125: A Clockwork Shining w/ Ryder Lee

Summary

Nephilim Death Squad

Episode: 125: A Clockwork Shining
Host/Author: TopLobsta Productions
Guest: Ryder Lee
Release Date: February 24, 2025

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1. Introduction

In this episode of Nephilim Death Squad, host David Lee Corbo, also known as Raven, welcomes filmmaker Ryder Lee to delve deep into the intricate and often hidden symbolism within Stanley Kubrick's iconic films, particularly focusing on The Shining and its connections to conspiratorial theories like MK Ultra and subliminal messaging.

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2. Guest Introduction: Ryder Lee

Ryder Lee introduces himself as a filmmaker with a keen interest in uncovering hidden truths within popular media. He is the director and editor of two documentaries available on Amazon Prime:

• JFK Solving the Crime of the Century
• A Clockwork Shining: Kubrick's Odyssey 3

Ryder emphasizes his dedication to exploring theories that bridge biblical perspectives with modern conspiracies.

Notable Quote:

“It takes a lot of time because there's a massive pyramid scheme to justify their slavery.”
— David Lee Corbo [02:57]

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3. Unveiling Kubrick's Hidden Messages in The Shining

The primary focus of the discussion revolves around Stanley Kubrick's The Shining. Ryder Lee presents his theory that the film isn't just a horror masterpiece but a complex portrayal of MK Ultra mind control programs. He argues that Kubrick embedded numerous subliminal messages and continuity errors to influence and disorient the audience subconsciously.

Notable Quote:

“Stanley Kubrick is essentially telling us about MK Ultra mind control. That's what the entire movie is really about.”
— Ryder Lee [16:52]

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4. MK Ultra and Mind Control Theories

Ryder Lee connects the dots between Kubrick's filmmaking techniques and the infamous MK Ultra program. He suggests that the disturbances and inconsistencies in The Shining are deliberate attempts to fracture the viewer's psyche, mirroring the psychological manipulation inflicted upon the film's characters.

Discussion Highlights:

• Subliminal Techniques: Use of disappearing and reappearing objects to create confusion.
• Symbolic References: Inclusion of numbers like "11" representing deeper conspiratorial meanings.
• Continuity Errors: Intentional mistakes that signal hidden messages or future events.

Notable Quote:

“He [Kubrick] was trying to say that what you were watching was fake because the moon landing footage was supposedly broadcasted live everywhere.”
— Ryder Lee [19:43]

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5. Subliminal Messaging in Modern Media

The conversation extends beyond The Shining to explore how modern media also incorporates hidden symbols and messages. Examples include:

• Kim Kardashian's "Santa Baby" Video: Features symbolic nods to The Shining, such as a mascot in a hallway being harassed.
• 30 Seconds to Mars' Music Video "The Kill": Allegedly mirrors Kubrick's cinematic styles and hidden motifs.
• Animated Shows like Toy Story:
  • Instances of background inconsistencies that hint at deeper conspiracies.
  • Specific references like "overlook H237," paralleling The Shining's Room 237.

Notable Quote:

“When you see a piece of media with subliminal messaging in the background, well, he's [Kubrick] always going to end up being part of the conversation.”
— David Lee Corbo [06:57]

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6. Symbolism and Connections in Other Media

Ryder Lee elaborates on the pervasive nature of hidden symbols across various forms of entertainment and how they may correlate with significant historical events. He draws parallels between:

• The Shining and Historical Events: Such as the moon landing and the genocide of Native Americans.
• Nazi Symbolism: Hidden swastikas and other occult symbols in the Gold Room scenes.
• Numerology: The significance of the number "11" and its recurrence as a symbol of control and manipulation.

Notable Quote:

“Everything is connected. The narratives unfold through symbols that are embedded within the films to communicate with those in the know.”
— Ryder Lee [23:46]

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7. Personal Anecdotes and Experiences

Throughout the episode, both hosts share personal experiences that intertwine with the discussion on mind control and hidden messaging. Ryder Lee recounts his near-experiences with astral projection and how trauma can unlock latent psychic abilities, further cementing his belief in the depth of Kubrick's work.

Notable Quote:

“It's like playing with people. That's what I personally think.”
— Ryder Lee [24:45]

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8. Conclusion and Final Remarks

As the episode approaches its end, the hosts reflect on the profound impact of Kubrick's films and the enduring nature of hidden symbolism in media. Ryder Lee invites listeners to explore his documentary, A Clockwork Shining: Kubrick's Odyssey 3, available on Amazon and Apple TV, for a comprehensive analysis of these theories.

Call to Action: Listeners are encouraged to support Ryder Lee's work through various platforms to further explore the hidden truths within popular media.

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Key Takeaways:

• The Shining is posited as a cinematic vehicle for conveying MK Ultra mind control theories.
• Kubrick's intentional continuity errors and symbolic references serve as subliminal messages to the audience.
• Modern media continues to perpetuate hidden symbols that align with historical conspiracies.
• Personal trauma and psychological manipulation are central themes in understanding the depth of these hidden messages.

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For More Information:

• Ryder Lee's YouTube Channel: Raised by Giants
• Support the Podcast: Patreon - Nephilim Death Squad
• Watch Ryder Lee's Documentary: A Clockwork Shining: Kubrick's Odyssey 3 on Amazon Prime and Apple TV

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This summary aims to provide a comprehensive overview of Episode 125 of Nephilim Death Squad, capturing the essential discussions and insights shared by Ryder Lee and the hosts. For a more detailed exploration, listening to the full episode is highly recommended.

Transcript

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[Top Lobster]

Welcome to Toplobster.com the ultimate middle finger to people who hate you anyway. Do you want to turn their mild annoyance into a full blown meltdown? We're not talking about polite little digs. I'm talking about offensive off the page comments that scream, you can't censor me. You can't tell me what to say. We I'd apologize, but I don't think you'd believe me. And frankly, I just don't care what you think. @toplobster.com we know one thing. Playing nice is overrated. We push all the buttons, we cross all the lines, we dot all the I's, and we live in that sweet spot where your style and your words hit like a sledgehammer on the head of your favorite politician. So why play it safe when you can blow it up entirely? If you're too retarded to stop and you're too real to worry about being liked by everybody, well, you just found your favorite website. Go to toplopsa.com, grab a shirt, grab a hoodie, grab a sweater. That'll make your family members scream. Because if they hate you already, you might as well give them something spectacular to complain about. Toplapsa.com Too retarded to stop. I dare you to wear it. Top Lobster Productions.

[David Lee Corbo]

We are being hypnotized by people like this. Newsreaders, politicians, teachers, lecturers.

[Ryder Lee]

We are in a country and in a world that is being run by unbelievably sick people. The chasm between what we're told is.

[David Lee Corbo]

Going on and what is really going on is absolutely.

[Top Lobster]

Oh, yeah, dude, there's some Nephilim shit.

[David Lee Corbo]

It's like we all know what's going down, but no one's saying shit. What happened to the home of the brave?

[Ryder Lee]

They control this.

[David Lee Corbo]

Now when no one's talking about how they know this, how to be slaves. Everybody's just walking around. Welcome back, ladies and gentlemen, to another episode of Nephilim Death Squad. I am David Lee Corbo, AKA the Raven, that is Top Lobster, the father of disinformation. Before we get into today's guest, I would like to remind all of our live viewers that this is a 30 minute preview only. Sometime around the 30 minute mark, we'll be going live exclusively to patreon.com backslash Nephilim Death Squad. You can, however, continue watching along and enjoying an ad free viewing experience for free on patreon.com backslash Nephilim Death Squad for a limited amount of time. Otherwise, give it a couple of days and the episode will release everywhere else. Probably what, three days, four days, something like that.

[Ryder Lee]

Top.

[Top Lobster]

When we feel like it.

[David Lee Corbo]

When we feel like it is really. Yeah, that's really the thing here.

[Top Lobster]

It's coming.

[David Lee Corbo]

Getting into today's guest, we are joined by Ryder Lee Ryder. For the audience who may not be familiar with you, where can they find your work?

[Ryder Lee]

Thanks for having me on, guys. Really appreciate it. Looking forward to the conversation. You can find me on Raised by Giants on YouTube and any and all podcast platforms. And if you would like to reach out to me personally, you can find me on X at raised by giants8 and on Instagram at raised by giants pod. But yeah, I'm a filmmaker. I am director and editor. I have two films on Amazon Prime. I have JFK Solving the Crime of the Century, which you can watch for free on Amazon Prime. And then my latest documentary, A Clockwork shining. Kubrick's Odyssey 3 is also on Amazon Prime. And if you don't like Amazon prime and if you think Amazon prime is promoting Freemasonic symbolism in their logo, you can watch the movie on Vimeo as well. So got you some options there.

[Top Lobster]

Nice. You're. Man, you're. Maybe your JFK film is about to take off again. If you can get it in front of the right eyes. We have some disclosure coming, or what they're calling disclosure. We'll see what they decide to tell us. But what. What angle did you take on that film?

[Ryder Lee]

It's unlike anything that anyone has really ever heard before. It takes is basically Jay Widener. It's his theory. And we originally wanted to do the. The film on Stanley Kubrick first. And then we were like, okay, well, Stanley Kubrick film is going to take a lot more money because he had already previously done two movies on Stanley Kubrick, which was A Kubrick's Odyssey 1 and A Kubrick's Odyssey 2. He's the originator of Stanley Kubrick, essentially showing that the Shining is his confession of faking the moon landing. That's where a lot of people got that idea from, was from Jay Widener and those of Kubrick's Odyssey films. And they don't give them enough credit for that. They kind of take the idea and then put it out there and throw clips and stuff. But who popularized that was Jay Widener in the movie Room 237. That's where everyone really heard that movie. Well, heard that theory. And so JFK X is a different take on the. The assassination of jfk. And I don't want to ruin it for the people that haven't seen it. If you can also watch it on Tubi as well. It's free on Tubi, so you can get on. It's on Amaz, Freevee. You can just type in jfkx and you can watch it on there. Or if you got Tubi on your TV or got the Tubi app, you can just type in jfkx and you'll find it on there.

[David Lee Corbo]

Cubric, he did this thing that has kind of solidified him as the man with the blueprint for subliminal messaging, or at least he did it to the highest level. You just mentioned that he admitted within the film the Shining that he faked the moon landing. And so we find ourselves on this show bringing him up very often, because whenever you see a piece of media with subliminal messaging in the background, well, he's always going to end up being part of the conversation. And recently we did a deep dive on the Santa Baby video by Kim Kardashian. And also we talked quite a bit about the movie White Noise, which is in. Starring Adam Driver. It's a film on Netflix where they're depicting an Ohio train derailment. And the background of that film is. Is rich with storytelling, if you pay attention. But we don't really get into Kubrick very much. And sometimes it's. It doesn't dawn on me that the audience might not know what I'm talking about. Something that you take for granted, but it's not on everybody's radar. So I'd love to start picking this apart today, especially when it comes to the Shining and Clockwork Orange. How can a thing be a movie on one level but have a completely different story in the background?

[Ryder Lee]

Well, that's what Kubrick was a master at doing, was telling the story through the actual filmmaking process. And like we were mentioning before the show started, so many filmmakers now want to give everything away in the exposition of the movie. Like Long Legs. Did you guys see Long Legs with Nicolas Cage?

[David Lee Corbo]

Yeah, I was told to watch Long Legs, and I don't know. It was. It was a strange film. What do you make of it?

[Ryder Lee]

It was really good. I loved it up until the last. Until her mom blows the back out of the head, shoots the doll, and then her spirit or whatever gets released, and then she's laying on the bed, and then her mom comes to her and tells her the entire plot of the freaking movie.

[David Lee Corbo]

Yeah.

[Ryder Lee]

Ruins the entire thing in the same way. With Smile too. Smile 2 did the exact same thing. Like, we didn't have to be told that all of it was happening in our head. We could have put two and two together whenever she woke up on the stage, and then she's the. The Smile character. Like, we would have put two and two together and realized that the entire movie was happening in her head. Like, the. The Smile entity did not have to tell her, this is all happening in your head. These are. These are the problems. And the issues with filmmaking nowadays is literally all. There's no wonder. There's no mystery. It's just all. And whenever they build up that mystery where you're like, oh, man, this is super intriguing, I really like this. Then instead of creating your own ideas and your own theories about the movie, they just tell you exactly what the movie is about. And that's what Kubrick never wanted to do. And that's a reason why Kubrick never did any interviews. Well, he did very few interviews because he didn't want his interpretation of the movie to be projected onto the audience because he felt that if he told the audience exactly what the movie was about, then that ends all theory and speculation as to what he might have been trying to say with the movie.

