The Autism Report 2.0 | Hollywood, UFOs & Hidden Symbolism

Summary

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Nephilim Death Squad: The Autism Report 2.0 | Hollywood, UFOs & Hidden Symbolism

Date: July 30, 2026
Hosts: David L Corbo (The Raven), TopLobsta
Guest: Austin Picard (Underclass Podcast)

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Episode Overview

This episode of Nephilim Death Squad dives deep into the intersection of conspiracy, spiritual warfare, and hidden symbolism—particularly as it manifests in Hollywood, pop culture, and societal programming. Returning guest Austin Picard joins to dissect topics ranging from occult symbolism in film, cannibalism rumors, and ritual abuse networks, to the manipulative power of art and propaganda. Using humor and unapologetic honesty, the hosts explore how these dark currents connect to the broader spiritual battle for minds, culture, and (ultimately) souls.

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Key Themes & Discussion Points

1. Conference Experiences & Collaboration in the Community

[04:04–09:21]

• Austin discusses the inspiration of past events ("BroGroves") and collaborations with public figures like Jake Shields.
• Reflects on forging connections around difficult topics, such as the Finders cult, serial killers, and institutional corruption.
• Notable Quote:
  • "[BroGrove] was one of those, like, just ultimately inspiring moments that... proved we were on the right path, and everything we... worked toward really kind of physically came to fruition." — Austin [04:13]

2. Serial Killers, Blackmail Networks, & Occult Rituals

[09:21–16:23]

• Discussion of connections between famous serial killers (John Wayne Gacy, Wayne Williams, Son of Sam) and sophisticated pedophile/satanic networks.
• Describes "low-hanging fruit" abductors serving larger blackmail and snuff film enterprises.
• Ritual elements (e.g., sacrificial practices on burial grounds, overlap with new-age/blood rituals).
• Critique of society's willingness to accept uncomfortable truths, drawing parallels to the process of “redpilling.”

3. Cannibalism in Elite Circles & Esoteric Symbolism

[17:51–27:01]

• Rumored existence of the "Cannibal Club" in Los Angeles, allegedly serving human meat to the elite, with purported connections to celebrity clientele.
• Discussion of symbolism and coded language in elite circles, linking to snuff films and blackmail.
• Analysis of ritual cannibalism as spiritual inversion, mimicking Christian sacraments (“Eat this in remembrance of me…”).
• Notable Quote:
  • "The meat we serve is selected from the young and healthy. Consistent with the practice of cannibalism in many primitive societies..." — Austin (quoting reportedly from Cannibal Club website) [24:59]

4. Hollywood’s Occult Roots & the Weaponization of Art

[39:54–52:11]

• Exploration of Hollywood’s origins tied to Druidic "holly wood" (magician's wand wood) and ritual sorcery.
• Language of filmmaking is examined—casting, channeling, programming, etc.—as modern spellcraft.
• Hidden symbolism in major productions, like constructing the Gates of Ishtar in early films.
• Critique of culture’s declining aesthetic standards as a spiritual issue, not just taste or trend.
• Notable Quote:
  • "What else is that other than casting a spell?... Malevolently manipulating the minds of the general public—that, to me, is what Hollywood [does]." — Austin [42:27]

5. Modern Art, Orthodox Iconography, and Spiritual Demoralization

[52:11–59:59]

• TopLobsta, as a professional artist, challenges both modern corporate art and Orthodox Christian iconography for their “dehumanizing” or demoralizing forms.
• Conversation about art as a tool for psychological manipulation; true beauty and mastery are replaced by abstraction to break spiritual and cultural morale.
• Parallels between the degradation of art and weaponized nostalgia or reductive propaganda.

6. Hollywood Programming, Nostalgia, and MK Ultra Symbolism

[63:13–77:05]

• Breakdown of the layers of trauma-based mind control and the Monarch butterfly motif in media (e.g., “Disclosure Day” movie symbols).
• Weaponized nostalgia: Emotional attachments to pop culture figures discourage recognition of their potential darkness.
• Hollywood’s persistent cultural influence, despite evidence of corruption and decline.
• CIA influence in Hollywood for the purposes of soft power and perception management.
• Notable Quote:
  • "If you could change the fundamental meaning of a word and then reintroduce it to a populace, you’ve destabilized people’s understanding of the nature of reality..." — David [43:04]

7. Christopher Nolan’s Odyssey: Representation, Revisionism, and Hidden Agendas

[34:10–77:05]

• Critique of Nolan’s adaptation of The Odyssey: changes to characters’ races, genders, and morality (e.g., “Helen of Troy” casting, insertion of new trans characters such as Elliot Page as Sinon).
• Discussion of how diversity and inclusion, while positive in isolation, are weaponized reductively to seed division and undermine classic works’ core messages.
• Nolan’s adaptation is described as omitting the Odyssey’s real lessons (the importance of home, domestic stability, and the family) in favor of new-age moral relativism.
• Notable Quote:
  • "For me... they were insulting my intellectual fortitude. Like, are you kidding me?" — Austin [49:37]

8. Pop Culture as Mass Programming: Laurel Canyon, Social Engineering, & Esoteric Messaging

[39:54–53:09, 117:58–121:18]

• Austin references Dave McGowan’s work on Laurel Canyon as evidence of intentional culture manipulation.
• Exploration of films like “Under the Silver Lake” and musical symbolism as modern forms of revelation of the method, ghostwriting, and manufactured rebellion.
• “Celebrity constructs” may be unwitting vehicles for deeper esoteric intent.

