. I'm an alien there. I
• 1:02:00
  Speaker 6: am foreign to that country, I am not from there.
• 1:02:05
  Speaker 6: So we have this crisis where everyone's talking about, you know,
• 1:02:08
  Speaker 6: the big alien invasion, and then you know, Trump comes
• 1:02:12
  Speaker 6: in and is like, well, let's deport all these people
• 1:02:15
  Speaker 6: back to where they're from. So Trump came in and
• 1:02:16
  Speaker 6: defeated the freaking aliens. Dude, it's it's it's mind it's
• 1:02:20
  Speaker 6: word magic, mind fuckery. Well, it's all that it is.
• 1:02:25
  Speaker 4: Reagan said like, oh, if we wanted to have some
• 1:02:27
  Speaker 4: kind of like world government, we would it would take
• 1:02:30
  Speaker 4: something like an alien invasion. Never thought about it among
• 1:02:33
  Speaker 4: those lines.
• 1:02:33
  Speaker 3: Well, sometimes it is a very literal though, And by
• 1:02:38
  Speaker 3: that I mean like people have pretty well established that
• 1:02:41
  Speaker 3: before nine to eleven happened, we were just constantly absorbing
• 1:02:46
  Speaker 3: media that was about the towers getting attacked. It and
• 1:02:49
  Speaker 3: it showed up in so many different ways, you know,
• 1:02:52
  Speaker 3: all the way from like the Simpsons to I don't know,
• 1:02:54
  Speaker 3: whatever you name the show. And in hindsight, Hindsight's twenty twenty,
• 1:02:59
  Speaker 3: we can look back and be like, now that the
• 1:03:01
  Speaker 3: towers are gone, this magazine is really strange, or this
• 1:03:04
  Speaker 3: episode of this show is really strange, or this film
• 1:03:06
  Speaker 3: or this you know whatever. And we ended up finding
• 1:03:10
  Speaker 3: that there was a lot of it. And so I
• 1:03:13
  Speaker 3: don't know what purpose that serves you. You can only kind
• 1:03:17
  Speaker 3: of speculate, but it's it seems like on some level
• 1:03:19
  Speaker 3: it's communications with those in the know. On another destroyed,
• 1:03:23
  Speaker 3: it's because the towers are gonna get destroyed. And then
• 1:03:25
  Speaker 3: sometimes maybe it's it's a little bit different where you
• 1:03:28
  Speaker 3: know your alien analogy works.
• 1:03:30
  Speaker 4: Right, I see you're about to pull up another another
• 1:03:33
  Speaker 4: uh still here, But I wanted to say before I
• 1:03:35
  Speaker 4: forget the eleven stuff. Crowley, that's like big in Thalima.
• 1:03:42
  Speaker 4: I think the do as that will will be the
• 1:03:43
  Speaker 4: whole of the law. Like He's like made sure it
• 1:03:45
  Speaker 4: had eleven words in it. Eleven was like a divine
• 1:03:48
  Speaker 4: number to the you know, to Thelema, to Crowley, and yes,
• 1:03:52
  Speaker 4: Crowley ice, and.
• 1:03:52
  Speaker 1: It's also shows up in Kabala.
• 1:03:54
  Speaker 4: It's something like uh in their uh sort of numerology,
• 1:03:58
  Speaker 4: it means uh. It's the space. It's this supernatural space
• 1:04:02
  Speaker 4: between like human understanding and this like esoteric world. That's
• 1:04:08
  Speaker 4: what they that's what they thought eleven was.
• 1:04:11
  Speaker 3: So it also has something to do with like the
• 1:04:13
  Speaker 3: Pillars of Solomon in some way. There's these two pillars
• 1:04:18
  Speaker 3: I'm reading it here made of bronze that stood in
• 1:04:21
  Speaker 3: front of the entrance to Solomon's temple in Jerusalem. And
• 1:04:24
  Speaker 3: then it's like on nine to eleven, who took out
• 1:04:27
  Speaker 3: that gigantic insurance claim. Uh, I know, I know the
• 1:04:35
  Speaker 3: Solomon Brothers had something to do. Their name gets brought
• 1:04:39
  Speaker 3: up or that name gets brought up in the nine
• 1:04:42
  Speaker 3: to eleven situation. Here. Let me see if I can
• 1:04:44
  Speaker 3: find it.
• 1:04:44
  Speaker 6: Solomon makes me think of solomonca from Breaking Bad.
• 1:04:49
  Speaker 3: Yeah, I just yes, Okay, Solomon Brothers was building seven,
• 1:04:55
  Speaker 3: the Solomon Brothers building. Okay, so you know the Pillars
• 1:04:59
  Speaker 3: of Solomon, the Solomon Brothers. Yeah, this is there's like
• 1:05:02
  Speaker 3: it's a big The number eleven is is like the
• 1:05:06
  Speaker 3: nuvirological representation of the Pillars of Solomon. Yeah, there's there's
• 1:05:09
  Speaker 3: something there.
• 1:05:11
  Speaker 6: It also refers to Janice, the god Janis, the androgynous
• 1:05:16
  Speaker 6: god Jenis.
• 1:05:16
  Speaker 3: Yes, yeah, doesn't it doesn't it have two faces?
• 1:05:20
  Speaker 1: Yes, yes, nef one shit baby.
• 1:05:23
  Speaker 6: And then when you look at you know, what they
• 1:05:25
  Speaker 6: were trying to be, you know, pushing for the past
• 1:05:28
  Speaker 6: long time now is like essentially androgynya. Yeah, mixing of
• 1:05:32
  Speaker 6: the genders.
• 1:05:33
  Speaker 3: And then when it's when those two genders are destroyed,
• 1:05:37
  Speaker 3: what takes their place is one unified thing. So two
• 1:05:40
  Speaker 3: become one. It becomes this intersex kind of a situation.
• 1:05:44
  Speaker 3: Uh yeah, yeah.
• 1:05:45
  Speaker 6: And then like hermaphrodite type situation. And then you look
• 1:05:48
  Speaker 6: at Joseph Mingela during World War two and some of
• 1:05:52
  Speaker 6: the Nazi experiments on twins.
• 1:05:55
  Speaker 3: Yeah mm hmm. Yeah, he was a weird guy. He's
• 1:05:58
  Speaker 3: obsessed with twins, and he was obsessed with the I
• 1:06:01
  Speaker 3: learned recently central heterochromia.
• 1:06:05
  Speaker 1: Which apparently here we go.
• 1:06:06
  Speaker 3: I'm not gonna go into it, but people that have
• 1:06:08
  Speaker 3: like two.
• 1:06:08
  Speaker 4: Different tell the people. Go ahead, people, we told me
• 1:06:12
  Speaker 4: seven times when you have my house, tell the people.
• 1:06:13
  Speaker 3: Did you know that he was injecting adrenaline in people's
• 1:06:17
  Speaker 3: eyeballs who had central heterochromia, and he was trying to
• 1:06:20
  Speaker 3: see if it would change that guy, weird cat.
• 1:06:25
  Speaker 1: Do you know what that is? Central heterochromia? Ever heard
• 1:06:27
  Speaker 1: of this?
• 1:06:29
  Speaker 3: It's just basically heterochromia is when you have like me,
• 1:06:31
  Speaker 3: when you're the best bro like me. It's when one
• 1:06:35
  Speaker 3: color one eye is one color and another one is
• 1:06:37
  Speaker 3: another color. And then central heterochroma is where there's two
• 1:06:40
  Speaker 3: definitive colors in one eye, like there's a ring of
• 1:06:44
  Speaker 3: color and then an outer ring of color. There you go,
• 1:06:47
  Speaker 3: I have that, but it's it's not served me at all.
• 1:06:50
  Speaker 4: But the idea behind it is that people with this
• 1:06:53
  Speaker 4: sort of genetic trade are harder to MK ultra, maybe
• 1:06:57
  Speaker 4: because of the flicker rate or.
• 1:06:58
  Speaker 3: Whatever, have extra cones in their eye. I guess we
• 1:07:01
  Speaker 3: have extra cones in our eye. Allegedly, the Gates program
• 1:07:06
  Speaker 3: and k mk Ultra and other programs like that were
• 1:07:09
  Speaker 3: seeking people out who had this disposition, and I guess
• 1:07:15
  Speaker 3: the story goes basically they were trying to figure out
• 1:07:17
  Speaker 3: why in the hell these people won't succumb to this
• 1:07:20
  Speaker 3: sort of a like the apparently we can't be hypnotized.
• 1:07:23
  Speaker 3: I've never been hypnotized, but it doesn't mean shit. That's anecdotal.