[David Lee Corbo]

I wonder if those films performed well in the box office. Because it almost seems logical to me that where it will take some time for a Kubrick film to potentially find its audience, and that audience are people that like that sort of a thing, right? Like that mystery, like that speculation and like having to think critically. But I think if we're being honest, the vast majority of people don't. Especially today. Right. We just. Everything happens so fast. Nobody's got time. And so could it be that they're trying to appeal to a larger audience when they do that? Because I would almost. I wouldn't be surprised if it didn't perform well in the box office and then became a cult classic after the fact.

[Top Lobster]

Well, I'm. I'm reading about it now. So the opening weekend, it did just over a half a million dollars. And then like the domestic total, when all was said and done, it was 44 million. And worldwide, 47 million. So it started off like, people like, what the hell is this? And then it just took off. I guess it took his films take a little while to boil over and really think about, yeah, he didn't really.

[Ryder Lee]

Have that many large successes whenever they came out. Even 2001 A Space Odyssey was kind of trashed critically. But before he did the Shining, his movie before that was Barry Lyndon. And Barry Lyndon was not a success at all. Did not make. It was probably Kubrick's worst performing film that ever hit theaters. It was not a critical success. It was not an audience success. And then after Barry Lyndon came out, Kubrick was then offered the Exorcist. He was going to direct the Exorcist, and he turned it down. And then they ultimately went to William Freakin, which is the director of the Exorcist. And that kind of became, you know, a really big film for Warner Brothers because it's based on a novel and really popular movie. And then it's kind of. We sort of theorize in our movie, which there is some evidence for this, is that Warner Brothers, it was kind of Warner Brothers idea to give the Shining to Stanley Kubrick to make the movie, because they had already had success with adapting a horror novel with William Freakin directing the Exorcist. So it was probably pushed in Kubrick's way, like, here, take this. Because they had a pre published copy of the Shining from Stephen King and they were like, Here, Kubrick, you know, kind of, you're. You're on a downstream right now. Your last movie did not perform well. So we want you to do an adaptation of Stephen King's the Shining. And a lot of Kubrick's films, he. He changes things. He doesn't base it off of the novel. And that's what really upset Stephen King within the Shining is because Kubrick put his own spin on the adaptation. And then King came in and then made his miniseries on the Shining, which was complete total dog shit. It was not good. It was haunted bushes and haunted freaking play swings and like just a God awful disaster. And. And that's what Kubrick was saying. He was like, yeah, King, you might be a really good. You might be able to write really good novels, but you're not a filmmaker. You can't make a good film. And we see evidence of that as Kubrick is making the movie. Kubrick is rewriting the entire movie. As he's making it, he's rewriting the script. So he's changing things. He's putting things in there, he's taking things out. He probably submitted a more conducive script to Warner Brothers in the beginning that followed along with King's work so that they would greenlight the movie. No filmmaker is ever going to be writing a script for a film as you're shooting the movie unless you want to complete and utter disaster of a movie. You just don't do that.

[David Lee Corbo]

What did you think about doctor Sleep, which is the sequel to the Shining?

[Ryder Lee]

I like doctor Sleep, but it takes a completely different angle. It's more about like astral projection and out of body experiences and remote viewing and biolocation, which is a really interesting concept which gets into a lot of the remote viewing. And I've done a lot of work into researching the government's remote viewing program, the Stargate project. I've had a lot of those people on my show, the official people that were in the program. Dr. David Morehouse, Lynn Buchanan Delgraph, he was the originator that called the, coined the term Stargate, Dr. Paul Smith. I've had a lot of them on my channel, and I've done a lot of research into it, and I think that it's a really interesting film. They took a completely different direction and obviously it's not a Kubrick film. Though they do use a lot of the symbolism. Like they use the carpet from that Kubrick used in the Shining. It's there and they take it, take you back to the hotel at the end of the movie. And then it, you know, burns to the ground, which it was originally supposed to burn to the ground at the end of the Shining book. I'm pretty sure that that's what happened at the end of Stephen King's novel the Shining is that the hotel burned to the ground. But Kubrick didn't do that in the first movie. So then they just did it at the end of the movie of Doctor Sleep. But I liked it. I thought that the, the acting was good. Hugh McGregor was really good in it. But it has really nothing other than the surface level stuff in Doctor Sleep as a film, I, yeah, I found.

[David Lee Corbo]

That it didn't connect. It almost felt like two different movies in a way where you have that first chunk and then when they go to the hotel, it almost feels like it's. You're watching something different in, in some way because outside of it, it feels like it bears very little resemblance or, or connection to the Shining except for, you know, Ewan McGregor's character. But going back to the original film, I've not. I've watched some segments of documentaries on it. You can find a lot of people are fascinated. It's kind of the gift that keeps giving, right? Because there seems to be replay value in it where you can catch something where you didn't see it the first time around. And it seems that people are pretty comfortable with the idea that the Shining is telling two stories in the background. One is like we said earlier about the moon landing and the other is about the genocide of the Native Americans. And I don't know if that's true. So I'd love to hear your point of view on what is it that Kubrick is trying to express in the Shining?

[Ryder Lee]

Well, that gets really deep. And that's essentially what the entire almost two hour movie is really all about and is really setting up. Because it's a different theory that no one has ever heard before, no one has ever talked about before. And that is that Stanley Kubrick is essentially telling us about MK Ultra mind control. That's what the entire movie is really about. And it's mind control on many levels. Because that doesn't discount the other theories that are circulating about the Shining, like the faking of the moon landing. Because if they did indeed fake the moon landing, that's going to be a giant MK Ultra operation. And then when you look at. Why do none of the TVs have look like they're plugged into anything in the Shining? They're cordless. They're not. But they're running in The Shining. Right. So it's like if he did indeed fake the moon landing, then he's trying to say that what you were watching was fake because the moon landing footage was supposedly broadcasted live everywhere in the world at that time, I think, but mainly in the United States, because the United States was the one that was launching the rocket. So if that's what he's trying to say. An MK Ultra program on many different layers. But there's so many subtle things that Kubrick puts in there. There's so many different continuity errors within the Shining that really doesn't make any sense unless he is trying to break the psyche of the viewer. As the viewer is watching the movie and as Jack Torrance is also starting to go deeper and deeper into this MK Ultra program and getting his psyche split, he's subliminally trying to get the audience to have their psyche split, to have them start to question their reality, subliminally by things disappearing or reappearing or moving around the screen or being there in one shot, disappearing in the next shot, or being there earlier in the movie and not being there later in the movie. So those are some of the subliminal techniques, is to disorient the audience as he's also disorienting the characters within the movie. But there's so many. There's so many different things. Like the first time that we meet Wendy and Danny in the movie. Wendy's reading the book by J.D. salinger called Catcher in the Rye. And I'm sure you guys are familiar with the book. Catcher in the Rye has been associated with two major assassinations within a year of the release of the Shining. So Kubrick had this book in his movie a year before both assassinations of John Lennon and the attempted assassination on Ronald Reagan and where both books were found at the scene, and they've been related to an mkultra style Manchurian Candidate assassination. Kubrick had this book in his movie, and Wendy is reading it a year before both of these assassinations happen.

[David Lee Corbo]

It.

[Top Lobster]

It's.

[David Lee Corbo]

It begins to suggest that. I mean, obviously, if you are recruited to help fake the moon landing, then you might be keen to other information or plans. Right? That's kind of what happens or the implications of that idea. And it seems like the elite, for lack of a better term, they. They regard Kubrick pretty highly. It seems that they. They celebrate his ability to do this sort of a thing, to. To ingrain his media with these symbols that. That tell a story. We were watching the Kim Kardashian video and in it, there is a scene where I actually have it right here. I don't know if you want to bring this. This image up top. Give me one second. But there is an homage to the Shining, and we've got this image here. If you bring that up, you can see on the right side, there is that sort of a mascot down a long hallway, and he's being, you know, molested in. In one way, shape or form by two men. And this is also the same thing that you see In Jared Leto's 32nd to Mars video, the Kill, which is arguably one of their more successful songs, I would say. 30 seconds to Mars, that's probably like maybe their number one hit and the.

[Ryder Lee]

Entire first hit, too.

[David Lee Corbo]

Was it their first hit? And. And I think it. That was the moment that really launched Jared Leto into the stratosphere as far as being, you know, a Hollywood icon goes. And so that entire music video is one big short or not big, you know, but it's. It's a. It's a Kubrick film in many ways. It's done like the Shining. The whole thing is. Is an homage to the Shining. And when I see that, especially when we're talking about Jared Leto, Hollywood elite, Kim Kardashian, you know, Hollywood elite, also probably a witch. These people, I think they. They regard Kubrick pretty highly.

[Ryder Lee]

Then when you look at Jared Leto, he owns Lookout Mountain Air Force Base in Laurel Canyon in Hollywood.

[Top Lobster]

Does he? Come on, man, that's crazy.

[Ryder Lee]

And you look at Lookout Mountain, you look at the Overlook. There used to be a hotel that sat on the grounds of where the Lookout Mountain Air Force Base is. Is that was called the. The Lookout Hotel. And that hotel burnt to the ground in the early 1900s. Then at the end of Stephen King's novel and at the end of doctor Sleep, the Overlook burns to the ground.

[David Lee Corbo]

Yes, yes.

[Ryder Lee]

So you look out Overlook, you got all those connections there. And then all these high ranking. There were so many films that was at Lookout Mountain Air Force Base that. That we don't even know about to this very day. Like thousands of films, there was more films that were made up there. Lookout Mountain Air Force Base, that was made at all. All of Hollywood up until that point. Several people had high ranking clearance for it. Major Hollywood actors had high ranking clearance. This is where all of the nuclear bomb testing footage was filmed. Up there on miniature sets was that Lookout Mountain Air Force Base. Marilyn Monroe, Cary Grant, James Stewart, all these. Ronald Reagan, they all had top secret security clearance for this. Lookout Mountain Air Force Base on top of Laurel Canyon, right outside of Hollywood. And no one knows exactly what they were doing up there, but it is factual that that's where the nuclear testing bombs were filmed. They weren't real bombs that were being dropped and filmed. They were being filmed on miniat sets. And they were being filmed at Lookout Mountain Air Force Base right outside of Hollywood in Laurel Canyon.

[David Lee Corbo]

I might be locate. Oh, I'm sorry. Go ahead, Top.

[Top Lobster]

Yeah, I'm gonna jump the gun here. Why do you think they have to tell you? Because we're describing in multiple, multiple ways how his movie is pointing to events in the future, in the past. But, like, why. Why even bother telling the general public in this way?

[Ryder Lee]

Well, because I think that it's super cryptic, and I think that it's like kind of an homage to the other people that are in the know. Like, oh, hey, this is what we did. And if someone that knows about it sees it, then they'll be clued in on the. The clues to. It's essentially them just playing. Playing with people. That's what I personally think. I don't even think it has anything to do with predictive programming or any of the. I think it's them just, like, sitting back in their giant freaking Death Star rocking chairs and having a good laugh.

[David Lee Corbo]

It's like when you're deceit. Like, if you ever did something, you played a trick on somebody and you and your homie were in on the trick and somebody else was the unwilling participant, and you might look over and, like, give your buddy a nod, right? Because you're in on it. It's. It's. I guess it could be. I look at these things, like, they could be a form of communication. This is. This is an interesting catch. Just this morning, I believe it was just this morning from Red Pill Drifter. It says, I'm sure you understand what the cages are depicting in Toy Story 3. What's also strange is that they would give a nod to Stanley Kubrick's the Shining on the camera. And if you zoom in, which I can't zoom in, it looks like it says, overlook H237. So, I mean, it's Toy Story, and I don't even have an answer for that one. I don't know why. I don't know why you would go through the trouble of putting that little detail in Toy Story. Could just be an animator having fun. But that's a very lazy answer that I kind of not a big fan of of that. It's. A lot of it is just like, oh, animators. Are having fun. Right. That's the same thing when it comes to Disney putting all these strange, subliminal messages in their backgrounds. But when you see that, I mean, do you think that that is another one of these films just paying homage?