9. Pharmaceuticals, Mind Control, & Historical Manipulation

[110:55–112:37]

• The suspected use of drugs (benzos) to facilitate dissociation, creating “altars” in suspects like John Wayne Gacy (potentially implicating pharmaceutical mind-control programs like MK Ultra).
• The danger of propaganda both for mass manipulation and for nurturing “identity crises” in known and loved individuals.

10. Spiritual Warfare: Truth, Fear, and Resilience

[122:27–132:24]

• Rudolph Steiner’s quote on spiritual entities that feed on human anxiety/fear is shared as a warning against succumbing to propaganda-driven despair.

• Call for listeners to reject fear, seek truthfulness, and root themselves in faith and spiritual discernment.

• Final thoughts revolve around not passively accepting evil or programming, but actively “breaking the spell” for the sake of one's soul and others.

• Notable Quote:

  • "When humans have no anxiety and fear, these creatures starve... Everything that feeds on negative feelings... are in reality hostile forces... launching cruel attacks on human beings while they are being fed." — Rudolf Steiner (via Austin) [122:45]

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Notable Quotes & Memorable Moments

• On Jake Shields:
  • "We’ve watched the development of a dude... some people, when they’re introduced to everything they believe is a lie, they lose their mind. But Jake’s been punched in the face so many times..." — David [09:36]
• On Cannibal Club Rumors:
  • "Our exclusive clientele includes noted filmmakers, intellectuals and celebrities who have embraced the enlightenment ideals of free expression and rationalism..." — Austin (Cannibal Club) [24:59]
• On Weaponizing Art:
  • "Corporate art... demoralizes when the people around you buy into it... It’s a demoralizing bastardization of the most beautiful thing that's ever been created—the human form..." — TopLobsta [53:50]
• On Modern Psyops:
  • "Weaponized nostalgia... It's such a strong tie to the material world that I'm realizing, like, that's actually probably not good." — David [69:59]
• On the Propaganda Machine:
  • "If that machine is truly aimed at you, which it is, I would like for it to start stripping off its camouflage and stop posing as just something normal..." — David [61:14]
• On Hollywood & Spiritual Reality:
  • "Hollywood famously... erect[ed] a gigantic, identical version of the gates of Ishtar from ancient Sumer, and to this day it still sits there... Hollywood is the new Babylon." — David [45:11]
• On Nonconformity within Culture:
  • "I'm the guy sitting down... and everyone's like, look at this guy... I'm taking a brave stance. Everybody else should be going, 'yeah, this isn't that great.'" — TopLobsta [56:00]

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Essential Timestamps

• [04:04] – Austin describes BroGrove and the collaborative, transformative impact of conspiracy research events.
• [10:27] – Exploration of Jake Shields’ process of digesting conspiracy material and the psychological toll of learning “everything you believe is a lie.”
• [13:37] – Outlining the occult and ritual elements behind America’s most notorious serial killers.
• [20:27] – The “Cannibal Club” revelations and their alleged connections to morgues and Planned Parenthood.
• [39:54] – Hollywood’s occult roots; language of programming and casting analyzed.
• [49:37] – Reaction to the adaptation of The Odyssey, cultural subversion, and “insulting” representation politics.
• [63:13] – MK Ultra symbolism (Project Monarch, butterfly), trauma programming in Hollywood blockbusters.
• [107:16] – Summary on "Under the Silver Lake," Subterranean Hollywood, and the Divine Feminine as a cultural trap.
• [122:27] – Austin shares Rudolph Steiner on fear, anxiety, and hostile spiritual forces.
• [125:48] – Call for spiritual discernment and “breaking the spell” of pop culture programming.

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Takeaways & Final Reflections

• Pop Culture as Program: Hollywood’s consistent use of occult symbolism and esoteric language (“casting,” “channeling,” etc.) isn’t accidental; it’s a deliberate part of culture’s spiritual war.
• Art as a Weapon: The moral and aesthetic decline of mainstream art—film, music, corporate design, even religious iconography—is seen as an operation to demoralize and spiritually disorient society.
• Danger of Simplified Narratives: Recent high-profile movie adaptations (e.g., Nolan’s Odyssey, Oppenheimer, Disclosure Day) are criticized as spiritually subversive propaganda, stripping cultural tales of their heart and meaning.
• Discernment Over Despair: Fear, anxiety, and despair are the tools of darker forces; spiritual resilience, rootedness in truth, and communal fellowship are recommended as antidotes.

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Where to Find the Guest

• Austin Picard/Underclass Podcast
  • YouTube: The Underclass Podcast
  • Rumble: The Underclass Podcast
  • Patreon: patreon.com/theunderclasspodcast

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Closing Thoughts

This broadcast exemplifies the Nephilim Death Squad’s trademark blend of deep research, spiritual commentary, and dark humor. The open-ended, rapidly flowing conversation exposes the hidden war for hearts and minds—driven as much by art, symbolism, and ritual as by overt propaganda. The overarching charge: Stay curious, stay dangerous, and fight for truth in a world awash with deception.

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Transcript

[A]

Evening. Buyer's remorse.

[B]

Buy a new car. I'll be moving in. Let's get started. Sorry, I think there's been a mistake. I bought it from Carvana. You what? Yeah, Great price. I even have seven days to love it or return it. So there's no.

[C]

No.

[B]

No buyer's remorse. More like buyers rejoice. I guess I'll let myself out. Congratulations. I mean it. Buyers rejoice. Buy your car today on Carvana. Limitations and exclusions may apply. See our 7 day return [e-mail] we

[A]

were top Lobster Productions in the shadows of the ancient ones. They never went away.