• 1:07:27
  Speaker 3: But yeah, I mean it's interesting mk Ultra, the Gates program, Mangola,
• 1:07:32
  Speaker 3: you know it all. It also the eye in general,
• 1:07:34
  Speaker 3: the eye in general.
• 1:07:35
  Speaker 6: Yeah, it's really interesting because I have two pupils in
• 1:07:37
  Speaker 6: my left eye.
• 1:07:38
  Speaker 1: Do you really how does that work?
• 1:07:41
  Speaker 6: My pupil and my left eye has been split, so
• 1:07:46
  Speaker 6: the top half of my left eye you wouldn't be
• 1:07:48
  Speaker 6: able to see the camera quality is not good enough.
• 1:07:50
  Speaker 6: But the pupil on my left eye, I was shot
• 1:07:52
  Speaker 6: in the eye with a BB gun when I was
• 1:07:55
  Speaker 6: twelve years old.
• 1:07:57
  Speaker 7: That's a nightmare, dude.
• 1:07:58
  Speaker 5: It was horrible, Dude, it was.
• 1:08:00
  Speaker 3: I have literally shot two of my friends in the
• 1:08:02
  Speaker 3: eye with the BB gun. That's my literature.
• 1:08:06
  Speaker 7: You were that guy, bro, Fuck you O.
• 1:08:07
  Speaker 3: No, I was literally that guy.
• 1:08:09
  Speaker 5: Man.
• 1:08:09
  Speaker 7: That's horrifying. Oh my god, it's split.
• 1:08:12
  Speaker 6: Your pupil, split my pupil in half. So whenever I
• 1:08:14
  Speaker 6: go anytime that I ever go to the eye doctor,
• 1:08:17
  Speaker 6: which I don't really ever go to the eye doctor.
• 1:08:20
  Speaker 6: I don't go to any doctors in general ever, but
• 1:08:23
  Speaker 6: whenever I have in the past, they're like astounded by
• 1:08:28
  Speaker 6: what they can see in my eye because you're they're
• 1:08:31
  Speaker 6: able to see things that they normally couldn't see because
• 1:08:35
  Speaker 6: my pupils.
• 1:08:35
  Speaker 7: Like as it affected your vision a little bit.
• 1:08:39
  Speaker 6: I mean, if I close my right eye, it's definitely
• 1:08:42
  Speaker 6: more blurry. But it's I think it's like I don't know,
• 1:08:45
  Speaker 6: eighteen twenty. Vision is still really good.
• 1:08:47
  Speaker 3: Vision still really good.
• 1:08:48
  Speaker 6: Yeah, but it recovered and like the blood was like
• 1:08:52
  Speaker 6: all like blocked my eye. Also, I couldn't see for
• 1:08:55
  Speaker 6: like three months out of my left eye.
• 1:08:57
  Speaker 7: Oh that's such a nightmare.
• 1:08:59
  Speaker 3: Dude. I have nine year old and I'm just thinking, like,
• 1:09:01
  Speaker 3: if that happened, holy grad some sort of weird karma
• 1:09:04
  Speaker 3: for me. Yeah. But this, this, I mean, that's a
• 1:09:09
  Speaker 3: great bit of connective tissue right between you brought up Mangola.
• 1:09:14
  Speaker 7: I wonder what it is?
• 1:09:16
  Speaker 3: What was his do do you have any information about
• 1:09:18
  Speaker 3: what his fascination regarding twins was was it? Was it
• 1:09:21
  Speaker 3: the alleged psychic connection that exists between twins.
• 1:09:25
  Speaker 6: I think that that's what he was trying to figure out.
• 1:09:27
  Speaker 6: But it's difficult to find a lot of information on
• 1:09:29
  Speaker 6: it because a lot of it is like a bunch
• 1:09:32
  Speaker 6: of speculation and what in like secondhand information on exactly
• 1:09:38
  Speaker 6: the types of experiments that he was doing. There's really
• 1:09:42
  Speaker 6: no solid like documentation that shows exactly what he was
• 1:09:49
  Speaker 6: doing with twins, so it's kind of like handed down information,
• 1:09:52
  Speaker 6: and that information has kind of been regurgitated, and we
• 1:09:54
  Speaker 6: know when things are regurgitated, things get lost in the
• 1:09:57
  Speaker 6: shuffle and things get added or things get taken away
• 1:09:59
  Speaker 6: from so it becomes like this this kind of mystery thing.
• 1:10:04
  Speaker 6: But it's been reported by several people that he was
• 1:10:09
  Speaker 6: doing experiments on twins, So what exactly it was for.
• 1:10:14
  Speaker 6: I would be guessing that it had something to do
• 1:10:16
  Speaker 6: with the psychic communication between them and if they would
• 1:10:20
  Speaker 6: be able to tell what was going on to the
• 1:10:22
  Speaker 6: other one, which then relates into mk ultra as well,
• 1:10:25
  Speaker 6: because that's what they were trying to do with mk
• 1:10:28
  Speaker 6: ultra ultimately, was to try and bring about these psychic
• 1:10:32
  Speaker 6: abilities and these psychic powers from the mind fracturing that
• 1:10:36
  Speaker 6: they were doing. It was kind of like an after effect.
• 1:10:38
  Speaker 6: It was kind of like an afterthought like, yeah, well,
• 1:10:41
  Speaker 6: let's see if we can control their mind, let's traumatize them,
• 1:10:43
  Speaker 6: let's see what we can do with that, and then
• 1:10:45
  Speaker 6: let's see what happens.
• 1:10:46
  Speaker 5: Afterwards, like what.
• 1:10:48
  Speaker 6: Can we do with them after we've broken down their
• 1:10:52
  Speaker 6: psyche and several of them got enhanced abilities. Their intuition
• 1:10:59
  Speaker 6: was locked, the psychic abilities were then opened up, like
• 1:11:02
  Speaker 6: it opened up this whole other world. It's just so
• 1:11:05
  Speaker 6: unfortunate that in order to essentially unlock these abilities you
• 1:11:11
  Speaker 6: have to go through really torturous conditions. But that can
• 1:11:15
  Speaker 6: also happen in just like everyday normal life as well,
• 1:11:18
  Speaker 6: Like you don't have to be a part of any
• 1:11:21
  Speaker 6: kind of governmental mk ultra mind fracturing program to have
• 1:11:27
  Speaker 6: some form of psychic abilities. I believe that we all
• 1:11:30
  Speaker 6: have psychic abilities, it's just if it's in the forefront
• 1:11:33
  Speaker 6: of our consciousness or not. So like, any kind of
• 1:11:38
  Speaker 6: traumatizing event that has done to you personally can and
• 1:11:42
  Speaker 6: probably will inevitably open up these psychic abilities within you.
• 1:11:47
  Speaker 6: That's why kids are probably the most susceptible to it.
• 1:11:52
  Speaker 6: And that's also where you get a lot of in
• 1:11:56
  Speaker 6: like the hairy fairy stuff, like the mystical as well,
• 1:12:00
  Speaker 6: because our brain actually tries to cover up that trauma,
• 1:12:04
  Speaker 6: and our brain can actually just make up things to
• 1:12:07
  Speaker 6: replace the negative stuff that we experienced. So instead of
• 1:12:12
  Speaker 6: you being molested whenever you were younger, or something happening
• 1:12:15
  Speaker 6: to you whenever you were really young, some very traumatic
• 1:12:19
  Speaker 6: thing and your uncle raping you in the closet or whatever.
• 1:12:22
  Speaker 6: Your your brain, well, then make something up to replace
• 1:12:27
  Speaker 6: those events with in order to cover up that trauma,
• 1:12:31
  Speaker 6: so it could be instead of that happening to you,
• 1:12:35
  Speaker 6: it could be all well, I was on a top
• 1:12:38
  Speaker 6: secret mission and I was a superhero, you know what
• 1:12:42
  Speaker 6: I mean. I was a super soldier in space, you know,
• 1:12:45
  Speaker 6: for fighting a least exactly.
• 1:12:49
  Speaker 4: Let me ask you a question, I guess the personal question.
• 1:12:53
  Speaker 4: Do you, knowing what they were after and what they're
• 1:12:55
  Speaker 4: searching for, do you think that we should like that
• 1:12:59
  Speaker 4: we should continue that we should I don't even know
• 1:13:02
  Speaker 4: if this is a question, but like should we be
• 1:13:05
  Speaker 4: figuring this stuff out at all?
• 1:13:07
  Speaker 1: Like if human beings.
• 1:13:09
  Speaker 4: Do have these latent abilities that lie within you that
• 1:13:12
  Speaker 4: are released with traumas, Like like, I get why these
• 1:13:15
  Speaker 4: people wanted to study that. That's the most fascinating thing
• 1:13:19
  Speaker 4: you can Right now, we're trying to make rats transgender
• 1:13:22
  Speaker 4: in Afghanistan or something.