[Ryder Lee]

Well, I brought up a thing down here on the bottom that is another Toy Story thing that shows the exact carpet. What's going on there in the Overlook Hotel.

[David Lee Corbo]

What the hell is that about?

[Ryder Lee]

Yeah.

[David Lee Corbo]

Huh.

[Ryder Lee]

Well, apparently the director of Toy Story is a really big Stanley Kubrick fan and a huge shining fan, and he collects all the memorabilia and is, like, really big into it. The. The director is actually of Toy Story, is actually the guy that funded the movie Room 237, that has all the theories in it.

[David Lee Corbo]

When you. So in the. Have you seen the. The Santa Baby video with Kim Kardashian?

[Ryder Lee]

I watched it once and just to see what the hype was about, but I really didn't analyze it to the degree that you guys probably have.

[David Lee Corbo]

Well, in one scene, there is a girl. She's in a cheerleader's outfit. She's got a sort of a boulder cap, and it's covering one eye. And on her chest is blatantly the. The a. From Clockwork Orange. Same colors and everything. And then, of course, her. Her cheerleader outfit is keeping the same color theme. And we went in heavily. I mean, look, when. When I see that, to me, I go, oh, they're trying to tell you that it's not about what's happening in the foreground. It's what's about hap. It's about what's happening in the background. And. And I think another great example of that is something that I've talked about on the show before. There's a film called White Noise. There was a time a few years ago where we had that train derailment in East Palestine, Ohio. And at the same time, we had a Chinese balloon, spy balloon is what we've dubbed it since then, traveling from the northwest all the way to the southeast of America kind of diagonally. And so that film is, you know, takes place in the 1980s. It stars Adam Driver, and in it, a train derailment happens in Ohio. Turns out that a lot of the people in the film, a lot of the actors were locals from East Palestine. And on the surface, if you watch the film, for some reason, the dialogue is captivating and it's well shot and all of the actors are likable, but if you really pay attention, they're not really saying anything. They're not explaining the situation. And there's no narrative that's really unfolding in the dialogue. But if you look at the background, there's a narrative, and that narrative is UFOs. There's TVs in the background. There's news reports running. UFOs are landing. You'll see newspapers occasionally about UFO sightings. And this theme continues all throughout the film. And it's fascinating because in real life, two weeks later, after this film's release, a train derails. And of course, before we knew it was a spy balloon or whatever the hell it was, we were speculating wildly as to whether or not it was a ufo. And at that same time, there were reports coming from a bunch of different countries, Canada, Uruguay, China, and a few others claiming to have either seen UFOs or have shot them down. And those reports went away, and there was nothing ever made about them. But that was our backdrop while we had a train derailment in East Palestine, Ohio. So, I mean, I don't even know really what. What to make of that. You know, you start to ask these questions. Is this revelation of the method? Is this elites communicating back and forth? Have you seen that film? Do you have any thoughts on that?

[Ryder Lee]

I have not seen the film. I wanted to watch it, but I just got. It was one of those things where I started it. I normally watch a movie until the very end, but I started it and it was really late, and it was not picking up speed at all. And I didn't really know what was going on because I don't really like to watch previews or trailers of movies. Because that's another problem is the trailers give away so much about the movie.

[David Lee Corbo]

Yeah.

[Ryder Lee]

And I didn't know anything about it. I didn't know what it was really about or, you know, what was going on within the movie. And it was just seemed, like, really slow. But I'll definitely have to go back and check it out. But there's another movie that's called White Noise that came out in, like, the early 2000s that is like a horror movie.

[David Lee Corbo]

So that's.

[Ryder Lee]

Whenever you first said white Noise, I was like, oh, that old, early 2000s horror movie. But Kubrick has been known to, like. There's been several things throughout Kubrick's career that it's kind of like what you're talking about with art imitating reality or reality imitating art. That's a common theme throughout Kubrick's entire film. Just like what I was mentioning with Catcher in the Rye. He has the book Catcher in the Rye. In his movie a year before both of the assassinations, the one real assassination on the. The Beatle John Lennon and then the attempted assassination on Ronald Reagan. But before that was Lolita. So the movie Lolita is a very touchy film that deals with, you know, pedophilia essentially of a really young girl and a 13 year old girl. But it turns out that the exact same thing that the movie is about is actually happening to the main actor of the movie in real life on the set.

[Top Lobster]

Whoa.

[Ryder Lee]

With Q Breaks production manager. And she's essentially. The things that she's acting about is really happening to her in real life. From Kubrick's production manager. And yeah, it's like, it's just this common thing with Kubricks and also with the Clockwork Orange. Whenever that movie came out, crime rose like heavily. There was literally newspaper articles. There was like the Clockwork Orange gangs, the Clockwork Orange murderers, like. And it was eventually pulled from a lot of other countries, especially in the uk. Kubrick pulled the film because it was inciting violence in real life. And then when you look at the Shining as well, and the things how Kubrick was treating Shelley Duvall on the set of the Shining, which essentially ruined Shelley Duvall's entire career, she was never really the same. She did a few other acting things, but was never really as big as, you know, the Shining and these other Popeye that she was in before. It kind of wrecked her entire career. And that was due to the abuse, the mental abuse. And sometimes, like, I wouldn't really call it physical abuse because he never really physically abused her, but he would tell the people on the set not to tend to her, not listen, don't listen to her, don't tend to her needs, and like pretty much verbally abusing her a lot. And that's like a common thing with, like, what happens in MK Ultra programs. That's like the thing that you want to do the most is psychologically break them down to fracture their mind. So therefore you can put. And he would use the excuse, as, you know. Well, I'm just trying to get a good performance out of her because obviously Kubrick did not think that she was that great of an actor, which is a solid excuse. But you're also using these types of techniques on her that is like verbatim what would be being done in some sort of mind control operation and essentially wrecked and ruined her career afterwards. And she just passed away last year and we actually have a title screen at the end of our movie. And, you know, in memory of Shelley Duvall. But, yeah, she became, like a wreck after. I remember she was on Dr. Phil and like, that. Dr. Phil's series, whenever he had her on, is, like, brutal.

[Top Lobster]

I remember hearing the scene, you know, here's Johnny. That. That scene. They did it over a hundred times. I think it has the Guinness. Guinness World Book Record or something for the. A scene that. The one scene that was filmed the most. And it's like, in. That's the peak of the movie, right, where he's, like, about to murder.

[Ryder Lee]

Ax.

[Top Lobster]

Murder you, and he's been torturing you this entire time. And he finally gets in, and it's just like, here's Johnny. To make somebody relive that.

[David Lee Corbo]

Yeah.

[Top Lobster]

Is fucking brutal, man.

[David Lee Corbo]

You imagine that doing it enough, eventually you could.

[Top Lobster]

Becoming real to you, Right?

[David Lee Corbo]

Yeah, it becomes. That's what I was gonna say. It becomes real to you.

[Ryder Lee]

You want to see something really interesting real quick? So this.

[Top Lobster]

Yeah.

[Ryder Lee]

Whenever Jack goes through the. Whenever he breaks down the. Before he sticks his head in and says, here's Johnny. You only see him break down one side of the quarter panel of the door.

[David Lee Corbo]

Right?

[Ryder Lee]

Right. It's only on the right side. And he sticks his head through and says, here's Johnny. But then whenever Halloran shows up in the snowmobile at the hotel and he turns around, both sides of the quarter panel of the door have been broken down.

[Top Lobster]

Why is.

[David Lee Corbo]

Is this done? To create a certain effect on the audience? Or is there. Is there maybe a. A coded message in that? What do you.

[Top Lobster]

Yeah. Do people. Do you think people even recognize when they're seeing it? Or is it just, like, their subconscious psyche, like, being with.

[Ryder Lee]

I think it's subconsciously, because, I mean, to find this stuff, you have to watch the movie so many times and, like, go through, like, frame by frame by frame to see a lot of the stuff that is there. And that's just one of them. Like, there's, like. There's, like, at least 60 or 70 of these subtle things that change and move throughout the shining. That is 100% obvious. It makes absolutely no sense as to why Kubrick. Why this would be done. I mean, this has to pass through so many people's hands. Like, he has an entire team working for him. So if he would have made a mistake, which is probably highly unlikely because Kubrick is a perfectionist. He gets all the details right. So if it doesn't. If it passes by him, it also has to pass by several other people.

[David Lee Corbo]

Mm.

[Ryder Lee]

Like, there's another one that's really crazy. Let me Try and pull this one up. This one. This one is one that not many people have ever seen. And it's so blatantly obvious. And so whenever Halloran is giving a tour to Wendy and Danny in the beginning of the movie, he. This first room is the freezer room, right? So it goes the freezer room and then the storage room, which. The storage room is really interesting because it plays a heavy role later on in the Shining, whenever Wendy is dragging Jack's body into the storage room. But it sounds like Halloran says, a story room. But anyway, this is the first room that Halloran shows Wendy and Danny. He opens it up. You see where the door handle is? It's on the right side of the door.

[David Lee Corbo]

Yeah.

[Ryder Lee]

Yeah. Okay. So this, the bottom panel here is them exiting that same room. And you see where the. The handle is on the door? It's now on the left side.

[Top Lobster]

It's not even in the same place.

[Ryder Lee]

It's not even in the same place. It's two completely different places. The entire background is completely different.

[Top Lobster]

Let me say something real quick. And this is nothing to do with the Shining. I let my kids watch some shows. I'm careful what they watch. And I was like, bluey, it seems okay. I like the message of this. I don't know if you have kids, and I know this is a crazy aside, but I was like, bluey seems fine. And they. My daughter's learning to spell, so she goes on YouTube and she writes Bluey. And of course, you're not necessarily going to get full episodes. You're going to get other things about Bluey. Sometimes people making their own Bluey things, sometimes playing with toys. This one turned out to be a deep dive into Bluey. It's the craziest thing. And my kids are sitting there watching this for about five minutes before I look. And I said, what the hell are you guys looking at? And it's just some dude. He's like, well, here are the inconsistencies with the show, Bluey. And it's riddled with them. Things just like this. And he's like, look at the father. Bingo. As he sits here. But in the next frame, something is off. And he's like, it shouldn't be that way. This is just a strange oversight. Anyway. And I'm watching this, and it's just one after another after another. I'm like, this fucking show is riddled with these things. And then I started thinking the same thing. I'm like, I understand animation to a certain level. I'm a graphic artist. But I'm like, to get that wrong, you would have had to intentionally design and draw a whole nother set. Because it doesn't. This makes sense to get this one detail. This is an asset that you would reuse in the same spot always to redo it is, like, intentional. And that's what they did. I was like, get the fuck out of here, man. I'm like, now I can't show my kids Bluey? It's crazy.

[David Lee Corbo]

I was watching YouTube with my son and all of a sudden the next next video that popped up that was recommended to him was I pet goat 2. Which is like super bizarre because that was recommended to him. And so I was able to sit down with my son for the first. Today's episode is brought to you by purgestore.com what if I told you that more people have died from parasites than have ever died from war? What if I told you that diseases like cancer, multiple sclerosis, acne, rosacea, and root rheumatoid arthritis can all be treated with parasite medication? Rid your body of these all too common parasites by using Purge Parasite Cleanse. Purge Parasite Cleanse is made with ingredients like zinc, carrot powder, garlic, black walnut. These are all natural ingredients that keep you safe while killing the parasites. And While you're on purgestore.com try out their digestives to promote healthy gut bacteria and aid in digestion. These as well as any other products on purgestore.com can be purchased with a promo code. Neffle N E P H I L I m will save you 15 off of your entire purchase@purge store.com first, like, you know, I mean, you end up pausing so much and then, and then, you know, establishing what all these symbols mean. And a lot of it goes over my head, but I'm still trying to explain to my son, like, look, this is what, he's nine years old. I'm just ruining him. This is what symbols convey. These are all the different meanings. And this is why it's a. It's a more effective form of, of communication than, than spoken word because one symbol can have so many meanings and in conjunction with other symbols, there's a never ending, you know, amount of branches you can go on. But we were talking to Dave Snedeker, who used to be a Hollywood guy, and, oh yeah, one of the things that he highlighted was like, you hold.

[Top Lobster]

On, wait, Dave, before you get into that, let's let the people know because we're well past 30 minutes.