[B]

They're still here today. When the last trumpet sounds and the heavens crack. 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. Your tortoise sign is off.

[A]

That's always awesome.

[B]

Before we get.

[C]

Whoa.

[B]

Why is that so dark? What the. Man. Unbelievable.

[A]

Chocolate people. And it's all upside down. We did it. I don't like that.

[B]

We didn't do anything good. Yeah. Guys, before we get into today's episode, a little reminder. A great place to Support us is patreon.com patreon.com I don't know really. We don't offer anything there. It's just a place where you can go and you can give us money and. And then we like to.

[A]

No, you get an ad. Free listening experience.

[B]

We're giving them that stuff.

[A]

They give another just an experience. You get to be part of the. Of the experience.

[B]

So much experiences.

[A]

So much. Over on patreon.com codes off top lobster dot com.

[B]

All that stuff. How lucky are they?

[A]

Would we have like a free Bible study with our.

[B]

That's right. We go to the community of dangerous retards. Telegram. Discord.

[A]

Wrong. To give them access to other people. It's like we're pimps.

[B]

No, no, it's just like so. So yeah, you don't want to let anybody in because like let's say, for example, you've pissed off the entire Orthodox church. And I'm sure there's a lot of people. If you did that, if you were the type of person who would piss off the entire Orthodox church and then they wanted to infiltrate our communities and just make a mess of things. Yeah, they gotta at least pay like $5 to do that. Barrier of entry. Also, toplapster.com is where you're gonna get all of our merchandise. Let's look at grandma no, we're wearing.

[A]

I'm wearing the moon map shirt today, man.

[B]

All right, fine. Look at the moon map. Figure 1. That's what it says actually on the. Ooh, moon map. Tank top is a good move if you want to go to the gym and you want to confuse people about the moon map or accuse anybody named Steven recklessly about stealing your moon map. And that's the shirt to do it in also. Oh, yeah, that one. Which our guest today is going to be there among many other people. Owen Benjamin, Dr. Heather Lynn, Ed Mabry, Laura Baker, the guys from Hidden in Plain Sight. Thomas the Paranoid American, Cheney. The list goes on. And Dyer.

[A]

It's a crazy world we live in.

[B]

Is Jay Dyer gonna be there? I heard he has diarrhea. And he will be able to make it.

[A]

He's gonna leave a nice snail trail of diarrhea. We have a great guest today. Returning guests for probably the seventh time or something.

[B]

Seventeenth time here for the Autism Report 2.0. And also, you guys can look forward to touching his face at Bohemian Grove. Don't touch his face, guys. Don't do that. Austin Picard is gonna be there, and he is also here right now. What a world that we live in. Austin, before we get into all the stuff that we have to talk about, tell everybody about all the awesome you're working on, man.

[C]

You boys know how much I appreciate you, as always, and I'm very excited to. To come to Burrow Grove again because really, like I told you guys the last time, it was one of those. It was one of those, like, just ultimately inspiring moments that. That kind of proved we were on the right path, and everyone. Everything that we had sort of been working for and working toward really kind of physically came to fruition and manifested in a real way.

[B]

Yeah.

[C]

And it was almost.

[B]

We almost manifested a race war.

[A]

Did you meet Jake Shields at BroGrow? Oh, no. You met him before?

[C]

No, it was actually. Well, you. You guys helped kind of make that happen. If you remember, it was just before that. Prior Brogrove. Oh, that's right.

[A]

Yeah.

[C]

He had, like. I think he had tweeted about the finders or something to that effect. That was very similar. And. And I. I remember you jumping in the chat and instantly suggesting that me and Jose. Go on. Was. Was instantly how. How it really began to. To just kind of take on some feet and. And start running in a real way. And we got some traction in terms of, like, him reaching out and legitimately considering having the conversation. And then very quickly, it. It kind of escalated after we, we discussed specifically it was like the Oklahoma City bombing and the Finders. When we went on that first time, I think Jose kind of took point on OKC and then I was just trying to kind of help reinforce a lot of what he was saying from, from my past research on Oklahoma City. And then obviously we did another episode on the Finders that, that I kind of took point in, in that sort of, you know, presentation of, of that case and, and really I felt like through that process of just like getting to know Jake over the course of. I think that time we only filmed that one day in total, but still we filmed like both episodes back to back. Just took a short break between. And then we just kind of like went out and went out to a couple of the casinos afterward, I believe. But it was a lot of fun because I remember genuinely getting to kind of get to know Jake and, and also his producer, which is a really nice guy and honestly he's, they're both so much fun to have conversations with. It's like the content never ends. It's like the discussion just continues on infinitely, you know, at infinitum in reality and it's just kind of never ending. But to see the genuine, like just the genuine just willingness to, to be introduced to new concepts and, and ideas and, and also reinforcing, let's just say evidentiary connections and paths of, of just revealing the fact that so much of, of what we discuss in terms of. Again I mentioned the finders and, and just, I mean I just recently went back to discuss John Wayne Gacy and, and the Odyssey foundation and, and this sort of serial killer concept of, of. Of these strange serial killers. At the time, obviously it was, it was not only John Wayne Gacy, but you have Wayne Williams of the Atlanta Child Murders, which is one of my recent episodes that I covered as well on my solo projects. But the point was, is that I kind of was pitching to him an idea of what I had been introduced to in the recent past from reading like Eye of the Chicken Hawk by Simon Duffy and things of that nature. That really proves that many of these serial killers were essentially low hanging fruit, almost kidnappers or abductors for a network of, of sexual blackmail, human compromise, child pornography, even going so far as to have a snuff film enterprise attached to the network. And, and it, it honestly. Okay, I don't mean to belabor the point. The whole, the entire concept and, and crux of, of what I'm getting to is, is basically the willingness to, to be introduced to these concepts, but then also to take these. This. These details and kind of, as I said, like, it's almost like he approaches the conspiracy realm of just kind of not technically only conspiracy, obviously, it's conspiracy parapolitics. It's, however, this kind of permanent establishment and reveals itself. Right. But it's interesting to me because it almost is. Is. Is as if Jake kind of approaches this intellectual growth process in the same way he approached his UFC fighting career. You know, it's like. And not just ufc, but obviously his MMA fighting career. And. And it's interesting because it'll almost be like he takes this information, goes to the gym and. And then comes out the other side and obsessively, you know, basically embracing so much of. Of what you introduced him to. And then, honestly, kind of almost in a real way, he introduced me to some concepts that I was unaware of and. And things of that nature. So it was just like, it was a very interesting.