• 1:13:23
  Speaker 1: Like cares this?
• 1:13:25
  Speaker 4: I understand people are people are getting hurt, and I'm
• 1:13:27
  Speaker 4: not advocating.
• 1:13:27
  Speaker 1: I'm not like, I.
• 1:13:28
  Speaker 3: Guess molesting these rats so that they have psychic powers.
• 1:13:33
  Speaker 4: All right, I'm coming out as a proponent of Project
• 1:13:38
  Speaker 4: MK Ultra like I'm going to go into government and
• 1:13:41
  Speaker 4: petition them to fund it. More like, we need to
• 1:13:44
  Speaker 4: or at least to know what you found out. I
• 1:13:46
  Speaker 4: understand you did this awful thing, but it's kind of
• 1:13:48
  Speaker 4: like the information is just it's priceless, and it's a
• 1:13:52
  Speaker 4: it's a shame that we don't know. We don't really
• 1:13:54
  Speaker 4: know what they discovered.
• 1:13:56
  Speaker 3: The issue with it becomes if you adhere to the
• 1:13:59
  Speaker 3: idea that within these different realms or wherever you're you know, going,
• 1:14:04
  Speaker 3: when you're remote viewing or actual projecting, that there are
• 1:14:08
  Speaker 3: other things that inhabit it. This is something obviously that
• 1:14:10
  Speaker 3: Stranger Things plays off of, and I don't think that
• 1:14:13
  Speaker 3: that is the only element in that film that's inconsistent
• 1:14:18
  Speaker 3: with reality. I think that probably is consistent with reality.
• 1:14:21
  Speaker 3: I myself have been exposed to things that I don't
• 1:14:24
  Speaker 3: have the luxury of, you know, wondering if other things exist.
• 1:14:29
  Speaker 3: And so the question then becomes there seems to be
• 1:14:34
  Speaker 3: a connection between childhood trauma and psychic abilities there's also
• 1:14:39
  Speaker 3: a connection between trauma, especially childhood trauma, and demonic possession.
• 1:14:45
  Speaker 3: And so the question then becomes.
• 1:14:47
  Speaker 1: Gets into Jerry morzinski territory.
• 1:14:50
  Speaker 3: Right, And I know, yeah, Jerry is the man. I
• 1:14:52
  Speaker 3: know you've spoken to him as well. I've heard that
• 1:14:55
  Speaker 3: we have an episode.
• 1:14:56
  Speaker 4: We have a running gag on this show where I'm
• 1:14:58
  Speaker 4: about to I'm about to produce Bengal cards. So as
• 1:15:01
  Speaker 4: they watch, every time David says something like I have
• 1:15:04
  Speaker 4: autopilo erection, or like he talks about his eye, or
• 1:15:08
  Speaker 4: says Jerry Marzinski, everybody either you put like a little
• 1:15:10
  Speaker 4: bingo card in there.
• 1:15:11
  Speaker 1: You just drink. At this point, they're drinking it.
• 1:15:14
  Speaker 3: If I say the word indicative, which is like I
• 1:15:17
  Speaker 3: can't so if there is a chance, there seems to
• 1:15:24
  Speaker 3: be a chance. And I understand the logical line of
• 1:15:27
  Speaker 3: thinking here. It's like, how do you know that these
• 1:15:31
  Speaker 3: spiritual abilities that you then derive from this traumatic experience
• 1:15:36
  Speaker 3: are your own abilities? Or if you've been augmented in
• 1:15:39
  Speaker 3: some way by something that's remaining silent but allowing whatever
• 1:15:45
  Speaker 3: abilities it has to be to be lent to you,
• 1:15:47
  Speaker 3: Like sometimes you see a film that plays off that, right, actually,
• 1:15:50
  Speaker 3: there's a great music video by scrill X, which a
• 1:15:54
  Speaker 3: lot of people would say that's an oxymoron, but either way,
• 1:15:57
  Speaker 3: there's a music video by Skrillx called First of the Year,
• 1:16:02
  Speaker 3: and in that video, it's about a pedophile who's going
• 1:16:06
  Speaker 3: to playgrounds and picking up kids, picks up the wrong kid,
• 1:16:10
  Speaker 3: and this little girl who he takes to like an
• 1:16:12
  Speaker 3: empty warehouse, ends up having like she's possessed in one
• 1:16:17
  Speaker 3: way or another. So she has a demon that comes
• 1:16:19
  Speaker 3: along with her and rips the guy to shreds. It's
• 1:16:22
  Speaker 3: a really cool song in a really cool video, But
• 1:16:26
  Speaker 3: she looks like she's doing telekinesis to this guy, but
• 1:16:30
  Speaker 3: the shadow that she's casting on the wall shows you
• 1:16:33
  Speaker 3: that something else is in the room with her and
• 1:16:35
  Speaker 3: it's actually doing it. So I think that there might
• 1:16:40
  Speaker 3: be a reality to that. I mean, you have looked
• 1:16:42
  Speaker 3: into these things a lot. You were talking before about
• 1:16:44
  Speaker 3: all the remote viewing, and I'm not saying that any
• 1:16:48
  Speaker 3: one of these these abilities isn't outside of like a
• 1:16:52
  Speaker 3: demonic possession. Like, I think there might be something to
• 1:16:54
  Speaker 3: remote viewing, but there are other things like telekinesis, knowing
• 1:17:01
  Speaker 3: one way or another what somebody's thinking or any of
• 1:17:04
  Speaker 3: these things. I mean, how do you separate those two?
• 1:17:07
  Speaker 3: What have you found looking into them?
• 1:17:09
  Speaker 6: Well, what I found is I think kind of reimagines the.
• 1:17:14
  Speaker 5: Entire paranormal and.
• 1:17:18
  Speaker 6: Spirit phenomenon because there's this remote viewing technique that was
• 1:17:26
  Speaker 6: taught by Ingo Swan, which was he was a part
• 1:17:28
  Speaker 6: of SRI International. That was some of the first people
• 1:17:31
  Speaker 6: that were looked into, you know, the psychic phenomenon and
• 1:17:36
  Speaker 6: remote viewing. And there's this advanced form of remote viewing,
• 1:17:41
  Speaker 6: this called perfect site integration, which is essentially by location.
• 1:17:47
  Speaker 6: So you get into your remote viewing state, you can
• 1:17:51
  Speaker 6: essentially duplicate your physical body and take that physical body
• 1:17:57
  Speaker 6: wherever you want it to go, like a like an
• 1:18:00
  Speaker 6: astral projection by location form. So then whenever you get
• 1:18:07
  Speaker 6: to that site that you're essentially removed, you you can
• 1:18:10
  Speaker 6: interact with the environment. Oh, you can move things, you
• 1:18:14
  Speaker 6: can knock things off walls, you can open cabinets, you
• 1:18:16
  Speaker 6: can open refrigerator doors.
• 1:18:19
  Speaker 3: That kind of makes you feel like whatever people are
• 1:18:21
  Speaker 3: having Poultergeist, it's really just an asshole who's remote viewing
• 1:18:24
  Speaker 3: and he's like, watch this shit when it knock this
• 1:18:26
  Speaker 3: over watching.
• 1:18:27
  Speaker 1: Yeah, the Poultergeist.
• 1:18:28
  Speaker 4: It doesn't fit with the supernatural worldview of like the
• 1:18:31
  Speaker 4: other side most of the time, because sometimes it's like
• 1:18:34
  Speaker 4: it's like this is a human being, Like like this
• 1:18:37
  Speaker 4: is the.
• 1:18:37
  Speaker 3: Motherfucker's just standing in my kitchen knocking cups off the counter.
• 1:18:40
  Speaker 6: Yeah, I mean it really reimagines that because some of
• 1:18:43
  Speaker 6: those stuff might not even be like what we think
• 1:18:46
  Speaker 6: that it is. It might be another living human being
• 1:18:49
  Speaker 6: also in our dream state as well. I mean, when
• 1:18:53
  Speaker 6: does a lot of this type of activity normally happen.
• 1:18:58
  Speaker 6: It's normally synonymous with happening at night. Oh yeah, what
• 1:19:02
  Speaker 6: are people doing at night? They're sleeping. A majority of
• 1:19:06
  Speaker 6: the population is a sleep at night. So could we
• 1:19:11
  Speaker 6: be dreaming about a specific location that is important to us?