[David Lee Corbo]

Yeah, 39 minutes. We gave them 10 extra minutes. Guys, we are now cutting the stream to YouTube rumble elsewhere. If you want to continue watching along, head over to patreon.com backslash nephilim death squad. You can sign up for the free tier if you'd like and continue enjoying an ad free experience and listening along with this conversation. Otherwise, give it a few days and the episode will release in its entirety. Bye bye. So Snedeker, one of the things that he highlights is that, you know, in filmmaking. What's the. What's the word? Continuity. I think it's continuity. So. So it's so important to have continuity from one scene to the next scene. In other words, if it's a cloud, it's. If it's an overcast sky in one shot and the next shot is still.

[Top Lobster]

In that, this one's gonna blow your mind. Dude, when he tells you this shit.

[David Lee Corbo]

What the. What I tell about the.

[Top Lobster]

Yeah, dude.

[David Lee Corbo]

So basically what he does is that's the anchor point. It's like, look, you're looking for continuity from one scene to the next. If the watch is on the left wrist in one scene, it had better be left wrist in another scene. If there is overcast in one scene and. And the camera switches a frame switches, it had still better be overcast. Which he explained sometimes that's the reason why they're in a rush to get these. Because it's weather dependent. Right. You need that. Everybody knows continuity is. Is incredibly important. So for somebody like Kubrick to deviate from that is. Is, you know, strange. What are you trying to do here? But what he shows us is that in Joe Biden's inauguration, there is really grotesque examples of. Of, you know, non continuity from one moment to the next. In fact, he shows us this video where. Where Hunter Biden is standing in one place and the scene switches or the. The frame switches and he's completely in a different location. Oh, you actually have it?

[Top Lobster]

Yeah. Let me see. Okay. I think this is the scene. Yeah. So he's on. He should be on this side. And this is filmed live, right?

[David Lee Corbo]

Allegedly, yeah. And then when the scene switches because he walks off, there's like a fade. Right. Or something like that.

[Top Lobster]

It's like a crossfade go.

[David Lee Corbo]

That goes on crossfade and then it go. And then he's in a completely different location. That's not it yet. This is it. He's going to walk away and then it'll cross feed and then Hunter Biden is a completely different location.

[Top Lobster]

So he steps down. He should be on the left of Joe as he steps down. Now, here's the. Here's a crossfade. While he's talking. He's talking through it.

[David Lee Corbo]

Boom, boom, boom.

[Top Lobster]

Yeah, this is great. This is really great TV that we're showing people.

[David Lee Corbo]

You really want to watch this one, right? Not a listening one. Watch it and then see.

[Top Lobster]

Okay, Boom. So as he crossfades, show him he's on the. He's on the wrong side of Joe Biden is basically what's going on here.

[David Lee Corbo]

Yeah, yeah. I forget which moment it is, but. But either way, that. That is Snedeker. And he, like I said, used to be a. A filmmaker. And so when. When we're saying here that it's not sloppy, like, all these things are done on purpose, there's somebody who. They pay a lot of money to put every single thing in the background in a very particular way. Very particular. You know what I mean? It's like set designers get paid a lot. It's a very important thing to them. This is not something that you would just overlook. And then you said, writer, that there's like upwards of like, 7 instances or 70 instances of this. Like, that's not an accident at all. And then you have to ask the question, what on earth is Kubrick trying to express by these inconsistencies?

[Ryder Lee]

Yeah, I would have to absolutely agree. I mean, the way that you could get away with that with the Hunter Biden thing is if you just flipped the video to the opposite direction. So you could just mirror it. Yeah. You could just mirrored it or, like, turned it around. But I'm not sure. I'd have to look into that. That one more. But, yeah, the. The Shining is completely just riddled with all of these. These inconsistencies, continuity errors, earlier setups in the movie for things that are being paid off later on in the movie. Like whenever the doctor comes to visit Danny, Danny's laying on a teddy bear. There's teddy bear freaking paintings on the wall at the Overlook Hotel. And then later on, whenever Wendy's. She's essentially been traumatized because Wendy hasn't been gotten to the degree that Danny and Jack are at. Because the reason that Danny has his abilities to be able to do anything is because of the abuse that he suffered by Jack. And this is explained in the beginning of the movie between the Dr. Wind and Wendy that comes to visit them in their apartment in Boulder. The doctor asked her, when. When did these. When did he start showing these types of signs? When did he start having these issues or these problems? Because they're Calling them problems, and they're not really your problems there. He's essentially being able to remote view and like see events that are going to happen in the future is essentially what it is. And she's. She's like, well, when did he start experiencing this kind of stuff? And then Wendy says, well, wasn't long after Jack had hurt Danny's arm, essentially. That's not the exact verbatim words. I'm paraphrasing it. But he started experiencing these problems whenever Jack injured Danny's arm. And then Jack later on admits that to Lloyd the bartender. He first off, he says, oh, well, I didn't touch him. And then he was like, oh, maybe I. Maybe I got him one time, but it was an accident. It was four damn years ago. Which is another. There's dialogue continuity errors as well, because Wendy says in the movie that Jack had been sober since the time that he had hurt Danny's arm. And then Jack says that it was. I think he says that it was three or four years ago. So it didn't make any sense because Jack had only been so for five months. So it's a dialogue error. And there's other dialogue errors as well in the movie. There's one with Grady, which is the theory that there's two. Two different Grady's in the movie. But one that I didn't even catch that was brought up whenever we had Mark Devlin on the show because Mark Devlin's in the documentary. We have Kathy O'Brien, which is MK Ultra mind control survivor. We have Joe Atwell, which is an author and a researcher. We have Mark Devlin, which is an author and researcher and has delved into the music industry. Then we have Walter Bosley, which is a afosi, former Air Force intelligence agent. They're all in the movie, including me and N.J. widener. But Mark brought up in our interview as the reason why Grady's name changes throughout the movie. So whenever Jack is sitting down for the interview with Allman, Allman says that he says Grady. He says his full name. Sorry, I'm blinking on the exact name that he calls him. He says, so later Grady calls himself Delber Grady. So Jon Kane, Delbert Grady. Don't I know you from somewhere? I've seen you around the hotel before. I've seen your pictures on the wall. But we've never seen any picture of Delbert Grady. But there was actually a scene that was cut out of the movie of the Shining that Stanley Kubrick actually filmed, which was Jack, whenever he went down into the basement, he found A scrapbook of all the events that had happened up at the. The Overlook Hotel. So that's like a scene that was cut out, which didn't make any sense because he says that he has seen Delbert Grady's picture around the hotel. And the only way that he would have seen that picture is if he would have found the scrapbook that was in the basement, which was the scene that was cut out. So there's remnants of that scene still being in there later on in the movie whenever they're in the. The bathroom.

[Top Lobster]

And then before there's a reason. So he was. He had a different name in the book. It's not the same name from the Stephen King book. I think it was Delbert and then it's Charles in one version for whatever reason. And then. Yeah, it does a weird slip, right? Like they kind of like, forget that they did that.

[Ryder Lee]

That's right. It was Charles. Charles Grady. Whenever Allman was saying, talking to Jack, he said, the. The former caretaker, Charles Grady we had up here murdered his. His wife and his two daughters. And then later, whenever Jack and Grady is in the. In the bathroom and he's cleaning the alcohol off of Jack's blazer, he refers to himself as Delbert Grady. That's Charles Grady. And then Delbert Grady.

[Top Lobster]

Delbert is his name in the book. If I. Because I love Stephen King, I hate his politics. I think he's a huge homo, but I. I just really like his writing. The Dark Tower, whatever. I do remember it's Delbert in the book and it's Charles. So, yeah, it's like they, so they, they intentionally. He goes through the trouble of changing this guy's name for really no reason, because it's not even a real character in this. In this play, in this book or movie. And then accidentally, like, what would be the term Mandela? Affecting himself. Like, it's.

[David Lee Corbo]

I don't.

[Top Lobster]

I don't get it.

[David Lee Corbo]

It's almost like a Mandela effect.

[Top Lobster]

It's extremely jarring for anyone who's like.

[David Lee Corbo]

Is, if he is creating all these inconsistencies in the hopes that someone would notice, and if you notice, then you might start looking for more inconsistencies. And to your point, Ryder, it seems to be riddled with them. And then if you're looking for those things and you're no longer paying attention to the story, well, then you might pick up on the other one. So do you think it's a. It's a form of, like, breadcrumbs left for the viewer so that you will be Cued into the idea that something else is happening.

[Ryder Lee]

Yeah, there's. Because whenever I was making the movie, I originally wanted to, you know, make the movie. And I was watching the Shining over and over and over again, and I wasn't really privy to any of the other theories surrounding the Shining, so I was just watching the movie over and over and over again. I'm trying to figure out and see things that maybe no one had ever seen before. And I believe that I did find things that no one had ever seen before. And the background of the Gold Room. Hold on, let me try and. Okay, we're on, we're on uncensored platform, right?

[David Lee Corbo]

Oh, yeah, you're all good.

[Ryder Lee]

Okay, so if you want to screen share this. Oh, this right here. So in the background of the Gold Room, whenever they're being walked through, Almond is giving them a tour of the Gold Room, There's a Nazi swastika in the background of the Gold Room on the wall.

[Top Lobster]

Nazis love their symbology, dude.

[David Lee Corbo]

That's it. Yeah.

[Ryder Lee]

And where did, where did mind control in MK Ultra.

[David Lee Corbo]

Yeah.

[Ryder Lee]

Start?

[Top Lobster]

Yeah, it's, it's a shame that the Nazis get lumped in with racism and like, like, I don't know, politics because, like, they really do shine with their occult symbolism and, and that kind of stuff. Their ties to methamphetamine.

[David Lee Corbo]

Yeah, everybody's, everybody's mad because they're, they're, they're racist. I'm like, you should be mad because they're occultists then.

[Top Lobster]

Yeah.

[David Lee Corbo]

And they're clearly trying to do something pretty nefarious.

[Top Lobster]

I mean, you're like, channeling, channeling ancient Atlantians and like that. It's like, no problem. Yeah, but did you hear about how they felt about the blacks?

[David Lee Corbo]

Like, all right, it's like, that's not good. That's.

[Top Lobster]

We're missing it, we're missing it here.

[David Lee Corbo]

Yeah, I, I, I see this. I mean, I wonder if.

[Top Lobster]

Why do you think, why do you think he put it here? Because for me, it's like, it's got to be the occult symbolism of the Nazis. Like, he's paying respect to these, these dudes who are looking for, you know, this, the Spear of Destiny that killed Jesus or that, you know, because it.

[David Lee Corbo]

Could be a nod to that, that MK Ultra. I mean, that's, that's where it got its roots in very many ways. And, and this is what you're doing. I mean, you're literally doing that to the actress in real time. Right. You're evil manipulating her via trauma and so yeah, I mean, maybe, maybe that's what it is.

[Ryder Lee]

I think that it was 100 has to do with a nod to the, the MK Ultra programs that were started in, in Nazi Germany during that time. And there's other things as well that revolve around this. Whenever Jack is in the Gold Room and he's talking to Lloyd the bartender, there's a lady that walks past that has like this line of a bloody handprint that's on her ass. Now people have said that this is. I was the first person to see this. I was the only person that ever pointed this out. I pointed this out like two years ago with Jay Widener on my show, before I even made our documentary.

[David Lee Corbo]

It looks like Wilson.

[Ryder Lee]

Exactly. That's exactly what it is. Tom Hanks and the Wilson volleyball, the four fingerprint thing. And you can look into freaking Tom Hanks and see all the. Oh yeah, weird that he's been into. And then, you know, can you go back to that?

[Top Lobster]

Yeah, yeah. Oh, there it is.

[David Lee Corbo]

And then what do you suggest? That, that, that that bloody handprint is, is actually representative of one in particular torture victim. A child who would have been, you know, the recipient of just horrifying things in an Epstein esque kind of a scenario. And, and they even allege that people like Ellen DeGeneres and I think Jay Z and a few others pay homage to that moment. You'll see this, this bloody handprint face thing and a lot of things and they'll wear it on a sweater and it bears. Resembles. It's not quite the same thing, but it does bear resemblance. It's a face and it's, it's bloodied. I've also seen it blown up as artwork, I think in, in like Jay Z's house or somebody like that. I think even maybe Tony Podesta. So I mean, yeah, this, this all becomes, I mean that just got real messy real quick.