[B]

He is a. He's a fascinating guy in that way. Right. Because I don't think he was always. In fact, I. I could almost say he wasn't always a conspiracy guy at all.

[A]

He jumped in. In the deep end, which is.

[B]

He jumped into the deep end, and he jumped in very publicly.

[A]

Yes.

[B]

And so we've. We've watched the development of a dude, and some people, you know, when you're introduced to everything that you believe is a lie, they lose their mind. They lose their mind. But, yeah, Jake's been punched in the face so many times that really, like, a big deal to him. He's just like, all right, yeah, I guess the Jews are running everything. And. And then you go, well, maybe there's some more nuance to that. And he goes, all right, I guess there's more nuance to that. And he just keeps going.

[C]

Yeah.

[A]

And so I really like that about him. Yeah. Yeah. A lot of people do get stuck on the Jew stuff. So, like, when you're presenting this stuff, which is very. It's deep and I mean, I guess you could draw it back to the Jews in some way, but, like, even. Even listening. Listening to it and giving it. Giving it its fair share. Yeah, it's fair. Time on stage is like, I commend. I commend him for doing.

[B]

It's a remarkable experiment in. In human psychology to watch. I mean, they used to MK Ultra people with this type of. You know, and now we just got a guy that's doing it to himself, and he's like, yeah, you can watch.

[C]

It was.

[B]

I do it to myself, it was

[C]

so funny because Jake, basically the first night he calls me, we're just going to discuss like, I don't know, potential options, right. Topics that, that we might, that we might be willing to present. Whenever I went to Vegas and, and we were considering filming, you know, at least I think overall we did almost six hours of content, which was awesome. And again, I couldn't be more grateful. You know, put me up in a hotel for a couple of days and, and you know, it's like as soon as I got there, I think it was, it was kind of a strange experience because it's interesting, he's a very obsessive person as well. And it's almost as if you, you can't, you, you can't find the time to even eat properly and have, have the schedule that is necessary to, to be almost just a healthy functioning human being. Right? It, it's definitely. Yeah. So this was the Son of Sam episode that dropped yesterday actually.

[A]

It's a two parter, huh?

[C]

Yeah. So we did two long form con episodes which were over two hours. This was the second one we did on day two, which we actually filmed in studio. But the other content we filmed was actually just kind of at the, the studio, the apartment that they have a studio in essentially. And, and so we were doing. They have like this big screen and, and you just sit on the couch next to Jake and basically kind of either do reactionary videos and, and discuss what, what you just watched or.

[B]

That's fun.

[C]

Yeah, it was kind of fun. So we did, I don't know, maybe four or five of those, which were around 20 minutes a piece. And, and then, and then we did. The very first thing that we recorded was what I had kind of first introduced him to when he called, which was so funny to have him kind of express his reaction in the moment, like internally. I didn't know how exactly he, he personally reacted until I got there and we're discussing, you know, how I introduced him originally to this idea and concept of, of the Odyssey Foundation. John David Norman, which, which I believe is the crux and link to John Wayne Gacy, PDM contractors, Phil Paskey, the Ripper crew. It's basically the Satanist serial killer syndicate. It's, it's fascinating and for people to not be aware that, that so much of what they were a part of and engaged in was, was not only, you know, yes, procuring and abducting children to unfortunately traumatically torture to death in, in some sort of recorded snuff film enterprise to Then facilitate and distribute the snuff in regards to the network which they were even promoting these options in pedophile magazines at the time. Padika magazine, Hermes publication, which again, it's like they, they always utilize these strange. There's never an accidental name in my opinion.

[B]

Esoteric, like highly occulted. Meaningful.

[C]

Yeah. It's never the same with Wayne Williams. He had a recruiting. Basically he claimed that he was a recruiter for a talent agency and he called it. It's. It's ultimately when. Whenever you realize what Wayne Williams was technically doing, he was promoting this talent recruitment agency that really was just him in, in, in reality. But he was promoting it as if he could turn young black boys into the next Michael Jackson. Right. And so this is how he was actually procuring the young boys. And he. So the boys in the Atlanta child murders were actually engaged in drug trafficking. Some of the. The kids that were involved in. In selling drugs on behalf of the enterprise were also helping procure other young children, which is usually how this goes and is typical in terms of the overall playbook. And, and so beyond that, some of the boys were holding back the drug proceeds. Right. Whatever profits they were making off of, off of selling this. I forget it wasn't just one specific substance obviously that they were. They were trafficking and distributing. But. But the boys that were being caught holding back the profits were then effectively ritualistically sacrificed on Indian burial grounds with an MC club running security outside the perimeter while they.