• 1:19:16
  Speaker 6: And then we've literally brought our dream consciousness into this
• 1:19:20
  Speaker 6: physical reality and we're able to manipulate the environment and
• 1:19:23
  Speaker 6: manipulate the area of like where we are. And then
• 1:19:27
  Speaker 6: that's what people are experiencing and they're thinking, oh, well,
• 1:19:30
  Speaker 6: it has to be some kind of disembodied spirit or
• 1:19:33
  Speaker 6: someone that's died here, and when that might not be
• 1:19:35
  Speaker 6: the case. And I'm not saying that that other possibility
• 1:19:38
  Speaker 6: isn't possible. Well, I mean, it could could very well.
• 1:19:41
  Speaker 2: Be somebudded spirits, but a plethora of shape going on,
• 1:19:46
  Speaker 2: which is like we're just we think in the physical,
• 1:19:48
  Speaker 2: three dimensional realm, but you know, whenever it comes to
• 1:19:51
  Speaker 2: these other realms, they're probably just as diverse.
• 1:19:55
  Speaker 3: So in the way that you would hear something in
• 1:19:56
  Speaker 3: your attic and you go, that's either an intruder demon
• 1:20:00
  Speaker 3: or I have this fucking raccoon problem. Again, it was like, yeah,
• 1:20:03
  Speaker 3: it's pretty diverse. There could be a number of things
• 1:20:05
  Speaker 3: that could be. All of those things be all of
• 1:20:07
  Speaker 3: those things the psychic psychic rads, right, So it's interesting
• 1:20:12
  Speaker 3: when you traumatized him, so they have psych.
• 1:20:15
  Speaker 4: Some people that have these encounters that like, I don't know,
• 1:20:17
  Speaker 4: some surefire ways that we've we've went through, like from
• 1:20:21
  Speaker 4: sleep paralysis to like alien abduction. Is like saying the
• 1:20:25
  Speaker 4: name of Jesus Christ. A lot of people have said
• 1:20:27
  Speaker 4: this and that it works, and but there will be
• 1:20:31
  Speaker 4: cases where stuff like this doesn't work, Like if your
• 1:20:33
  Speaker 4: house is being haunted and then you're like, I rebuke
• 1:20:35
  Speaker 4: you in the name of Jesus Christ, and it's like
• 1:20:36
  Speaker 4: it's some guy, it's a government worker and He's like.
• 1:20:39
  Speaker 3: This doesn't neighbor who figured out.
• 1:20:42
  Speaker 1: That doesn't work on him?
• 1:20:43
  Speaker 4: Like there's I don't know if you're familiar with the
• 1:20:45
  Speaker 4: story of the guy that killed Anton Levey in uh
• 1:20:49
  Speaker 4: he was allegedly whatever. In Tony Merkle's show The Confessionals,
• 1:20:55
  Speaker 4: he says that Anton is doing astral projection at him,
• 1:20:59
  Speaker 4: or like manifesting himself some way, and he rebuked the me.
• 1:21:02
  Speaker 4: He's like, that doesn't work on me because he's not
• 1:21:05
  Speaker 4: He's not an incorporal entity. He's a human being that
• 1:21:08
  Speaker 4: is doing this thing, you know what I mean. So,
• 1:21:10
  Speaker 4: like the rules to have to this other world are
• 1:21:13
  Speaker 4: just baffling, and some people, I guess, understand it more
• 1:21:17
  Speaker 4: than I do.
• 1:21:18
  Speaker 3: Well, I've been having this thing like pretty reliably now.
• 1:21:24
  Speaker 3: I don't like doing it because it kind of freaks
• 1:21:26
  Speaker 3: me out, and I really like my sleep. But you know,
• 1:21:29
  Speaker 3: when you're in these pseudo sleep states between you know,
• 1:21:32
  Speaker 3: waking and sleeping, there's some pliability in the way your
• 1:21:38
  Speaker 3: mind works. So very often recently I'll wake up and
• 1:21:46
  Speaker 3: I'll see whatever dreamscape I was in almost like kind
• 1:21:49
  Speaker 3: of pull away from me like a tunnel, and then
• 1:21:53
  Speaker 3: the quality of the image suffers, you know, tremendously. It's
• 1:21:58
  Speaker 3: no longer tanity. It's it's like something real bad, Like
• 1:22:02
  Speaker 3: it just fades to the color spectrum goes away, and
• 1:22:07
  Speaker 3: it's almost like I'm viewing it in negative color, like inverted.
• 1:22:10
  Speaker 3: And but I could still see a lot. I could
• 1:22:12
  Speaker 3: see a lot a lot. I could see like objects
• 1:22:14
  Speaker 3: and people and and and there's a lot of like
• 1:22:17
  Speaker 3: patterns and geometry and things like that. And I get
• 1:22:19
  Speaker 3: this feeling that if I wasn't retarded and I knew
• 1:22:22
  Speaker 3: what I was doing, that I could do something in
• 1:22:24
  Speaker 3: that moment. But instead, my like my logical brain kicks
• 1:22:27
  Speaker 3: in and there's a lot of like what's this? What
• 1:22:28
  Speaker 3: am I looking at? Why is this happening? And as
• 1:22:30
  Speaker 3: soon as that shit starts happening, it just goes away. So,
• 1:22:34
  Speaker 3: you know, and I don't I would hope I don't
• 1:22:37
  Speaker 3: have demons. I think we all can do something like that.
• 1:22:41
  Speaker 3: My grandmother used to write papers on remote viewing, and
• 1:22:47
  Speaker 3: that's interesting in hindsight, but she also considered herself like
• 1:22:52
  Speaker 3: a clairvoyant and also, interestingly enough, suffered from alien abduction experiences.
• 1:22:56
  Speaker 3: So I also think those things go hand and hit
• 1:23:00
  Speaker 3: and you know, whatever remote viewing is or astral projection is,
• 1:23:04
  Speaker 3: I would be very sure or at least unsurprised to
• 1:23:07
  Speaker 3: find out that the people who are doing it there's
• 1:23:10
  Speaker 3: also a big overlap in their sleep paralysis experiences, maybe
• 1:23:14
  Speaker 3: even abduction experiences, shadow people, other entities. I imagine these
• 1:23:20
  Speaker 3: things all played together in the same sandpit pretty often.
• 1:23:25
  Speaker 6: Yeah. I just had a really weird experience the other
• 1:23:29
  Speaker 6: night where I had a really wild, crazy dream and
• 1:23:33
  Speaker 6: I woke up from my dream and I kind of
• 1:23:36
  Speaker 6: opened my eyes and the entire reality was like nothing
• 1:23:40
  Speaker 6: but code. Like you've heard of people like seeing like
• 1:23:43
  Speaker 6: the matrix like in front of them, and this was
• 1:23:45
  Speaker 6: my first time ever experiencing it.
• 1:23:47
  Speaker 7: Screw, what was it made up of? Like if you
• 1:23:51
  Speaker 7: could almost.
• 1:23:52
  Speaker 1: See any numbers or symbols?
• 1:23:54
  Speaker 6: Like it was numbers, a bunch of numbers, and the
• 1:23:57
  Speaker 6: numbers like flashed and they were like rotating. Some of
• 1:23:59
  Speaker 6: them look like dates, some of them looked like coordinates. Interesting,
• 1:24:04
  Speaker 6: but it still had like the outline of like the
• 1:24:08
  Speaker 6: walls in my room were there, like but it was
• 1:24:13
  Speaker 6: all code.
• 1:24:14
  Speaker 1: What were the colors?
• 1:24:17
  Speaker 6: It was like blue, there were blue in the and
• 1:24:20
  Speaker 6: the collars were like white.
• 1:24:24
  Speaker 3: I had something recently where I had that experience, and it,
• 1:24:29
  Speaker 3: like I said, by what I was looking at that
• 1:24:31
  Speaker 3: was my dream almost detached and became far away from me.
• 1:24:35
  Speaker 3: And then it kind of tilted and I was still
• 1:24:38
  Speaker 3: looking at it. But everything looked like the matrix black
• 1:24:42
  Speaker 3: and green, except it wasn't like data. It was like
• 1:24:46
  Speaker 3: blackness and really really dark green sand. So everything, all
• 1:24:52
  Speaker 3: the highlights and the shadows, it was just you know,
• 1:24:55
  Speaker 3: mixtures of black and green, black and green, and that
• 1:24:57
  Speaker 3: was everything that I saw, and my POV was like stuck.
• 1:25:00
  Speaker 3: I was looking at the sidewalk, but I wasn't really
• 1:25:03
  Speaker 3: looking at it. I was actually viewing that behind my
• 1:25:05
  Speaker 3: eyes like a small window with a bunch of other
• 1:25:07
  Speaker 3: weird shit going on. I don't know what it is, man,
• 1:25:10
  Speaker 3: but I am not so inclined to think that it's
• 1:25:12
  Speaker 3: inherently evil. This is a this is a Christian show.