[Ryder Lee]

It did. And that's one of the first things that, that I had seen while I was watching the movie that no one else had ever brought up or ever noticed before. And with anything too.

[David Lee Corbo]

Like now that you see it, it's blatant.

[Top Lobster]

Yeah.

[Ryder Lee]

With anything that you first discover, there's always people that's going to come out and try and say that's not what it is because they're jealous that they're, they didn't see it first. Right. They're like, oh, that's not, that's just a part of the dress that's just made into the dress. Well, regardless if it's a part of the dress or made into the dress. Kubrick put this costume designer to put a freaking. The shape of a bloody handprint on the back of this woman's dress, and it just happens to be on her ass, like, right where her ass is.

[David Lee Corbo]

Yeah, yeah.

[Ryder Lee]

Like, give me a break, bro.

[David Lee Corbo]

Great catch. Great catch. Yeah. I mean. I mean, as soon as you pointed it out, that's where my mind went. Is straight to the Wilson volleyball. And like I said, it got. It gets messy because the implications of that are. Are massive. When did Castaway come out? So when if this.

[Ryder Lee]

2000, I believe.

[David Lee Corbo]

2000. And when did the Shining come out?

[Ryder Lee]

1980.

[Top Lobster]

Wow. This is a. It's a very long game.

[David Lee Corbo]

It's a long game. And it's really.

[Top Lobster]

It makes me think, though, like. Like, damn. Like, as. As we're uncovering. Like you did. When did you documentary about this release released last year.

[Ryder Lee]

Released a day before the election.

[David Lee Corbo]

It's almost like.

[Top Lobster]

Almost 50 years.

[Ryder Lee]

50 years, yeah.

[Top Lobster]

I mean, other people have been talking about it, of course, but it's like.

[David Lee Corbo]

But I was saying to Ryder earlier, like, Cubic films, the Shining in particular is like, you know, you think about a video game and its replay value. This film has replay value. And it just keeps giving.

[Ryder Lee]

It does. It keeps giving and giving and giving. It's a movie that doesn't. Doesn't stop giving.

[David Lee Corbo]

And it's in that way you look at Kubrick and it's like he's a. He's a master.

[Ryder Lee]

He is a master. He's a. He's a master filmmaker. And he can slide things in there that people won't notice for years and years and years. I mean.

[David Lee Corbo]

Years.

[Ryder Lee]

Yeah. I mean, to the fact that we can still watch the movie and find new things within the movie that no one has ever seen before. Because that was going to be. That was my hurdle, right? Because I wasn't going to make the movie if I was just going to be rehashing everyone's previously established theories.

[David Lee Corbo]

Right?

[Ryder Lee]

And as I was watching it, this was the first thing that I seen. And then I seen the. The. The swastika in the background of the gold room. And then the one thing that people really bring up a lot but they've misinterpreted is this photo right here. So whenever Danny is in the games room and he's throwing darts at the dartboard, he turns around and he sees the two little girls, which is the twins. There's a lot of 11 symbolism in the movie. There's 11s everywhere. There's this. You got the twins right here that are representing the 11. You got the double doors behind them. That's also presenting the love. And pretty much all the doors in the entire hotel. Two doors. They're two double doors.

[David Lee Corbo]

Eleven writer that Stranger Things. The main character is Eleven. And that is a trauma based MK Ultra. You know, mind control entities on the other side of the veil kind of a situation.

[Ryder Lee]

That's exactly right.

[Top Lobster]

What's even stranger too is that, I mean, if you want to get real like supernatural with it, 11, they refer to her as L. And that's like an abbreviation of Elohim, which would be full if anything, from fallen angels to God the creator. So yeah, it's. Man, it's. This goes super deep.

[Ryder Lee]

Super, super deep. So all the 11.

[David Lee Corbo]

So it's the. The 911 thing too, right? I mean they, it's everywhere. The buildings were. They had names. Actually. Each individual tower had a name. They were considered like twins. It was. I forget exactly how that went, but yeah, that. So I mean that 11 symbolism was done to us on 9. 11 too.

[Ryder Lee]

Yeah. The twin towers, the twins in this movie, the double doors, lights looking like Elevens. Like it's. It's insane when you look at all the 11 types of symbolism within the Shining. But this poster on the wall that's in the background, people have pointed this out. This wasn't something that I had seen. Others have pointed out this poster before. But they got the meaning of what the poster actually is wrong. And they think that it's referring to the. They. They look at the poster and they see this ski. This guy in the ski looks like he's skiing or whatever. And they. But also they think that it looks like a minotaur, which you have like the, the famous cubic stares that are prominent in his movies. You had it in A Clockwork Orange where Alex was doing. You know that stare that they do where they bring their eye. They nod their head down and they. What's their eyes up?

[Top Lobster]

Sampuku eye or something like that.

[David Lee Corbo]

Yeah, it's where you could see the whites of their eyes on the bottom. Predominantly.

[Ryder Lee]

Yes. And that's also in Full Metal Jacket. That's in the Shining.

[David Lee Corbo]

Cubert does it all the time as well. Trump did it. And obviously the painting of Lucifer is one of the more famous examples of that. I forget who painted that. I don't know if it was da Vinci or Michelangelo, whatever, but he is doing this kind of like, you know, it's. It's indicative of like vengeance or something like that.

[Ryder Lee]

So when you take this poster for what it actually means and you analyze the word Monarch, you have Monarch MK Ultra. Right, Right.

[Top Lobster]

The butterfly.

[Ryder Lee]

Exactly. So you have. You have Monarch MK Ultra. You have Jack writing out over and over and over again the same phrase. And Wendy comes in and finds it. And then Jack's then triggered to do violence and try and murder his family after that, which is a psychic driving technique that is done where they would basically imprint. It's a famous technique that was developed in. In Canada that they would take a looped audio message into a room and have the subject or the patient listen to the looped audio message over and over and over again. So then it just gets stuck in their head. So that's what they're doing to Jack. They're essentially making him write the same thing over and over and over again. And we see evidence of that with Sirhan Sirhan. Which assassin was said to have assassinated rfk? He did the same thing over and over and over again in his notebook. RFK must die. RFK must die. Over and over and over again. And Jack is doing his own version of that same exact technique, which is psychic driving. He's all working. No play makes Jack a dull boy. All working. No play makes Jack a doll boy. It's the same exact technique. And then when Wendy comes in and sees it, he's just. He's not really writing a novel. He's just writing the same words over and over and over again. He then becomes. He gets triggered. Yeah, MK Ultra, Manchurian style candidate trigger that makes him want to murder Wendy and Danny.

[David Lee Corbo]

The. The image on the poster reminds me of like the kind of the Lucifer, the Morning star, the light bearer, the Promethean kind of a situation. It's like this man carrying the light. But. But all these things, there's. They're spells at the end of the day. I mean, you were talking before about how, you know, not only are they doing this to the actress while they're going through it, but also it seems that Clockwork Orange is having this effect wherever it's playing, that suddenly, you know, violence is happening around the areas where it's released to the point where they even remove it from the uk. That, to me sounds just like at some point the music industry hijacked predominantly black music. I mean, obviously it's happened, but. But with hip hop in particular, it wasn't always like this violence addled, sort of like drug use, gang banging, disrespect to women, that kind of a thing. It didn't used to be that when it first happened. And, and then it seems like at some point you can speculate as to why is a prison industrial complex trying to create a situation. We're going to end up imprisoning more black people because they get paid or, or the crack epidemic, right? Funding the Iran Contra wars, all these things. Doesn't really matter. What eventually happens is, let's just put it in the most generous light possible. They realize that violence, drug use and, and things of that nature sell very well. And so then what happens is their artists start pushing that. Because, look, if you're a record label, like, you got talent, kid. You just got to change your messaging. We know what works. And then eventually what happens is where the art form used to be a reflection of the culture, it then mirrors itself back and the culture becomes a product of the art form. So where the art form is now pushing out into the world violence and, and, you know, women abuse and drug usage and, and glorifying, like being in prison and things like that, then the culture starts to emulate it. So it becomes this, like, feedback loop. And if you can do that to an entire community of people and, and hijack a culture like that, well, then maybe you could do that with, like, world events. Maybe if you could embed your plans for what's going to happen in the future in enough of your media and aim that at people, maybe somehow there's this exchange back and we can kind of manifest these things. It's. It's spellcraft. It's just not in the way that we think about spellcraft. When you think about, I don't know, like, the way children's cartoons or something presents it, there's a lot of that.

[Ryder Lee]

Too, with like, double speak within the community. The, you know, where people will mention one thing, but they mean something completely different. But the audience and the people that are listening have a different interpretation. They think that it's a surface level when they actually mean something, you know, completely. I mean, look at the alien invasions stuff. I mean, how long have people been talking about an alien invasion? Well, we had an alien invasion. It happened in 2020. Biden let it happen. It came across our borders. When you're in another country, you're considered an alien. If I were to go to any other country right now, and I'm not a citizen of that country, I'm an alien. I'm an alien there. I am foreign to that country. I am not from there. So we have this crisis where everyone's talking about, you know, the, the, the big Alien invasion. And then, you know, Trump comes in and is like, well, let's deport all these people back to where they're from. So Trump came in and defeated the freaking aliens, dude. It's. It's. It's mind. It's word magic. Mind is all that it is.

[Top Lobster]

It's literally Reagan, say. Reagan said, like, oh, if we wanted to have some kind of, like, world government, we would. It would take something like an alien invasion. Never thought about it among those lines.

[David Lee Corbo]

Well, well, sometimes it is a very literal, though. And by that I mean, like, people have pretty well established that before 9, 11 happened, we were just constantly absorbing media that was about the towers getting attacked. And it showed up in so many different ways. You know, all the way from, like the Simpsons to, I don't know, whatever you name the show. And in hindsight, hindsight's 20 20. We can look back and be like, now that the towers are gone, this magazine is really strange. Or this episode of this show is really strange, or this film or this, you know, whatever. And we ended up finding that there was a lot of it. And so I don't know what purpose that serves you. You can only kind of speculate. But it's. It seems like on some level, it's communications with those in the know. On another level, it is. Is trying to show you this thing so that you reciprocate in some way. There's an energetic exchange. Maybe if enough people have that implanted in their subconscious, then the path opens up for them to be able to execute it. I. I don't know. But so sometimes, yeah, it's really literal. It's actually like, if they're showing the towers getting destroyed, it's because the towers are going to get destroyed. And then sometimes maybe it's. It's a little bit different where, you know, your alien analogy works.

[Top Lobster]

Ryder, I see you're about to pull up another. Another still here. But I wanted to say before I forget the 11 stuff. Crowley, that's like big in Thalima, I think the do as thou will will be the whole of the law. Like, he's like, made sure it had 11 words in it. 11 was like a divine number to the. You know, to Thalima, to Crowley and Crawleyites. And it also shows up in Kabbalah. It's something like in. In their sort of numerology, it means it's the space. It's this supernatural space between, like, human understanding and this, like, esoteric world. That's what they sim. That's what they thought 11 was.

[David Lee Corbo]

So it also has something to do with like the Pillars of Solomon in some way. There's these two pillars, I'm reading it here, made of brush. This episode is brought to you by Matt Rife and his team over@real rifetechnology.com the home of the Real Reif machine. A real Reif machine is an electromagnetic radio frequency device engineered by Dr. Royal Raymond Rife in the 1920s used to address various health concerns. Unlike imitation devices on the market today, Rife Technology was co founded by Dr. Rife's relatives and longtime friend of the show Matthew Rife. Real Rife machines are the cutting edge in wellness technology. I personally own one and I use it all the time. I like to tune my Real Rife machine to the frequencies that help with addiction to help curb my sugar cravings. Their Royal Rife machine is recognized as a general wellness product by the fda. They're great for weight optimization and fitness improvement, mental clarity and cognitive functions, sleep enhancement and mood balance, vitality and sexual functions, digestive health and immune boost, skin radiance and endurance boost, healthy blood pressure maintenance and more. And while you're on realrite technologies.com be sure to check out the other products they offer and use promo code nephilim for 15% off your entire order. That's promo code nephilim Nepal H I L I M for 15 off your entire order. When you visit real rife technology.com bonds that stood in front of the entrance to Solomon's temple in Jerusalem. And then it's like on 911 who took out that gigantic insurance claim? I know, I know. The Solomon brothers had something to do. Their name gets brought up or that name gets brought up in the 911 situation. Here, let me see if I can find it.