[B]

Motorcycle club.

[C]

Yes. While they would engage. And same thing was happening at Unterm park and in Yonkers with the Son of Sam case. The basically the process church just uprooted after the David Berkowitz case and. And geographically relocated to Atlanta just before the Atlanta child murders. Right. So. And this all comes up with. Shirley McGill is technically the. The criminal witness that. That goes on record, you know, basically claiming that she was. She was a secretary for the cult. And she even technically went on record claiming that she witnessed some of the child victims be taken to this Indian burial ground property where they would then. Which was near. It was near a body of water. Very very much similar to the West Memphis Three case. Right. It's like this new age occult what's. It's like a rebirth, right. Where the body of water is necessary. And it's also. I thought it's fascinating. Yeah, truly, it really is. But a baptism in blood, a baptism in. This is black magic. This is kind of an entirely different. Which ritualistic practice, obviously that, that is in no way in regard to, like, a godly pursuit. It's the inverted.

[B]

Exactly. It's an inversion. Well, well, how. Before we go any further, where could people find you?

[A]

Well, yeah, Also wait really quickly, though, that before you do that. It's just something that we touch on on this show a lot. The idea that these religious ceremonies that are done within Christianity, any other religions as well, they're done for a reason because they do work, and a lot of them do mimic some of the things that we'll do in Christianity as well. Like, Owen Benjamin's actually doing some very funny stuff, talking about Charlie Kirk and his body.

[B]

Oh, my God. Yeah. What the Going on, bro? Tommy. I like this dude. Tommy. Keep going. I just. I want to shout this guy out, but I gotta find him first. Oh, Tommy Burham. He made a very similar joke, like, observation a couple of years ago. And. And now that Owen has, like, so boldly said this thing out loud, and now he's hammering it.

[A]

Yeah.

[B]

It's like, whoa, does this have some legs, dude? Like, it's.

[A]

It's one of those things I just commented on. I said, this is one of those things online where we'll. We'll look back in a few years and go, oh, yeah, that's probably real. Like, so he's just. He's saying, hey, we don't know where Charlie Kirk is buried. We know where Lindsey Graham is buried, and we don't know what happened with the body, bro. And he goes, these guys have a proclivity to. After they kill something, they eat it, which is like a cannibalistic tendency, but it's a spiritualistic.

[B]

Right.

[A]

And it's mimicked in. In the sacraments that Jesus presented. This is my body. This is my blood.

[B]

Eat this.

[A]

Do this in remembrance of me. The Jews were extremely offended that he said to do that.

[B]

Well, look, because Tommy said. Check this out.

[A]

Doing this.

[B]

Tommy said. Charlie's security team. This was. Okay. This is.

[A]

Charlie's security team. Ate him.

[B]

Had blood all over their faces and mouths when they got to the hospital.

[A]

What the.

[B]

And their explanation is that they tore gauze packs open with their teeth.

[A]

Stop.

[B]

See what I mean?

[A]

Okay, maybe.

[B]

Maybe, bro. That they took this dude off the scene and then just started eating him is the most. I mean, like, dude, this is Nephilim death squad. So I'm totally comfortable being in this.

[A]

I am not comfortable with it, because

[B]

one that makes me go, whoa. Yeah, they just took this dude away. Imagine is.

[A]

And he's still alive.

[B]

I mean, what are you doing? Charlie's security Team all that, all that

[C]

I know is that I, I remember when I was covering Pizzagate I believe it was and. Oh actually I have to actually pull this. This video of. This was one of the reactionary videos that we did when I went to Vegas with Jake, which I just recently saw a video of JFK Jr. When he was basically running against Hillary Clinton just before he dies. Right. And he's on the Jay Leno show and he is referencing a poem that nine year old Monica Lewinsky would write. Oh yeah, did you see this?

[B]

Yeah.

[C]

I didn't realize that it was called Illumination was the name of the poem brother. And, and when, when I was in Vegas it was. I think it was Ron that noticed like Illumination, right was the name of the poem. I didn't, it didn't even register. But in reality it's like honestly, what 9 year old is is authoring a poem called Illumination, right? And, and then to actually describe themselves. A nine year old describe herself as, as a, a pizza. Right again. And Jerry Seinfeld's there, right. Which, which very questionable in terms of you know the, the just moral principles and, and potential pedophilia.

[A]

The minions, you know the, the little minion guys.

[B]

Yeah.

[A]

Their studio is Illumination Studios. It's kind of.

[B]

Okay, we gotta get

[A]

Nickelodeon with the island and all this.

[C]

Were you guys were talking about the, this, this cannibalism concept and when I, when I covered Pizzagate it it was. I was introduced to something known as the Cannibal Club. And this, this is an alleged elite private restaurant in Los Angeles where you can legitimately they had. Basically they were serving human meat.

[B]

Right.