• 1:25:17
  Speaker 3: We tend to look at the world through the biblical
• 1:25:19
  Speaker 3: world lens. Obviously, there's you know, conjoining of a lot
• 1:25:23
  Speaker 3: of different ideas besides that when it comes to conspiracy
• 1:25:26
  Speaker 3: and occulted things. But sometimes I look at those practices
• 1:25:33
  Speaker 3: and I'm like, I'm really not too sure The main
• 1:25:35
  Speaker 3: reason I'm not too sure is because it's very clear
• 1:25:37
  Speaker 3: there of a spiritual nature, and it's very clear we
• 1:25:40
  Speaker 3: don't have a map, and that's not good because that's
• 1:25:43
  Speaker 3: like going anywhere. It's like going in the woods or
• 1:25:44
  Speaker 3: going in the ocean and just not being familiar with
• 1:25:47
  Speaker 3: where the hell you are and what inhabits that realm.
• 1:25:50
  Speaker 3: And I do think that negative things are there, but
• 1:25:52
  Speaker 3: I think just like any place you know, there's gonna
• 1:25:57
  Speaker 3: be negative things, there's gonna be positive things, there's gonna
• 1:25:59
  Speaker 3: be neutral things, and it's I don't know. It feels
• 1:26:04
  Speaker 3: almost harrowing to me to do it because it always
• 1:26:06
  Speaker 3: happens at night, and I really don't like when things,
• 1:26:11
  Speaker 3: like the last thing I want to do is be
• 1:26:12
  Speaker 3: creeped out before I'm going to sleep, and that'll keep me, honestly,
• 1:26:16
  Speaker 3: like that alone will keep me from pursuing a lot
• 1:26:18
  Speaker 3: of this shit. But it does kind of seem to
• 1:26:21
  Speaker 3: happen almost naturally. And I'm sure there's a way through,
• 1:26:24
  Speaker 3: like a meditative process or a greater understanding that you
• 1:26:27
  Speaker 3: could have more depth of experience with that, but I'm
• 1:26:31
  Speaker 3: just not too sure where that depth is going to
• 1:26:33
  Speaker 3: take me, And what the hell is going to be
• 1:26:35
  Speaker 3: there when I get there.
• 1:26:37
  Speaker 6: I think that is really important to be able to
• 1:26:39
  Speaker 6: get outside of your body. I think that that I've
• 1:26:42
  Speaker 6: never really done it. I've come really really close. I
• 1:26:45
  Speaker 6: was doing some incredible breath work really late one night,
• 1:26:48
  Speaker 6: at like three in the morning, and I was really close.
• 1:26:50
  Speaker 6: It seemed like the circle open up and I had
• 1:26:52
  Speaker 6: like one leg through the circle. I was about to
• 1:26:55
  Speaker 6: just jump right out of my body. Like it was
• 1:26:57
  Speaker 6: the exact experience that everyone says happens, like where your
• 1:27:01
  Speaker 6: whole body tingles, like it started at my feet super tingly,
• 1:27:05
  Speaker 6: went up all my legs, and then when I hit
• 1:27:07
  Speaker 6: the back of my head like where the uh the
• 1:27:11
  Speaker 6: crown chakra is, then that's whenever I like was getting
• 1:27:15
  Speaker 6: ready to get out of my body.
• 1:27:16
  Speaker 5: It was.
• 1:27:17
  Speaker 6: It was crazy, dude. It was like almost and it
• 1:27:18
  Speaker 6: felt so warm. It almost felt like what people describe
• 1:27:21
  Speaker 6: as like the Kundalini energy as well, like how it
• 1:27:23
  Speaker 6: comes up through your body and all that. But it
• 1:27:26
  Speaker 6: was like me getting ready to exit my body and
• 1:27:29
  Speaker 6: I didn't make it. I snapped out of it and
• 1:27:31
  Speaker 6: it was completely gone. But I think that that is
• 1:27:33
  Speaker 6: really important to be able to do because I believe
• 1:27:36
  Speaker 6: that we're spiritual entities inside of a physical shell. Yeah,
• 1:27:40
  Speaker 6: and we have to have the map because if we
• 1:27:44
  Speaker 6: don't know what it's like outside of our body, then
• 1:27:48
  Speaker 6: we're going to be completely lost. Whenever this physical body dies,
• 1:27:52
  Speaker 6: We're not going to know where to go, what to do,
• 1:27:55
  Speaker 6: and we're going to be stuck.
• 1:27:58
  Speaker 3: That's the thing that gets me too, is like, I know,
• 1:28:00
  Speaker 3: you know, within like Egyptian mythology, when you die, the
• 1:28:03
  Speaker 3: soul has like a very elongated journey upward through like
• 1:28:07
  Speaker 3: celestial bodies and such that it has to go through
• 1:28:11
  Speaker 3: and eventually ends up in a place where their heart
• 1:28:15
  Speaker 3: is weighed up against a feather or something like that.
• 1:28:17
  Speaker 3: It's basically a way of measuring your sin how heavy
• 1:28:20
  Speaker 3: is your heart, but it's described as like an actual journey.
• 1:28:24
  Speaker 3: And then you have this other thing that people suggest
• 1:28:29
  Speaker 3: there's been a karmic reincarnation cycle that's been created to
• 1:28:33
  Speaker 3: our detriment, and that there are these things that seek
• 1:28:36
  Speaker 3: to loose off of us that will usher us into
• 1:28:40
  Speaker 3: this reincarnation cycle.
• 1:28:42
  Speaker 7: And I know that there are things.
• 1:28:46
  Speaker 3: That exist that would be pleased to inhabit your physical
• 1:28:51
  Speaker 3: form so that they could interact with this physical realm again.
• 1:28:55
  Speaker 3: And I mean this is just like the notion of possession, which,
• 1:28:58
  Speaker 3: by the way, going back to what we were talking
• 1:29:00
  Speaker 3: about before, where these actors and actresses are often subjected
• 1:29:03
  Speaker 3: to like really harrowing experiences and trauma. Uh the Exorcist
• 1:29:07
  Speaker 3: we were talking about. I believe that little girl went
• 1:29:09
  Speaker 3: through hell.
• 1:29:12
  Speaker 4: And everybody who's everyone who's played the Joker.
• 1:29:17
  Speaker 3: Played the Joker, right, that's another one. So my thing
• 1:29:21
  Speaker 3: is like, hey, look at that.
• 1:29:22
  Speaker 4: Hold on a second, Jack Nicholson, Oh shit, whoa And
• 1:29:27
  Speaker 4: that was definitely before the Shining because that movie was seventies.
• 1:29:31
  Speaker 6: That Batman Huh yeah, I thought it was before the Shining.
• 1:29:35
  Speaker 6: He played the Joker in the in the Batman movie
• 1:29:39
  Speaker 6: with what's his name, the most famous Batman Keaton, Michael Kington.
• 1:29:49
  Speaker 3: Well, I don't know if you ever talked to Paul Stobs,
• 1:29:51
  Speaker 3: but he's a great, uh content creator. He does a
• 1:29:54
  Speaker 3: show called Understanding Conspiracy, and he talks about how various
• 1:30:00
  Speaker 3: cultures will dress up as the entity that they want
• 1:30:03
  Speaker 3: to be inhabited by. And he says that there are
• 1:30:08
  Speaker 3: you know, there's a race of giants. It would have
• 1:30:10
  Speaker 3: been the offspring of like fallen angels and human beings.
• 1:30:14
  Speaker 3: It's the namesake of the show.
• 1:30:15
  Speaker 1: Got to ask, is that why why do you call
• 1:30:17
  Speaker 1: your show Raised by Giants?
• 1:30:21
  Speaker 6: Yeah, so it does have some something to do with
• 1:30:24
  Speaker 6: the giants and the nuffhalon. But I'm also really tall.
• 1:30:27
  Speaker 6: I'm six five.
• 1:30:29
  Speaker 1: It's a very simple reason. I'm a huge guy, a
• 1:30:32
  Speaker 1: really big guy.
• 1:30:33
  Speaker 6: My whole family is really tall. So it kind of
• 1:30:36
  Speaker 6: seemed right. And I originally wanted it to be a
• 1:30:38
  Speaker 6: name of a band, but then I decided to repurpose
• 1:30:42
  Speaker 6: it from a.
• 1:30:43
  Speaker 3: Banger name for a banger name.
• 1:30:44
  Speaker 4: By the way, you do give very tall energy, like
• 1:30:46
  Speaker 4: you don't give a fuck, Like it's very tall, Like
• 1:30:49
  Speaker 4: he has this very like right, like we're sure. I'm
• 1:30:51
  Speaker 4: five eight five nine, David's like five to eight five seven.