[Ryder Lee]

Solomon makes me think of Salamanca from Breaking Bad.

[Top Lobster]

Oh yeah.

[Ryder Lee]

I just.

[David Lee Corbo]

Yes.

[Top Lobster]

Watch that.

[David Lee Corbo]

Okay. Solomon Brothers was building seven. The Solomon brothers building.

[Top Lobster]

Okay. Yeah.

[David Lee Corbo]

So you know the Pillars of Solomon, the Solomon brothers. Yeah. This is, there's like, it's a big. The number 11 is, is, is like the numerological representation of the, the, the Pillars of Solomon. Yeah, there's, there's something there.

[Ryder Lee]

It also refers to Janus, the, the God Janus. The androgynous God Janus.

[David Lee Corbo]

Yes. Yeah. The. Doesn't it, doesn't it have two faces?

[Ryder Lee]

Yes.

[David Lee Corbo]

Yeah.

[Top Lobster]

Nephilim, baby.

[Ryder Lee]

And then when you look at, you know, what they were trying to be, you know, pushing for the past long time now is like essentially androgyny.

[David Lee Corbo]

Yeah.

[Ryder Lee]

Mix the mixing of the genders Mm.

[David Lee Corbo]

And then when. It's when those two genders are destroyed, what takes their place is one unified thing. So to become one, it becomes this intersex kind of a situation. Yeah, yeah.

[Ryder Lee]

And then like hermaphrodite type situation. And then you look at Joseph Mingala during World War II and some of the Nazi experiments on twins.

[David Lee Corbo]

Yeah, yeah. He was a weird guy. He's obsessed with twins. And he was obsessed with, I learned recently, central heterochromia.

[Top Lobster]

Oh. Which apparently. Here we go.

[David Lee Corbo]

No, I'm not going to go into it, but people that have like, two different.

[Top Lobster]

No, tell them. Tell the people. Go ahead, tell the people.

[David Lee Corbo]

The people.

[Top Lobster]

He told me seven times. When you're at my house, tell the people.

[David Lee Corbo]

Did you know that he was injecting adrenaline in people's eyeballs who had central heterochromia and he was trying to see if it would change. That guy. Weird cat.

[Top Lobster]

Do you know what that is? Central heterochromia. Ever heard of this?

[Ryder Lee]

Never heard of.

[David Lee Corbo]

It's just basically, heterochromia is when you have like.

[Top Lobster]

Just means when you're the best, bro. Like me.

[David Lee Corbo]

It's when one color, one eye is one color and another one is another color. And then central heterochromia is where there's two definitive colors in. In one eye, like there's a ring of color and then an outer ring of color. There you go. I have that, but it's. It's not served me at all.

[Top Lobster]

But the idea behind it is that people with this sort of genetic trait are harder to MK Ultra, maybe because of the flicker rate or whatever, have.

[David Lee Corbo]

Extra cones in their eye. I guess we. We have extra cones in our eye. Allegedly the Gates program, mnk, MK Ultra and other programs like that were seeking people out who had this disposition. And I guess the story goes, basically they were trying to figure out why in the hell these people won't succumb to this sort of a. Like the. Apparently we can't be hypnotized. I've never been hypnotized, but it doesn't mean shit. That's anecdotal, but yeah, I mean, it's interesting. MK Ultra, the Gates program, Mengele, you know it all. It all.

[Top Lobster]

The eye in general.

[David Lee Corbo]

The eye in general, yeah.

[Ryder Lee]

That's really interesting because I have two pupils in my left eye.

[David Lee Corbo]

Do you really?

[Top Lobster]

How does that work?

[Ryder Lee]

My. My pupil and my left eye has been split, so the top half of my left eye, you wouldn't be able to see. The camera quality is not Good enough. But the pupil on my left eye. I was shot in the eye with a BB gun when I was 12 years old. It was horrible, dude. It was the worst pain.

[David Lee Corbo]

I have literally shot two of my friends in the eye with a BB gun. That's why.

[Top Lobster]

What a jerk.

[Ryder Lee]

You were that guy, bro. You.

[David Lee Corbo]

No, I was literally that guy, man. That's horrifying. Oh my God. And it split your pupil?

[Ryder Lee]

Split my pupil in half. So whenever I go, anytime that I ever go to the eye doctor, which I don't really ever go to the eye doctor, I don't go to any doctors in general ever. But whenever I have in the past, they are like astounded by what they can see in my eye. Because you're. They're able to see things that they normally couldn't see. Because my pupils are like.

[David Lee Corbo]

Has it affected your vision a little bit?

[Ryder Lee]

I mean, if I close my right eye, it's definitely more blurry, but it's, I think it's like, I don't know, 1820 vision still really good.

[David Lee Corbo]

Vision still really good. Yeah.

[Ryder Lee]

But it recovered and like the blood was like all like blocked my eye out, so I couldn't see for like three months out of my left eye.

[David Lee Corbo]

Oh, that's such a nightmare, dude. I have a nine year old and I'm just thinking like, if that happened, Holy crap. Some sort of weird karma for me. Yeah. But this, this, I mean, that's a great bit of connective tissue right between. You brought up Mengele. I wonder what, what it is, what was his. Do you have any information about what his fascination regarding twins was? Was it, was it the alleged psychic connection that exists between twins?

[Ryder Lee]

I think that that's what he was trying to figure out. But it's difficult to find a lot of information on it because a lot of it is like a bunch of speculation. And what in like second hand information on exactly the types of experiments that he was doing? There's really no solid like documentation that shows exactly what he was doing with twins. So it's kind of like handed down information and that information has kind of been regurgitated. And we know when things are regurgitated. Regurgitated things get lost in the shuffle and things get added or things get taken away from it. So it becomes like this, this kind of mystery thing. But it's been reported by several people that he was doing experiments on twins. So what exactly it was for? I would be guessing that it had something to do with the psychic communication between them and if they would be able to tell like what was going on to the other one and which then relates into MK Ultra as well. Because that's what they were trying do with MK Ultra ultimately was to try and bring about these psychic abilities and these psychic powers from the mind fracturing that they were doing. It was kind of like an after effect. It was kind of like an afterthought. Like, yeah, well, let's see if we can control their mind. Let's traumatize them, let's see what we can do with that, and then let's see what happens afterwards. Like what, what can we do with them after we've like broken down their psyche? And several of them got enhanced abilities. Their intuition was unlocked. Their psychic abilities were then opened up. Like it opened up this whole other world. It's just so unfortunate that in order to essentially unlock these abilities, you have to go through really torturous conditions. But that can also happen in just like everyday normal life as well. Like, you don't have to be a part of any kind of government, governmental, MK Ultra mind fracturing program to have some form of psychic abilities. I believe that we all have psychic abilities. It's just if it's in the forefront of our consciousness or not. So like, any kind of traumatizing event that is done to you personally can and probably will inevitably open up these psychic abilities within you. That, that's why kids are probably the most susceptible to it. And that's also where you get a lot of in like the Harry Fairy stuff, like the mystical things as well. Because our brain actually tries to cover up that trauma. And our brain can actually just make up things to replace the negative stuff that we experienced. So instead of you being molested whenever you were younger, or something happening to you whenever you were really young, some very traumatic thing, and your uncle raping you in the closet or whatever, your. Your brain will then make something up to replace those events with in order to cover up that trauma. So it could be. Instead of that happening to you, it could be, oh, well, I was on a top secret mission and I was a superhero. You know what I mean? I was a super soldier in space. You know, fighting aliens stories too. Exactly.

[Top Lobster]

Let me ask you a question. I guess a personal question. Do you, knowing what they were after and what they're searching for, do you think that we should, like, not that we should continue, that we should. I don't even know if this is a question, but like, should we be figuring this stuff out at all? Like if. If human beings do have these latent abilities that lie within you that are released with trauma. It's like. Like, I get why these people wanted to study that. That's the most fascinating thing you can look right now we're trying to make rats transgender in Afghanistan or something. Like, who cares? This I understand. People are. People are getting hurt. And I'm not advocating.

[David Lee Corbo]

I'm not like, I guess, molesting these rats so that they have psychic powers.

[Ryder Lee]

You're doing it all wrong.

[Top Lobster]

It's all right. I'm coming out as a. A proponent of Project MK Ultra. Like, I. I'm going to go into government and. And petition them to fund it. More like, we need to. Or at least to know what you found out. I understand you did this awful thing, but it's kind of like the. The information is just. It's priceless and it's. It's a shame that we don't know. We don't really know what they discovered. The.

[David Lee Corbo]

The issue with it becomes if you adhere to the idea that within these different realms or wherever you're, you know, going when you're remote viewing or actual projecting, that there are other things that inhabit it, this is something obviously, that Stranger Things plays off of. And I. And I don't think that that is the only element in that film that's inconsistent with reality. I think that probably is consistent with reality. I myself have been exposed to things that I don't have the luxury of, you know, wondering if other things exist. And so the question then becomes, there seems to be a connection between childhood trauma and psychic abilities. There's also a connection between trauma, especially childhood trauma, and demonic possession. And so the question then becomes.

[Top Lobster]

Gets into Jerry Marzinski territory.

[David Lee Corbo]

And I know Jerry. Yeah, Jerry is the man. I know you've spoken to him as well. I've heard we have a episode.

[Top Lobster]

We have a running gag on this show where I'm about to. I'm about to produce bingo cards. So as they watch, every time David says something like, I have autopilot erection, or, like, talks about his eye or says Jerry Marzinski, everybody, either you put like a little bingo card in there, you just drink at this point, they're drinking. It's not a good deal if I.

[David Lee Corbo]

Say the word indicative, which is, I can't say that anymore. So. So if there is a chance, there seems to be a chance. And I understand the. The logical line of thinking here. It's like, how do you know that these spiritual abilities that you then derive from this traumatic experience are your own abilities? Or if you've Been augmented in some way by something that's remaining silent, but allowing whatever abilities it has to be to be lent to you. Like, sometimes you see a film that plays off that. Right. Actually, there's a great music video by Skrillex, which a lot of people would say that's an oxymoron, but either way, there's a. A music video by Skrillex called First of the Year. And in that video, it's about a pedophile who's going to playgrounds and picking up kids, Picks up the wrong kid and this little girl who he takes to, like, an empty warehouse, ends up having, like, she's possessed in one way or another. So she has a demon that comes along with her and rips the guy to shreds. It's a really cool song and a really cool video. But she looks like she's doing telekinesis to this guy, but the shadow that she's casting on the wall shows you that something else is in the room with her and it's actually doing it. So I think that there might be a reality to that. I mean, you have looked into these things a lot. You were talking before about all the remote viewing. And I. I'm not saying that any one of these. These abilities isn't outside of, like, a demonic possession. Like, I think there might be something to remote viewing. But there are other things like telekinesis, knowing one way or another what somebody's thinking or any of these things. I mean, how do you separate those two? What have you found looking into them?

[Ryder Lee]

Well, what I found is, I think kind of reimagines the entire paranormal and spirit phenomenon. Because there's this remote viewing technique that was taught by Ingo Swann, which was. He was a part of SRI International. That was some of the first people that were looked into, you know, the. The psychic phenomenon and remote viewing. And there's this advanced form of remote viewing that's called perfect sight integration, which is essentially bilocation. So you get into your remote viewing state and you can essentially duplicate your physical body and take that physical body wherever you want it to go, but in like a. Like an astral projection biolocation form. So then whenever you get to that site that you're essentially removing, you can interact with the environment. Oh, you can move things. You can knock things off walls, you can open cabinets, you can open refrigerator doors.

[David Lee Corbo]

That kind of makes you feel like whenever people are having poltergeist, it's really just some asshole who's remote viewing. And he was like, watch this shit. I'm knock this over. Watch him.

[Top Lobster]

Yeah, the poltergeist. It doesn't fit with the supernatural world view of like the other side most of the time. Because sometimes it's like, it's like this is a human being like, like that.

[David Lee Corbo]

Is just standing in my kitchen knocking cups off the counter.

[Ryder Lee]

Yeah, I mean, it really reimagines it because some of this stuff might not even be like what we think that it is. It might be another living human being also in, in our dream state as well. I mean, when does a lot of this type of activity normally happen? It's normally synonymous with happening at night.