[C]

And so the concept was they had documented they had potential evidence that proved they had contracts with local morgues. Right to. And also also Planned Parenthood was. Was provided. Yes yes. So. So this is allegedly. This is in LA and it's a cannibal restaurant. Restaurant, which this is again it was I think originally an article was published in like 2018 which is when I, when I first discovered this concept. And, and allegedly it's a debunked private PIZ menu. But again they, they claim the very same in regard to the Comet ping pong pizza menu that I had discovered as well that seemed to presented high profile pedophile clients with like this disgusting terminology in order to, to effectively order. You know essentially even, even to order snuff. Right Is, is really what it was. They were using pedophile language in, in order to, to kind of skirt that plausible deniability aspect of things. And so, but Understanding after the FBI revealed the, the pedophile coded language and, and things of that nature and the symbols as well became proof positive that this is, if you, if you attempted to translate this, it would effectively become one of the most sinister and sadistic, you know, opportunistic windows into how this, this network effectively, you know, facilitated the victims to the, the high profile clients and so, and also what they were promoting like in terms of the network and the enterprise that was specifically in regard to Comet Ping Pong, but not just Comet Ping Pong, it was Besta as well. Besta pizza. But anyway, the point being is that there's this leaked Cannibal Club document basically and it's, it's been memory hold. I archived it at the very least just, just for refere. But there, there's a restaurant that claims to have these elite clients that included Chelsea Clinton, CNN's Anderson Cooper. Right. And so you, you look into this and basically Katy Perry's name was on this high profile client list and there, there was basically this is, and apparently this is very much been operating under the radar in Los Angeles for far too long. And again, it's, it's private access only to actually be, you know, on the list to even gain entry into the establishment. Right, so this is interesting in itself, but still cannibalism seems to be far more popular than people are aware, is the point being, right? Oh yeah, yeah. And, and human flesh is considered by many of these occultists to basically be the best form of meat that you can. That, that you can basically. Yeah, it's, it's fascinating. But they claim that basically this is a cutting edge experimental cuisine. Right. And the way in which they would promote it was only to serve LA's cultural elite. And this basically specialized in the preparation of human meat. And they would say it came from young and healthy bodies. Right. So Cannibal Clubs visiting chefs hail from around the world and come to LA to practice their craft free of compromise and unbounded by convention. So the brief website that we were giving basically provided an opportunity to, to briefly glimpse before it was memory hold in its entirety and then archived on Internet archive. And archive is and a few others is basically our exclusive clientele includes noted filmmakers, intellectuals and celebrities who have embraced the enlightenment ideals of free expression and rationalism. On event nights, avant garde performance artists, celebrated literary figures and groundbreaking musicians entertain our guests. At Cannibal Club we celebrate artistic excellence as the natural and inevitable expression of the unbridled human spirit. Describing each dish as a study in taste and elegance. Chef de cuisines, Sophie Lafitte. Okay. La Fox. L, A, F, F, I, T, E. Lafite. I don't know, Lafayette, maybe. But either way explains. The meat we serve is selected from the young and healthy. Consistent with the practice of cannibalism in many primitive societies. We view anthropo. Anthrop.

[B]

I love that. Wait, can we just like. Okay, so. So the high level art that you're, you know, partaking in is the same that cannibalistic tribes, primitive people are engaging in. Like, why does that not strike you as an incredible step backwards? This is. Right. Decadence and the higher echelons of.

[A]

Of, you know, technologically. I mean, technologically. Civilizationally it is, but spiritually.

[B]

Oh, yeah, yeah.

[A]

I think we've stepped back and.

[B]

Oh, you're saying, like, there's a spiritual gain from eating bodies? Of course.

[A]

Yeah. I'm not saying that. That website said that that's a touche. But it's probably true.

[C]

Yeah. What's strange is that it even. Basically, and I believe the. The as far as like, the actual practice of consuming human meat. Right. Is like anthropophagy or something is. Is what the technical term is. Right. Which is interesting in itself. But either way, that is what they were promoting and they view this anthropophagy or. Yeah, apophagy as homage to the dead. So this is almost like a rebirth, reincarnation. We are reborn into the bodies of their consumers. Right. Or not we, but who are reborn into the bodies of their consumers. Right. So that concept, I thought, very interesting. Right. Especially just the new age occult practice, potentially.

[B]

Austin, let me. I just have to pause you for a second because right now will we have. And this is a little bit. I don't mean to throw up.

[A]

Being in a coffee shop.

[B]

Yeah, yeah. The perks of being in a coffee shop. I don't mean to derail you, but I just want to say thank you to whoever.

[C]

What the.

[B]

Whoever sent the. The neon turtle. Because Top's wife killed the turtle

[A]

the

[B]

previous episode and I don't know who sent this.

[A]

All right, can I guess. I'll switch it with the door.

[B]

No, I want it on the torta sign over there.

[A]

No, I want that.

[B]

Well, okay, fine. Then I get the torta sign.

[C]

Yeah, all right.

[B]

Whatever, man. Thank you. Thank you to whoever sent the.

[C]

What?

[B]

The shell neon turtle sign.

[A]

Sorry.

[B]

Awesome. We just live in it. Can you search it to see if any. There's any information that says. Who sent that. Thank you. Mason. Mason's our assistant here.

[A]

At the.

[B]

At the studio. So, please, before we derailed you monstrously with a cartoon turtle, where can our

[A]

fans cannibalize your material that is 27 minutes in.

[B]

Yeah, where they can find you.

[C]

You guys can find me at the Underclass podcast. Definitely the best place. Go. Go subscribe to not only the YouTube, but the rumble as well. And. And definitely, if anything I've ever done resonated with you, the Patreon's the best place to support me. Patreon.com the Underclasspodcast and. And I think we just did episode 65 of whatever this is.

[A]

That's right.

[C]

Man, it's nothing but a blessing to. To be able to sit down on a weekly basis with those two. Sam and. And Brad. And really, for me, it's. It's kind of. It's not only surreal, but. But it was so strange. Like, for example, whenever the White House card, right. The UFC White House card, happened just recently, it was just after the card, and the. The whole time, I'm basically watching the. The UFC White House card. I'm. I'm. Sam's texting us, right? The. The entire time. So I'm basically breaking down the card live with Sam, thinking, okay, we're probably doing whatever this is tonight. And. And so then, sure enough, as soon as the White House card ended, he.