• 1:30:56
  Speaker 1: We have to have this energy like it's very annoying.
• 1:31:00
  Speaker 3: I understand to like totally at this, like I don't
• 1:31:02
  Speaker 3: fucking care.
• 1:31:04
  Speaker 1: Owen Benjamin's the same thing with us.
• 1:31:05
  Speaker 4: Like when we talk to Owen, he's like six', Eight
• 1:31:08
  Speaker 4: so we're talking to him AND i could just tell
• 1:31:09
  Speaker 4: he's just. Annoyed it's just annoyed by our small presence
• 1:31:12
  Speaker 4: and Our go, Ahead. David i'm sorry for cutting height.
• 1:31:14
  Speaker 3: Supremacist so that's.
• 1:31:17
  Speaker 6: WHY i want to get a big truck SO i
• 1:31:18
  Speaker 6: can look at everybody while i'm driving AS i look
• 1:31:20
  Speaker 6: at them When i'm standing, There so just the top
• 1:31:22
  Speaker 6: of the, head.
• 1:31:24
  Speaker 7: It's light top to just look at look at people
• 1:31:26
  Speaker 7: like that all the.
• 1:31:27
  Speaker 4: TIME i, wonder, like, Yeah i'm SEEING i would be
• 1:31:29
  Speaker 4: seeing everyone else from a slightly different, angle like either
• 1:31:32
  Speaker 4: equal or.
• 1:31:32
  Speaker 1: Up it must.
• 1:31:33
  Speaker 3: Be it's psychologically, like, dude WHEN i step on something
• 1:31:36
  Speaker 3: and it makes me TOLER i, go, YEAH i feel.
• 1:31:38
  Speaker 4: Like that that turtle in the Fucking Doctor SEUs Boul go,
• 1:31:41
  Speaker 4: ahead go, Ahead. David finish because we only have a
• 1:31:43
  Speaker 4: couple of. Minutes we have guests coming on again at,
• 1:31:45
  Speaker 4: two SO i don't.
• 1:31:46
  Speaker 3: Even remember WHAT i was talking about it three oh,
• 1:31:49
  Speaker 3: oh this idea that you become inhabited by the spirit
• 1:31:51
  Speaker 3: that you dress. Like and so he suggests that the
• 1:31:54
  Speaker 3: modern day visage of the clown is actually something that
• 1:31:58
  Speaker 3: was created by a freeman who was running The barnum
• 1:32:02
  Speaker 3: And bailey or whatever circus it, was and that it
• 1:32:05
  Speaker 3: has to do with homage to the net film because
• 1:32:07
  Speaker 3: the nephilin would have had red, hair very pale, skin
• 1:32:10
  Speaker 3: a very red nose that and also always would have
• 1:32:14
  Speaker 3: because they were. Cannibals they ate human, beings blood all
• 1:32:17
  Speaker 3: over their faces and so large shit used.
• 1:32:20
  Speaker 1: To cover up their six. Toes shit like, that all.
• 1:32:23
  Speaker 3: Kinds of fun. Stuff and so to, me you, know
• 1:32:25
  Speaker 3: if you talk to, him he lays it out in
• 1:32:27
  Speaker 3: such a compelling way or like something. Happened the way
• 1:32:30
  Speaker 3: they made the clown and the way they injected it
• 1:32:32
  Speaker 3: Into american culture was clearly done on. Purpose and so
• 1:32:37
  Speaker 3: then you have to ask yourself to what? End but
• 1:32:38
  Speaker 3: WHEN i See Jack nicholson play that character and the
• 1:32:42
  Speaker 3: way he plays a character In The, SHINING i think
• 1:32:44
  Speaker 3: these actors and actresses at the highest levels what we
• 1:32:47
  Speaker 3: call method, ACTING i think is just a level of.
• 1:32:49
  Speaker 3: Possession not just.
• 1:32:51
  Speaker 4: That but like so he, plays he plays a, joker
• 1:32:54
  Speaker 4: and forget about what he plays on. Screen For The,
• 1:32:57
  Speaker 4: shining he was With brick in torturing this woman for
• 1:33:01
  Speaker 4: however long it took to film this fucking. Movie that
• 1:33:05
  Speaker 4: was like what he was doing to her was like
• 1:33:07
  Speaker 4: joke or.
• 1:33:07
  Speaker 3: Esque, yes, yes and.
• 1:33:09
  Speaker 6: It was a long, shoe too long. Shoot they shot
• 1:33:12
  Speaker 6: Them The shining for a really long, time but several
• 1:33:14
  Speaker 6: people throughout the entertainment industry have talked about. This Jim
• 1:33:17
  Speaker 6: carrey has talked about this where he felt like he
• 1:33:19
  Speaker 6: was possessed By Andy kaufman's. Spirit, Yes beyonce says that
• 1:33:23
  Speaker 6: she when she performs The sasha fears so like something
• 1:33:28
  Speaker 6: else comes in and takes them, over and then it
• 1:33:29
  Speaker 6: gives them the ability to be that. Individual and it's
• 1:33:33
  Speaker 6: really strange whether that's like real or way that they perceive.
• 1:33:38
  Speaker 6: IT i, mean it's up for. INTERPRETATION i, mean but
• 1:33:40
  Speaker 6: to be that good of an, actor like somebody Liked
• 1:33:43
  Speaker 6: Jim carrey like you gotta, BE i don't know how
• 1:33:47
  Speaker 6: you would get Your you would have to open yourself
• 1:33:50
  Speaker 6: up to that type of, thing you.
• 1:33:53
  Speaker 3: Know they we look at this like it's, spellcraft and
• 1:33:57
  Speaker 3: it's all works of like rituals and embolism and. Ceremony
• 1:34:02
  Speaker 3: and then you have Like, hollywood which is what The
• 1:34:04
  Speaker 3: druids made their wands out, of was wood from the holly.
• 1:34:08
  Speaker 3: Tree it just all of it kind of does like
• 1:34:12
  Speaker 3: why the hell does every element of, this you, know
• 1:34:16
  Speaker 3: performative aspect Of american culture have embedded within it something
• 1:34:21
  Speaker 3: to do with, SPELLCRAFT i, mean it's just at some
• 1:34:23
  Speaker 3: POINT i kind of, go, yeah the anecdotal evidence is piled,
• 1:34:27
  Speaker 3: up AND i believe. It it's now something THAT i will.
• 1:34:31
  Speaker 3: Espouse it's the. Truth but we are ten minutes away
• 1:34:35
  Speaker 3: from having to launch another. Show this has been a wonderful.
• 1:34:39
  Speaker 6: Conversation you guys are cutting me. Off what the?
• 1:34:41
  Speaker 5: Fuck not just?
• 1:34:42
  Speaker 6: Joking CAN i run through some of these other slides really.
• 1:34:44
  Speaker 3: Quick before we up? Up?
• 1:34:46
  Speaker 1: Yeah, dog?
• 1:34:46
  Speaker 3: Yeah?
• 1:34:46
  Speaker 1: Please.
• 1:34:48
  Speaker 6: Okay so this one here is like the beetle reference
• 1:34:53
  Speaker 6: with in The. Shining there's so many of. Them it's
• 1:34:54
  Speaker 6: the top panel as The Beatles Abbey road nineteen sixty,
• 1:34:57
  Speaker 6: nine the bottom panels The. Shining they're almost walking in
• 1:34:59
  Speaker 6: the Eggs Zach seam line up there With almond And
• 1:35:04
  Speaker 6: jack And wendy And Bill, watson which we don't really
• 1:35:08
  Speaker 6: talk too much About Bill watson in the movie because
• 1:35:10
  Speaker 6: it seems Like Bill watson In The shining is more
• 1:35:13
  Speaker 6: of Like Sidney gottlieb character within THE, Cia Like Sidney
• 1:35:16
  Speaker 6: gottlieb was known, for you, know being the head of
• 1:35:19
  Speaker 6: the Mk ultra, programs and what they would do essentially
• 1:35:22
  Speaker 6: is like the front person is All Stuart almond so
• 1:35:27
  Speaker 6: he's like the person that is made to look like
• 1:35:30
  Speaker 6: he's actually running the place when it's really Like Bill.