[David Lee Corbo]

Oh yeah.

[Ryder Lee]

What are people doing at night? They're sleeping. A majority of the population is asleep at night. So could we be dreaming about a specific location that is important to us? And then we have literally brought our dream consciousness into this physical reality and we're able to manipulate the environment and manipulate the area of like where we are. And then that's what people are experiencing and they're thinking, oh, well, it has to be some kind of disembodied spirit or someone that's died here when that might not be the case. And I'm not saying that that other possibility isn't possible. Well, I mean, it could, could very well be some.

[David Lee Corbo]

No, I think it's spirits, but a plethora of going on, which is like, we're just, we think in the, in the physical three dimensional realm, but you know, whenever it comes to these other realms, they're, they're probably just as diverse. So in the way that you would hear something in your attic and you go, that's either an intruder, a demon, or I have this fucking raccoon problem again. It was like, yeah, it's pretty diverse. There could be a number of things happening.

[Top Lobster]

All of those things could be all.

[David Lee Corbo]

Of those things, right?

[Ryder Lee]

Psychic rats up there, dude.

[David Lee Corbo]

Psychic rats, right. So it's interesting when you traumatize them. So they have some people that have.

[Top Lobster]

These encounters that like, I don't know, some surefire ways that we've, we've went through, like, from sleep paralysis to like alien abduction is like saying the name of Jesus Christ. A lot of people have said this and that. It works. And. But there will be cases where stuff like this doesn't work. Like if your house is being haunted and then you're like, I rebuke you in the name of Jesus Christ. And it's like it's some guy, it's a government worker and he's like, this.

[David Lee Corbo]

Doesn'T neighbor who figured out how to astral project.

[Top Lobster]

Yeah, that doesn't work on him. Him. Like there's. I don't know if you're familiar with the story of the guy that killed Anton lavey in. He Was Allegedly. Whatever.

[Ryder Lee]

In.

[Top Lobster]

In Tony Merkel show the Confessionals, he says that Anton is doing astral projection at him or, like, manifesting himself some way.

[Ryder Lee]

He.

[Top Lobster]

And he rebuked him. He's like. That doesn't work on me because he's not. He's not an incorporeal entity. He is a human being that is doing this thing. You know what I mean? So, like, the rules to how to this other world are just baffling. And some people, I guess, understand it more than I do.

[David Lee Corbo]

Well, I. I've been having this thing, like, pretty reliably now. I don't like doing it because it kind of freaks me out, and I really like my sleep. But, you know, when you're in these pseudo sleep states between, you know, waking and sleeping, there's some pliability in the way your mind works. So very often recently, I'll. I'll wake up and I'll see whatever dreamscape I was in almost like, kind of pull away from me like a tunnel. And then the quality of the image suffers, you know, tremendously. It's no longer 1080p. It's. It's like something real bad. Like, it just fades to. The color spectrum goes away, and it's almost like I'm viewing it in negative color, like, inverted and. But I could still see a lot. I could see a lot, a lot. I could see, like, objects and people and. And. And there's a lot of, like, patterns and geometry and things like that. And I get this feeling that if I wasn't. And I knew what I was doing, that I could do something in that moment. But instead, my, like, my logical brain kicks in and there's a lot of, like, what's this? What am I looking at? Why is this happening? And as soon as that starts happening, it just goes away. So, you know, and I don't. I would hope. I don't have demons. I think we all can do something like that. My grandmother used to write papers on remote viewing. And that's interesting in hindsight, but she also considered herself like a clairvoyant and also, interestingly enough, suffered from alien abduction experiences. So I also think those things go hand in hand. You know, whatever remote viewing is or astral projection is, I would be very sure, or at least unsurprised. To find out that the people who are doing that, there's also a big overlap in their sleep paralysis experiences, maybe even abduction experiences, shadow people, other entities. I imagine these things all play together in the same sand pit pretty often.

[Ryder Lee]

Yeah. I just had a really weird experience the other night where I had a really wild, crazy dream. And I woke up from my dream and I kind of opened my eyes and the entire reality was like nothing but code. Like, you've heard of people, like, seeing like, the Matrix, like, in front of them, and this was my first time ever experiencing it. When you screw with my head a little code.

[David Lee Corbo]

What. What was it made up of?

[Top Lobster]

Like, if you could almost numbers or symbols.

[Ryder Lee]

Like, it was numbers, a bunch of numbers. And the numbers, like, flashed and they were like rotating. Some of them look like dates, some of them look like coordinates.

[David Lee Corbo]

Interesting.

[Ryder Lee]

But it still had like, the outline of like, the walls in my room were there, like. But they. It was all code.

[David Lee Corbo]

What were the colors?

[Ryder Lee]

It was like blue. They were blue in the. And the collars were like, white.

[David Lee Corbo]

I had something recently where I had that experience and it, like I said by what I was looking at, that was my dream almost detached and became far away from me. And then it kind of tilted and I was still looking at it. But everything looked like, like the Matrix, black and green. Except it wasn't like data. It was like blackness and really, really dark green sand. So everything, all the highlights and the shadows, it was just, you know, mixtures of black and green, black and green. And that was everything that I saw. And my POV was like, stuck. I was looking at the sidewalk, but. But I wasn't really looking at it. I was actually viewing that behind my eyes, like a small window with a bunch of other weird going on. I don't know what it is, man, but I. I'm not so inclined to think that it's inherently evil. This is a. This is a. A Christian show. We, we tend to look at the world through the biblical world lens. Obviously there's, you know, conjoining of a lot of different ideas besides that when it comes to conspiracy and, and occulted things. But sometimes I look at those practices and I'm like, I'm really not too sure. The main reason I'm not too sure is because it's very clear. They're of a spiritual nature. And it's very clear. We don't have a map. And that's not good because that's like going anywhere. It's like going in the woods or going in the ocean and just not being familiar with where the hell you are and what inhabits that realm. And I do think that negative things are there, but I think just like any place, you know, there's gonna be negative things, there's gonna be positive things, there's gonna be neutral things. And it's. I don't know, it feels almost harrowing to me to do it because it always happens at night. And I really don't like when things, like the last thing I want to do is be creeped out before I'm going to sleep. Yeah. And that'll keep me. Honestly, like, that alone would keep me from pursuing a lot of this. But it does kind of seem to happen almost naturally. And I'm sure there's a way through, like a meditative process or a greater understanding that you could have more depth of experience with that. But I'm just not too sure where that depth is going to take me and what the hell is going to be there when I get there.

[Ryder Lee]

I think that it's really important to be able to get outside of your body. I think that. That I've never really done it. I've come really, really close. I was doing some incredible breath work really late one night at like, three in the morning, and I was really close. I seen, like, the circle open up and I had, like, one leg through the circle. I was about to just jump right out of my body. Like, it was the exact experience that everyone says happens, like, where your whole body tingles. Like, it started at my feet super tingly, went up all my legs, and then when I hit the back of my head, like where the. The crown chakra is, then that's whenever I, like, was getting ready to get out of my body. It was in. It was crazy, dude. It was like, almost. And it felt so warm. It almost felt like what people describe as like, the Kundalini energy as well, like how it comes up through your body and all that. But it was like me getting ready to exit my body and I didn't make it. I snapped out of it and it was completely gone. But I think that that is really important to be able to do because I 100% believe that we're spiritual entities inside of a physical shell.

[David Lee Corbo]

Yes.

[Ryder Lee]

And we have to have the map, because if we don't know what it's like outside of our body, then we're going to be completely lost. Whenever this physical body dies, we're not going to know where to go, what to do, and we're going to be.

[David Lee Corbo]

Stuck that's the thing that gets me too, is like, I know within, like, Egyptian mythology, when you die, the soul has, like, a very elongated journey upward through, like, celestial bodies and such that it has to go through and eventually ends up in a place where their heart is. Is weighed up against a feather or something like that. It's basically a way of measuring your sin, how heavy is your heart. But that's described as like an actual journey. And then you have this other thing that people suggest there's been a karmic reincarnation cycle that's been created to our detriment, and that there are these things that seek to lose off of us that will usher us into this reincarnation cycle. And I know that there are things that exist that would be pleased to inhabit your physical form so that they could interact with this physical realm again. And I mean, this is just like the. The notion of possession, which, by the way, going back to what we were talking about before, where these actors and actresses are often subjected to, like, really harrowing experiences and trauma. The Exorcist we were talking about, I believe that little girl went through hell. And there's everybody who's.

[Top Lobster]

Everyone who's played the Joker, for instance.

[David Lee Corbo]

Played the Joker, Right. That's another one. So my thing is like, hey, look at that.

[Top Lobster]

Hold on a second. Jack Nicholson.

[David Lee Corbo]

Oh, whoa.

[Top Lobster]

And that was definitely before the Shining, because that movie was 70s. That Batman, huh?

[Ryder Lee]

Yes, that was before the Shining. He played the Joker in the. In the Batman movie with. What's his name? The most famous Batman. Well, besides Christian.

[Top Lobster]

Bill Keaton.

[Ryder Lee]

Michael Keaton. Yeah, I think it was Keaton.

[David Lee Corbo]

Well, I don't know if you ever talked to Paul Stobbs, but he's a great content creator. He does a show called Understanding Conspiracy, and he talks about how various cultures will dress up as the entity that they want to be inhabited by. And he says that there are. You know, there's a race of giants that would have been the offspring of, like, fallen angels and. And human beings. It's the namesake of the show.

[Top Lobster]

Gotta ask, is that why. Why you call your show Raised by Giants?

[Ryder Lee]

Yes, it does have some. Something to do with the. The giants and the nephilim. But I'm also really tall. I'm six five.

[Top Lobster]

It's a very simple reason. I'm a huge guy, really big guy.

[Ryder Lee]

My whole family is really tall. So it kind of seemed right. And I originally wanted it to be a name of a band, but then I decided to repurpose it for myself.

[Top Lobster]

Banger Name For a banger name, by the way, you do give very tall energy. Like you don't give a. Like it's very tall. Like he has this very like, right, like we're short. I'm 5, 8, 5, 9. David's like 5, 8, 7, 5, 7. We have to have this energy. We're like, it's very annoying. I understand. To like totally got this.

[David Lee Corbo]

Like, I don't care.

[Top Lobster]

Owen Benjamin's the same thing with us. Like when we talk to Owen, he's like six, eight. So we're talking to him and I could just tell he's just annoyed. He's just annoyed by our small presence and our. Go ahead, David.

[David Lee Corbo]

I'm sorry for cutting myself a height supremacist.

[Ryder Lee]

So that's why I want to get a big truck so I can look at everybody while I'm driving. As I look at them, when I'm standing next to them, like just the.

[Top Lobster]

Top of their head, imagine what it's.

[David Lee Corbo]

Like top to just look at, look at people like that all the time.

[Top Lobster]

I wonder like, yeah, I'm, I'm seeing, I would be seeing everyone else from a slightly different angle. Like either equal or up. It must, it's psychologically like, dude, note of it.

[David Lee Corbo]

When I step on something and it, and it makes me taller, I go.

[Top Lobster]

Yeah, this is like that, that Turtle in the Dr. Seuss book. Go ahead, go ahead, David. Because we, we only have a couple minutes. We have guests coming on again at 2.

[David Lee Corbo]

So I don't even remember what I was talking about.

[Top Lobster]

I mean, a three.

[David Lee Corbo]

Oh, this idea that you become inhabited by the spirit that you dress like. And so he suggests that the modern day visage of the clown is actually something that was created by a freemason who was running the Barnum and Bailey or whatever circus it was. And that it has to do with homage to the Nephilim because the Nephilim would have had red hair, very pale skin, a very red nose that. And, and also always would have. Have. Because they were cannibals, they ate human beings, blood all over their, their faces and so much used to cover up.

[Top Lobster]

Their six toes like that.

[David Lee Corbo]

All kinds of fun stuff. And so to me, you know, if you talk to him, he lays it out in such a compelling way. You're like, something happened. The, the way they made the clown and the way they injected it into American culture was clearly done on purpose. And so then you have to ask yourself to what end. But when I see Jack Nicholson play that character and, and the, the way he plays the character in the Shining, I think these actors and actresses at the highest levels, what we call method acting, I think is just a level of possession.