[B]

He.

[C]

Or just before he asked us to do a show. And so it was just a. It was a blessing to think. The following day, I get a call from Jake, right? And so then I'm sitting there talking to Jake about the White House card, just breaking down what we thought about it, you know, each of the fights and things of that nature. And. And I just thought, like, that was one of those moments, you know, it's like that where you really have to sit back and appreciate life for a brief moment. Like, how the. Did I even get here? You know what I mean? Like, in a real question, what is a.

[A]

What is that show about? Is it. It's not necessarily conspiracy deep dives. You're. You're breaking down UFC cards, too. Yeah.

[C]

Yeah.

[A]

Which.

[C]

That. That's definitely. You never know where. Where the show will go. And that's. That's another thing that's so beautiful about it. But, yeah, it's. It's. You know, we started with. With this past week, I think it was. We instantly started with the fact that. That Sam shaved his beard, and he's. He's only got a dirty Sanchez now, dude. And. And so we. We had to instantly acknowledge that. But then we. We Got into the Odyssey, Christopher Nolan's Odyssey, and. And his most recent adaptation. Right. And. And I have to say, when. Whenever I saw Sam out there vehemently promoting.

[A]

How much are they paying you, Sam?

[C]

Yeah.

[A]

I'm, like,

[C]

legitimately trolling at first, and then I saw Johnny basically go and reinforce what he was saying. And. Oh, and by the way, I have to say congratulations to you guys for. For Mount Crushmore. Dude, you know, that's. That's legendary. Yeah, of course. And I thought it was funny because I almost told him. I'll have to tell him at some point. But I was like. When I saw the ballot, I was like, yo, I have personal resentment, bitterness building up this current moment. I'm like, how the. Was I not. You had to write my name into the ballot? I just thought it was funny. I was like, oh, your name wasn't even listed. It wasn't even listed, bro.

[B]

Wait, for.

[A]

For Mount Rushmore.

[B]

Oh, that's insane. Yeah. That was one of the people. It was, like, him, Ed Mabry, Dr. Heather Lynn, and maybe, like, two other people that I thought should have been obviously in. In the running. Why the hell was your name not on? That's crazy.

[C]

That's the only issue that I had. I'm like, yo, I'm taking this up with Johnny. I think Johnny's got a problem.

[B]

I think they did it.

[A]

They did a wrong way of voting. They did, like, a ranked choice vote. So what happened is people. A lot of people picked our show. I guess we came out on top. And then the two, three, and four people were people who were, like, associated with us, but in the spiritual conspiracy kind of.

[B]

So, like, Merkel, which I really appreciate. I like that. I think it's a huge win for Christ.

[A]

Yeah. But I would have liked to have you on there rather than Merkel.

[B]

I mean, should have been there, not us.

[C]

I. Dude, it's. It's. It's a beautiful thing. Honestly, I just thought it was funny whenever I went into the ballot, I'm like, you son of a. I almost texted him right there. I'm like, yo, this is as rigged as the LA mayoral election. Like, what are we doing here?

[B]

I've been sending him horrifying things every day. I don't know if you've seen this, but I send Sam because Sam notoriously doesn't answer text messages back. If you call him, he'll pick up the phone, but he doesn't answer text messages. And so every day, I've been sending him a grotesque image, like some sort of horrifying. Meme today I sent him a picture of a hot dog on all fours with something oozing out of its hot dog colon. And, and every day I just send him something with no context to see what he says about it. And so far he said nothing. Actually, the first one I sent him was somebody getting their foreskin caught in a zipper.

[C]

Yeah, I saw. That's the one I saw.

[B]

He goes, he goes, what's that? And I go, it's a guy getting his foreskin caught in a zipper. Sam.

[A]

Yeah. Anyway, Sam doesn't talk to us anymore.

[C]

Oh my God.

[B]

Disavowed us. Do we. Do we do plugs? I had to go pee.

[A]

I don't.

[C]

Pretty sure I did. I'm pretty good. And, and by the way, I was just joking. Obviously, I, I threw Johnny under the bus the other day because he basically was out there promoting the Odyssey. And I'm like, you son of a. And, and so essentially I don't, you know, I have no dog in this fight. I don't give a. I just think the, the pop culture concepts and value to the. The Iliad and Odyssey are being absolutely, you know, strategically undermined by, by this adaptation of Christopher Nolan. And, and I will say, you know, people should be far more aware of John David Norman's Odyssey foundation than this ridiculous Christopher Nolan version of a God forsaken adaptation of the Odyssey.

[B]

Right.

[C]

Which is something that I said recently. And again, this is something I thought we might touch on for. For a brief moment. But I should say as well that, that, you know, in, in. No, I just, I kind of thought in regard to. Because it seems like there's this duality playing out. You have to be on in one camper or the other. Right. In regards to reacting to this film. And you know, for me, whenever you realize that that basically it's all based on your politics or societal conditioning going in, that most of us have already been largely predisposed and preconditioned to embrace a certain side, as I said before.

[A]

Before.

[C]

And, and it's like before you even get into the theater, you know, you've already broadly made up your mind and decided if you love or hate this film. And, and without even watching it. And so that is necessary for people to realize the escalating culture war and how it's constantly kind of, you know, how they will effectively exploit that and leverage that to their benefit in terms of the permanent establishment and, and the mind war operatives and psychological engineers. You know, it's like, this is just the way it goes. And. And I saw someone reacted to. Because I did a solo stream last Saturday. Not this last Saturday, but the Saturday before. And I. It was just as the Odyssey dropped, right. And I kind of discussed it briefly. And obviously it was the casting decisions, like the. Helen of Troy and. And the. Even Travis Scott being like an ancient Greek poet who's.