• 1:35:32
  Speaker 6: Watson it's a classic trick that a lot of people
• 1:35:36
  Speaker 6: have used throughout history where the person that's actually really
• 1:35:39
  Speaker 6: calling the shots is like the person that no one
• 1:35:41
  Speaker 6: thinks is actually calling the. Shots so, Yeah almond is
• 1:35:43
  Speaker 6: actually the front person of this entire. Operation so in
• 1:35:48
  Speaker 6: the Movie The Shining Stephen king in the, book it
• 1:35:53
  Speaker 6: was a red. Beatle and this is one of the
• 1:35:55
  Speaker 6: other people have pointed. Out Jay winer has pointed this
• 1:35:57
  Speaker 6: out on his several, movies has been pointed out a
• 1:35:59
  Speaker 6: room two third. Seven but it's just important to go
• 1:36:02
  Speaker 6: to kind of go through. It so it was a red.
• 1:36:04
  Speaker 6: Beatle In The shining novel By Stephen, King kubrick changed
• 1:36:07
  Speaker 6: the beatle to a yellow. Beatle and then Whenever allman
• 1:36:11
  Speaker 6: is traveling up to The Overlook hotel to check on
• 1:36:15
  Speaker 6: the family up, there there's a red beetle that crushed
• 1:36:17
  Speaker 6: underneath the semi truck on the way up. There so
• 1:36:20
  Speaker 6: it's definitely a nod to you, know, like, hey this
• 1:36:24
  Speaker 6: is this is my, Movie Stephen, king this isn't. Yours
• 1:36:27
  Speaker 6: and also there's The White, Beatle John Lennon's White beatle
• 1:36:30
  Speaker 6: that's in the background of The Abbey.
• 1:36:32
  Speaker 7: ROAD i like, that by the, Way, king that's, right,
• 1:36:35
  Speaker 7: yeah very.
• 1:36:36
  Speaker 6: Much and also Another beatle references was That Stephen king
• 1:36:40
  Speaker 6: got the inspiration the title the Novel The shining by
• 1:36:44
  Speaker 6: The John lennon Song Instant.
• 1:36:45
  Speaker 7: Karma isn't he a horrifying? Creature Stephen?
• 1:36:50
  Speaker 3: King my? GOD i mean you look at his nogging
• 1:36:53
  Speaker 3: and you go for sure there are horror stories in.
• 1:36:56
  Speaker 1: THERE i think it's his, mouth, really it is his.
• 1:36:58
  Speaker 3: Mouth he's got a bad. Mouth it's not, good.
• 1:37:02
  Speaker 5: Not a good.
• 1:37:03
  Speaker 6: Mouth Stephen king fixed that mouth bro a ton of.
• 1:37:05
  Speaker 6: Money he definitely looks like he got hit by every
• 1:37:07
  Speaker 6: branch on the way down from the Tream. Bro he's
• 1:37:09
  Speaker 6: an ugly looking ass. Mouthfucker. Yeah this is the catcher
• 1:37:13
  Speaker 6: in the ride that we mentioned. Earlier this is one
• 1:37:16
  Speaker 6: with the. Lampshade this tilted slightly Whenever windy And danny
• 1:37:20
  Speaker 6: go into the room did the bathroom to hide From
• 1:37:22
  Speaker 6: jack when he breaks down the, wall and then in
• 1:37:24
  Speaker 6: the next shot the lampshade is perfectly. Straight this is
• 1:37:27
  Speaker 6: the panel that we talked about. Earlier is the monarch.
• 1:37:29
  Speaker 6: Sign this is another one that people have pointed out,
• 1:37:32
  Speaker 6: before which is The hitler mustache whenever the picture fades
• 1:37:35
  Speaker 6: from the faraway shot to the close up. Shot this
• 1:37:38
  Speaker 6: was shown In room two thirty. Seven but it just
• 1:37:40
  Speaker 6: connects because of all the Other nazi And holocaust symbolism
• 1:37:45
  Speaker 6: that we've already pointed out and mk ultra throughout the.
• 1:37:48
  Speaker 6: Thing and here's the, swastika and that's really. It but
• 1:37:52
  Speaker 6: there's other ones back here THAT i didn't really get,
• 1:37:54
  Speaker 6: to which is the maze in the background of the establishing,
• 1:37:58
  Speaker 6: shot which was shot In oregon at The Timberline. Lodge
• 1:38:01
  Speaker 6: there's not a maze in the background of the opening establishing,
• 1:38:04
  Speaker 6: shop and then later on there is the maze because
• 1:38:06
  Speaker 6: the rest of it was filmed In england on a.
• 1:38:08
  Speaker 6: Set The jack's tie is in the same pattern as
• 1:38:12
  Speaker 6: The hedge, maze so the first time we See jack
• 1:38:15
  Speaker 6: And jack's tie looks almost identical to the same patterns
• 1:38:18
  Speaker 6: The hedge mase sticker of a dopey the dwarf disappearing
• 1:38:22
  Speaker 6: on the.
• 1:38:23
  Speaker 4: Door they have to peel off the, Wall that's What i'm, saying,
• 1:38:25
  Speaker 4: yeah or put it on like you're gonna peel it
• 1:38:28
  Speaker 4: or put it, on like there's no reason for.
• 1:38:29
  Speaker 6: That come, on, yeah and everything else is in the
• 1:38:32
  Speaker 6: exact same, location so they either they had to peel
• 1:38:35
  Speaker 6: it off and they only took one. Off and what
• 1:38:37
  Speaker 6: do you, mean? Bro this one is the whenever The
• 1:38:42
  Speaker 6: grady thing where they the different. Names. Uh this one
• 1:38:49
  Speaker 6: is interesting because it's got the cool laid on the
• 1:38:51
  Speaker 6: top and two years before was The Jim jones incident
• 1:38:53
  Speaker 6: where all the people, died so and that was happening
• 1:38:58
  Speaker 6: during the filming Of The. Shining this one's a weird
• 1:39:01
  Speaker 6: connuity air which is like a plastic set tarp can
• 1:39:04
  Speaker 6: be seen in the background As danny's rolling around the.
• 1:39:08
  Speaker 6: Hotel the, chair the infamous chair that disappears and then
• 1:39:11
  Speaker 6: reappears Behind, jack all in the exact same. Shot the
• 1:39:18
  Speaker 6: paper tray on the desk looking like he gives an
• 1:39:20
  Speaker 6: almond a boar whenever he goes in the shake hands
• 1:39:23
  Speaker 6: With jack The teddy bear in the. Background it also
• 1:39:27
  Speaker 6: looks like it has a heart on which is fire
• 1:39:29
  Speaker 6: truck which Is this is also where The windy picks
• 1:39:32
  Speaker 6: up the. Bat not a lot of people realize, this
• 1:39:34
  Speaker 6: but that's where because it's in the, Background so Whenever
• 1:39:37
  Speaker 6: windy gets up from With, danny she turns around.
• 1:39:40
  Speaker 5: And she grabs the.
• 1:39:41
  Speaker 6: Bat and then there's also other things that are setting
• 1:39:44
  Speaker 6: up for the bat. Scene earlier in the. Movie there's on.
• 1:39:47
  Speaker 5: The curtain right up, here on this top left quarter.
• 1:39:49
  Speaker 6: Panel there's a cartoon character that's holding.
• 1:39:51
  Speaker 7: A baseball pat it looks Like Donald.
• 1:39:53
  Speaker 6: Duck and down here Whenever jack before he goes to
• 1:39:57
  Speaker 6: look into the, maze and then the maze fades and
• 1:40:00
  Speaker 6: the exterior shot Of windy And danny outside in the,
• 1:40:03
  Speaker 6: maze there's the baseball bat on the. Couch so the
• 1:40:06
  Speaker 6: baseball bat goes from downstairs When jack's looking into the
• 1:40:11
  Speaker 6: maze to upstairs in their apartment for where she picks
• 1:40:15
  Speaker 6: it up and Hits jack WITH.
• 1:40:18
  Speaker 3: I forgot that which director said, it but it was
• 1:40:20
  Speaker 3: something like if there is a if there is a
• 1:40:22
  Speaker 3: shotgun on the wall in act, one, yeah then it's
• 1:40:26
  Speaker 3: going to be guaranteed that it's going to be used
• 1:40:28
  Speaker 3: In act. Two.
• 1:40:30
  Speaker 6: Yeah and also the. Knife the knife is shown in
• 1:40:35
  Speaker 6: the previous set up When hollerin is giving them a
• 1:40:38
  Speaker 6: tour of the you see the, knife and that knife
• 1:40:40
  Speaker 6: is the knife that she's running around with at the
• 1:40:42
  Speaker 6: end of the movie through the. Hotel this one's. Interesting
• 1:40:45
  Speaker 6: this one's a door that was closed Whenever danny seems
• 1:40:49
  Speaker 6: sees room two thirty, seven and then in the next
• 1:40:52
  Speaker 6: shot it's. Open this is a carpet switching. Patterns there's
• 1:40:57
  Speaker 6: been so much contention over. This people say that this
• 1:41:01
  Speaker 6: just moved him over one, square BUT i, mean that
• 1:41:05
  Speaker 6: could be possible, that but why would you not put
• 1:41:08
  Speaker 6: him in the exact same location as you were were?