[Top Lobster]

Not just. Not just that, but, like. So he plays. He plays the Joker, and forget about what he plays on screen for the. The Shining. He. He. He was with Kubrick and torturing this woman for however long it took to film this movie. That was like. What he was doing to her was, like, Joker esque.

[David Lee Corbo]

Yes, yes.

[Ryder Lee]

And it was a long shoot, too. Long shoot. They shot them the shiny for a really long time. But several people throughout the entertainment industry have talked about this. Jim Carrey has talked about this, where he felt like he was possessed by Andy Kaufman spirit.

[David Lee Corbo]

Yes.

[Ryder Lee]

Beyonce says that she. When she performs the Sasha fears.

[Top Lobster]

Mm.

[Ryder Lee]

So, like, something else comes in and takes them over, and then it gives them the ability to be that individual. It's really strange now whether that's, like, real or way that they perceive it. I mean, it's up for interpretation. I mean, but to be that good of an actor like somebody like Jim Carrey, like, you got to be. I don't know how you would get your. You would have to open yourself up, doesn't it? That type of thing.

[David Lee Corbo]

You know, we look at this like it's spellcraft, and it's all works of, like, rituals and symbolism and ceremony. And then you have, like, Hollywood, which is what the druids made their wands out of, was. Was wood from the holly tree. It just. All of it kind of does, like, why the hell does every element of this, you know, performative aspect of American culture have embedded within it something to do with spellcraft? I mean, it just. At some point, I kind of go, yeah. The anecdotal evidence is piled up, and I. I believe it. It's now something that I will espouse is the truth. But we are 10 minutes away from having to launch another show. This has been a wonderful conversation.

[Ryder Lee]

You guys are cutting me off. Dude. What the fuck? No, I was joking. Can I run through some of these other slides? Really wrap up?

[Top Lobster]

Yeah, dog. Yeah, please.

[Ryder Lee]

Okay, so this one here is, like the Beetle reference within the Shining. There's so many of them. Them. This is. The top panel is the Beatles, Abbey Road, 1969. The bottom panel is the Shining. They're almost walking in the exact same lineup there with Almond and Jack and Wendy and Bill Watson, which we don't really talk too much about Bill Watson in the movie because it seems like Bill Watson in the Shining is more of like a Sidney Gottlieb. Character within the CIA, like Sidney Gottlieb was known for, you know, being the head of the MK Ultra programs. And what they would do essentially is like the front person is all Stuart Almond. So he's like the person that is made to look like he's actually running the place when it's really like Bill Watson. It's a classic trick that a lot of people have used throughout history where the person that's actually really calling the shots is like the person that no one thinks is actually calling the shots. So, yes, Allman is actually the front person of this entire operation. So in the movie the Shining, Stephen King, in the book it was a red beetle. And this is one that other people have pointed out. Jay Widener has pointed this out on his. Several movies have been pointed out in room 237. But it's just important to go kind of go through it. So it was a red beetle. In the Shining novel by Stephen King, Kubrick changed the beetle to a yellow beetle. And then whenever Allman is traveling up to the Overlook Hotel to check on the family up there, there's a red beetle that's crushed underneath the semi truck on the way up there. So that's definitely a nod to, you know, like, hey, this is. This is my movie. Stephen King. This isn't yours. And also there's the white beetle, John Lennon's white beetle that's in the background of the Abbey Road.

[David Lee Corbo]

I like that, by the way. You Stephen King?

[Top Lobster]

Yeah, very much so.

[Ryder Lee]

And also another Beatle references was that Stephen King got the inspiration, the title, the novel the Shining by the John Lennon song Instant Karma.

[David Lee Corbo]

Isn't he a. A horrifying creature? Stephen King, my God. I mean, you look at his noggin and you go for sure there are horror stories in there.

[Top Lobster]

I think it's his mouth. Really?

[David Lee Corbo]

It is his mouth. He's. Yeah, he's got a bad mouth. It's not good. Oh, God.

[Ryder Lee]

Not a good mouth. Stephen King, fix that mouth, bro. He's got a ton of money. He definitely looks like he got hit by every branch on the way down from the tree, bro. He's an ugly looking ass.

[David Lee Corbo]

Yeah, dude, he's rough.

[Ryder Lee]

This is the Catcher in the Ride that we mentioned earlier. This is one with the lampshade that's tilted slightly whenever Wendy and Danny go into the room to the bathroom to hide from Jack when he breaks down the wall. And then in the next shot, the lampshade is perfectly straight. This is the panel that we talked about earlier, is the Monarch sign. This is another one that people have pointed out before which is the Hitler mustache. Whenever the picture fades from the far away shot to the close up shot. This was shown in room 237. But it just connects because of all the other Nazi and Holocaust symbolism that we've already pointed out. And MK Ultra throughout the thing. And here's the swastika and that's really it. But there's other ones back here that I didn't really get to which is the maze in the background of the establishing shot which was shot in Oregon at the Timberline Lodge. There's not a maze in the background of the opening establishing shop. And then later on there is the maze because the rest of it was filmed in England on a set. The Jack's tie is in the same pattern as the hedge maze. So the first time we see Jack. Jack's tie looks almost identical to the same pattern as hedge maze. Sticker of Dopey the Dwarf disappearing on the door.

[David Lee Corbo]

You have to peel that off the wall.

[Top Lobster]

That's what I'm saying.

[Ryder Lee]

Yeah.

[Top Lobster]

Or put it on like you're going to peel it or put it on. There's no reason reason for that. Come on.

[Ryder Lee]

Yeah. And everything else is in the exact same location. So they. They either they had to peel it off and they only took one off. What do you mean, bro? This one is the whenever the. The Grady thing where they. The the different names. This one is interesting because it's got the Kool Aid on top. And two years before was the Jim Jones incident where all the people died. So. And that was happening during the filming of the Shining. This one's a weird continuity error which is like a plastic set tarp can be seen in the background as Danny's rolling around the hotel. The chair, the infamous chair that disappears and then reappears behind Jack. All in the exact same shot. The paper tray on the desk looking like it gives Almond a boner whenever he goes in. Shake hands with Jack. The teddy bear in the background. It also looks like it has a hard on which is fire truck, which is. This is also where the Wendy picks up the bat. Not a lot of people realize this, but that's where. Because it's in the background. So whenever Wendy gets up from with Danny she turns around and she grabs the bat. And then there's also other things that are setting up for the bat scene earlier in the movie. There's on the curtain right up here on this top left quarter panel. There's a cartoon character who's Holding a baseball bat.

[David Lee Corbo]

Yeah. Looks like Donald Duck gripping a bat.

[Ryder Lee]

And down here, whenever Jack before he goes to look into the maze. And then the maze fades into the exterior shot of Wendy and Danny outside in the maze. There's the baseball bat on the couch. So the baseball bat goes from downstairs when Jack's looking into the maze to upstairs in their apartment for where she picks it up and hits Jack with.

[David Lee Corbo]

I forgot which director said it, but it was something like. If there is a. If there is a shotgun on the wall in act one.

[Top Lobster]

Yeah.

[David Lee Corbo]

Then guaranteed that it's going to be used in Act 2.

[Ryder Lee]

Yeah. And also the knife. The knife is shown in the previous setup when Halloran is giving them a tour of the. You see the knife, and that knife is the knife that she's running around with at the end of the movie through the hotel. This one's interesting. This one's a door. That is what's closed whenever Danny seems. Sees room 237. And then in the next shot, it's open. This is a carpet. Switching patterns. There's been so much contention over this. People say that they just moved him over one square, but, I mean, that could be possible. That. But why would you not put them in the exact same location as you were before? Because this is the first shot and it's got the open facing hexagonal carpet pattern. But then whenever it switches around, it's got the closed facing hexagonal carpet pattern.

[David Lee Corbo]

So they could have. I've heard that they use that sort of a plot device to show you that, like, shit's about to pop off. So. So typically what they'll do is they'll wind a frame upside down and when it becomes inverted, that's gonna. You know, it's time that. For things to get crazy. I would. I would interpret this almost as. As one of those things where I would wonder if before this it wasn't too crazy. And then right after this, something really horrifying happens in the film.

[Ryder Lee]

But the thing is, is all the cars are all set up.

[David Lee Corbo]

Yes. No, no, I'm saying that it would be. It would be done on purpose. And you're right. Like.

[Top Lobster]

Yeah, there's this definitely intentionally to jar you. It's.

[David Lee Corbo]

Yeah, yeah, this is on purpose.

[Top Lobster]

Like shell shock somebody.

[Ryder Lee]

This is the teddy bear setup for earlier in the film.

[David Lee Corbo]

Yep, there it is.

[Ryder Lee]

Yeah, this is Tang. Tang in the. In the background is next to the Kool Aid as well. And Tang was a really big drink for the astronauts on all the Apollo programs. It basically blew Tang into the stratosphere. Made it a very popular drink that I. Everyone wanted room 237. Danny wearing the Apollo 11 shirt going in the room 237. And we all know that there's a Toy Story reference. There's the TVs that I was referring to earlier that don't have any kind of power source to them. They're just playing without being plugged into anything.

[David Lee Corbo]

This one's, like, in the middle of it. It's not even near a wall for an outlet. It's just in the middle of the floor.

[Ryder Lee]

Yeah. And that's. This is the one I showed earlier. And then we're back to the Beatles. So. Yeah, that was. That's just a little quick presentation there. And that's just some of them. There's other ones that I didn't even add. There's even one for Clockwork Orange that it's probably important to also show if we have enough time. It's just one. Just one little. And people are aware of this too. But in A Clockwork Orange, there's a. A word above here that says Adren Chrome.

[David Lee Corbo]

Yeah. Here, I'm gonna bring that up real quick so people could see that. Yep. You can see his head is. Is blocking it. But if you fill in the blanks, it's one of the earlier cultural mentions of Adrenochrome.

[Ryder Lee]

Yep.

[David Lee Corbo]

Which, you know, right there, MK Ultra. And that goes all the way back to the Nazis and stretches all the way to modern day, where this, you know, enigma of Adrenochrome still. Still eludes us, man. Well, where. Where can people find your whole documentary on this?

[Ryder Lee]

Find it on Amazon and Apple tv. Plus, just type in A Clockwork Shining and it'll be the first thing to pop up. But if you wanted the full title, It's A Clockwork Shining, a Kubrick's Odyssey 3. If you'd like to, you know, come over to my YouTube channel and subscribe over there. It's raised by Giants on YouTube and any and all podcast platforms. And thank you guys very much for having me on. It was a wonderful conversation. I had a lot of fun. Let's do it again sometime.

[David Lee Corbo]

Absolutely. Top your. Your mic is muted for whatever reason.

[Top Lobster]

Yeah, sorry about the time limit. It's just.

[Ryder Lee]

I was just busting your balls.

[Top Lobster]

Okay. This is a great episode.

[David Lee Corbo]

We schedule things like insane people, and we'll have, like, three shows back to back with no breathing time in the middle of it, man. Thank you, Ryder, for your time, and I'm glad we were able to pull this off. Guys, I highly recommend going and checking out the rest of his work because what you saw here on the Shining, it was just like a brief overview. There's so much his work is.

[Top Lobster]

Your work is prolific, man. You go everywhere when it. Like one of. One of my. One of the conspiracy theorists that I really like to listen to. And like when you start to do content, you don't listen as much. But one of the. One of those guys, in my opinion.

[Ryder Lee]

Thank you, dude. I really appreciate that. I work hard on it. I do it all the time. I do all the work. I book all the guests. I make all the thumbnails and make all. Do all the editing and make all the reels and all the short videos. And it gets really taxing sometimes. So tell me about it. The compliments. You guys know exactly what I'm talking about.

[Top Lobster]

I see you on Spreaker too, so go support him on. On audio as well. If you like. You know, if you like people being able to make a living off of this or do more doing more of it, go ahead and do that. But guys, until next time, which is like two minutes from now, don't forget to obey. Comply. We'll see you guys.

[David Lee Corbo]

The greatest hypnotist on planet Earth is.

[Ryder Lee]

A oblong box in the corner of the room. It is constantly telling us what to believe is real.

[David Lee Corbo]

You can persuade them that what they see with their eyes is what there is to see, because they'll laugh in the face of an explanation that portrays the bigger picture of what's happening.

[Ryder Lee]

And they have.