• 1:41:11
  Speaker 6: Before because this is the first shot and it's got
• 1:41:13
  Speaker 6: the open facing hexagonal carpet.
• 1:41:15
  Speaker 5: Pattern but then whenever it.
• 1:41:17
  Speaker 6: Switches, around it's got the closes facing hexagonal carpet.
• 1:41:20
  Speaker 3: Pattern i've heard that they used that sort of a
• 1:41:23
  Speaker 3: plot device to to show you that like shit's about
• 1:41:28
  Speaker 3: to pop.
• 1:41:28
  Speaker 7: Off so typically what they'll do is they'll.
• 1:41:30
  Speaker 3: Wind a frame upside down and when it becomes, inverted
• 1:41:34
  Speaker 3: that's gonna you, know it's time for things to get.
• 1:41:36
  Speaker 3: CRAZY i WOULD i would interpret this almost as as
• 1:41:39
  Speaker 3: one of those things WHERE i would wonder if before
• 1:41:41
  Speaker 3: this it wasn't too, crazy and then right after, this
• 1:41:43
  Speaker 3: something really horrifying happens in the.
• 1:41:45
  Speaker 6: Film but the thing is is all the cars are
• 1:41:48
  Speaker 6: all set.
• 1:41:49
  Speaker 3: Up, yes, no, No I'm i'm saying that would be
• 1:41:52
  Speaker 3: it would be done on, purpose and you're, right, like,
• 1:41:54
  Speaker 3: yeah this is definitely intentionally to jar. You it's, yes,
• 1:41:58
  Speaker 3: yeah this is on, purpose like shell shock.
• 1:42:01
  Speaker 6: Somebody this is The Teddy bear set up for earlier
• 1:42:05
  Speaker 6: in the. Film H this Is Tang tang in the
• 1:42:11
  Speaker 6: the in the. Background it's next to the kool aid as.
• 1:42:13
  Speaker 6: Well And tang was a really big drink for the
• 1:42:16
  Speaker 6: astronauts and all The apollo programs are basically Blue tang
• 1:42:20
  Speaker 6: into the stratosphere made it a very popular drink that everyone.
• 1:42:24
  Speaker 6: Wanted room two thirty seven d anywhere in The apollo loving,
• 1:42:28
  Speaker 6: sure going in the room two thirty. Seven and we
• 1:42:29
  Speaker 6: all know that there's a toy story. Reference there's the
• 1:42:33
  Speaker 6: TVs THAT i was referring to earlier that don't have
• 1:42:37
  Speaker 6: any kind of power source to. Them they're just playing
• 1:42:42
  Speaker 6: without being plugged into.
• 1:42:43
  Speaker 3: Anything this one's like in the middle of. It it's
• 1:42:45
  Speaker 3: not even near a wall for an. Outlet it's just
• 1:42:47
  Speaker 3: in the middle of the.
• 1:42:47
  Speaker 6: Floor, yeah and, uh that's, uh this is the one
• 1:42:52
  Speaker 6: THAT i showed. Earlier and then we're back to The.
• 1:42:53
  Speaker 6: Beatles so, yeah that. Was that's just a little quick presentation,
• 1:42:58
  Speaker 6: there and that's some of. Them there's other ones THAT
• 1:43:01
  Speaker 6: i didn't even. Add there's even one.
• 1:43:04
  Speaker 5: For a clockwork.
• 1:43:06
  Speaker 6: Orange it's probably important to also show if we have enough,
• 1:43:10
  Speaker 6: time it's just, one just one little and then the
• 1:43:15
  Speaker 6: people are aware of this. Too but in a clockwork,
• 1:43:17
  Speaker 6: orange there's a word above here this as A drm.
• 1:43:23
  Speaker 5: Chrome.
• 1:43:24
  Speaker 3: Yeah, Here i'm gonna bring that up real. Quick people
• 1:43:26
  Speaker 3: can see, that, yep you could see his head is blocking.
• 1:43:29
  Speaker 3: It but if you fill in the, blanks it's one
• 1:43:32
  Speaker 3: of the earlier cultural mentions of a drenochrome, yep which
• 1:43:37
  Speaker 3: you know right there mk ultra and that goes all
• 1:43:40
  Speaker 3: the way back to The nazis and stretches all the
• 1:43:42
  Speaker 3: way to modern day where, this you, know enigma of
• 1:43:48
  Speaker 3: adrenochrome still still eludes.
• 1:43:51
  Speaker 5: Us.
• 1:43:51
  Speaker 3: Man, well where where can people find your whole documentary on?
• 1:43:55
  Speaker 6: This you find it On amazon And APPLE tv. Plus
• 1:44:00
  Speaker 6: type in a clockwork shining and it'll be the first
• 1:44:03
  Speaker 6: thing to pop. Up but if you wanted the full,
• 1:44:04
  Speaker 6: title it's a Clockwork Shining Cube Bricks odyssey. Three if
• 1:44:08
  Speaker 6: you'd like, to you, know come over to my YouTube
• 1:44:11
  Speaker 6: channel and subscribe over, there as raised by giants on
• 1:44:15
  Speaker 6: YouTube and any and all podcast, Platforms and thank you
• 1:44:19
  Speaker 6: guys very much for having me. On it was a wonderful.
• 1:44:21
  Speaker 6: CONVERSATION i had a lot of. Fun let's do it again.
• 1:44:23
  Speaker 3: Sometime absolutely top of your your mic is muted for whatever.
• 1:44:27
  Speaker 1: Reason, yeah sorry about the time. Limit it's just, UH
• 1:44:31
  Speaker 1: i was just busting your.
• 1:44:32
  Speaker 3: Balls, okay this is a great episode, schedule things Like
• 1:44:36
  Speaker 3: Insane people and we'll have like three shows back to
• 1:44:38
  Speaker 3: back with no breathing time in the middle of. It,
• 1:44:42
  Speaker 3: Man thank you writer for your, time And i'm glad
• 1:44:46
  Speaker 3: we were able to pull this. Off, GUYS i highly
• 1:44:48
  Speaker 3: recommend going and checking out the rest of his work
• 1:44:50
  Speaker 3: because what you saw here on The shining it was
• 1:44:52
  Speaker 3: just like a brief.
• 1:44:52
  Speaker 4: Overview there's his work Is your work is, prolific, man
• 1:44:55
  Speaker 4: you go everywhere when it's like one of one of
• 1:44:59
  Speaker 4: my one of the conspiracy theorists THAT i really like
• 1:45:01
  Speaker 4: to listen, to and like when you start to do,
• 1:45:03
  Speaker 4: content you don't listen as. Much but uh, yeah one
• 1:45:06
  Speaker 4: of the one of those guys in my, Opinion thank, you.
• 1:45:09
  Speaker 5: DUDE i really appreciate THAT i work hard on.
• 1:45:11
  Speaker 6: IT i do it all the. TIME i do all the,
• 1:45:12
  Speaker 6: WORK i book all the, GUESTS i make all the,
• 1:45:15
  Speaker 6: thumbnails and make all do all the, editing and make
• 1:45:17
  Speaker 6: all the reels and all the short. Videos and it
• 1:45:19
  Speaker 6: gets really toxing. Sometimes so tell me about. It the
• 1:45:22
  Speaker 6: compliments that you guys exactly What i'm talking.
• 1:45:24
  Speaker 4: ABOUT i see you On spreaker, Two so go support
• 1:45:26
  Speaker 4: him on on audio as. Well if you, like you,
• 1:45:29
  Speaker 4: know if you like people being able to make a
• 1:45:31
  Speaker 4: living off of this or do more doing more of,
• 1:45:33
  Speaker 4: it go ahead and do. That but, guys until next,
• 1:45:36
  Speaker 4: time which is like two minutes from, now don't forget
• 1:45:39
  Speaker 4: to a basically, imply we'll see you. Guys the taste
• 1:45:44
  Speaker 4: is a tub blom books in the corner of the.
• 1:45:46
  Speaker 5: Room it is constantly, telling let's want.
• 1:45:49
  Speaker 2: To be is real if you can persuade me that
• 1:45:53
  Speaker 2: what they see with their eyes is what there is to, say.
• 1:45:57
  Speaker 3: Because they'll lack in the faces.
• 1:46:00
  Speaker 5: An explanation that portrays the bigger picture of what.
• 1:46:03
  Speaker 3: Happened and they had