[B]

It's my understanding that Helen of Troy and. And Emma Page were like, not. Or whatever the hell. What. I don't know what her name is. What was. What the hell was its original name.

[C]

So Ellen, right? Wasn't Ellen Page.

[B]

I'm gonna dead name her. So they're only there for like. Like two to three time each. And there's even this implication possibly. I don't know if I saw Johnny saying this, that, you know, Christopher Nolan might have disdain for the whole DEI operation thing, and. And that it's kind of evident by the treatment of those characters.

[C]

But I don't believe that for a second.

[B]

Come out and say something recently that was like, oh, I had to change the ending or change the way that the housemaids or something like that were treated in the film because in the. In the story of the Odyssey, it's just too misogynistic the way that they were treated.

[C]

And so I. I. Telemachus, I believe it was, who comes basically punishes 12 housemaids or something, were, you know, essentially, they had betrayed the home, the house. Right. Penelope and. And Ulysses or Odysseus. Right. They had betrayed the home over the past 20 years, throughout that process of. Of these. These, you know, men throwing themselves at Penelope to essentially, right, control all that was Odysseus or Ulysses, his kingdom, you know, in a real sense. But the. The point is, is that, yes, he definitely did these disloyal maid servants or whatever they were, right. Were. Were he changed the entire ending in a real sense. And he did claim it was basically because it was so grim and misogynistic was the term that he utilized.

[A]

Right.

[C]

And I have way more of an issue in regard to his oversimplified conclusion, you know, And. And again, this is no shot whatsoever. I love Johnny, you know, this. It was just. I thought it was funny that he's out there poisoning Sam's mind.

[B]

Yeah. Because I couldn't. Sam liked it or if he was trolling. And then I kind of came to it first. Yeah, I think he does. He does like it. I mean, I don't know, man. I. I don't know.

[C]

I spent like, legitimately on whatever this is. I spent like 45 minutes. And, and I think by the end of it, I, at the very least I convinced him that what I was saying he agreed with, you know, and so it's like that. And, and again, this is not a duality in, in terms of, you have to not appreciate and compartmentalize the appealing nature of the production value of such a, a big budget film, you know, which obviously, yeah, Christopher Nolan has made amazing films in the past. I mean, I've appreciated Memento and Inception and, and, you know, many different films of his.

[B]

Inception was almost so good that it's, it's like it becomes bad. I don't know how to explain it. It's so culturally relevant that it's been stripped of whether or not it's a good film and reduced to a meme in very many ways. So how good? I think Inception, actually, I think Inception was a fantastic movie, but apparently also a direct ripoff of a earlier film, which I was not aware of until recently, of course.

[C]

And that's another thing. Nothing is new in terms of the Hollywood industrial complex. These concepts are all recycled concepts and usually stripped of their heart and soul of what they culturally provided in the first place. As far as the cultural value. That's my issue with this adaptation. This is funny because introductory point to

[B]

me, like Hollywood was hemorrhaging and dying for a minute. This is the longest hemorrhaging I could have imagined. I thought for sure we would have

[A]

a lot of blood.

[B]

There's a lot of blood in Hollywood. Yeah. Filled with baby blood. And I would have just thought because, you know, after, after Covid and after the Epstein kind of, you know, technically second round debacle back in 2018, 2019, it kind of looked like Hollywood was starting to enter the death throes. And then it's been there breathing on a respirator for the last six years and, and I don't know, is it going to experience a resurrection or is it, is it finally going to die the death that it deserves?

[C]

Right. And you know, you guys already know that. I, I believe there's esoteric occult ideologies covertly permeating through modern society. It's just the bottom line, right? And this is how they, they have utilized Hollywood as this viable tool that weaponized pop culture in this sense. And I think that when you see somebody responded to the stream that, that I did regarding the Odyssey as well, at least I touched on it. And, and they, they, they responded in, in the comments by saying that they had been told in the past that society's Standards for art are a reflection of its morality. And I thought that's just a beautiful statement. You know, honestly, I, I very much. I, I believe I principally. I agree with that statement. You know, and I think that whenever you see. And I mentioned this a couple times in the recent past is, is whenever I covered Laurel Canyon, right. It was, it was like the weird scenes inside the canyon, right, the Dave McGowan book. But, but it led me down the path of essentially really refocusing and, and reflecting on the 60s counterculture and the hippie movements which were more than. I mean obviously they were weaponized to discredit the naturally forming anti war movement at the time. That was just one layer of the operation in reality as far as dismissing and undermining the value. And, and that movement was effectively becoming a threat to the U. S. Military interests. Right. And, and I think there's no better way than to strategically corrupt the culture of an entire generation. Right. And I think compromising you. You inherently compromise that. You inherently compromise this generation from ever posing a true threat to the establishment which, which eradicates the revolutionary mindset. And I think that is what we need for modern society to essentially, you know, I think be on any sort of positive path toward a better alternative solution to the structured system as it currently is. Right. And that, that is the entire reason that the structured system is designed in this way. And so I think we're at an inherent disadvantage and that is by design. And so if you see. And this is why I thought it was always fascinating and, and the reason I've been mentioning it recently is that whenever I covered Laurel Canyon, right. It would basically I, I realized that not only Laurel Canyon has the very same sort of connections as, as the original or origin of the, the term Hollywood land, right. Or Hollywood, right. Which in itself derives from the wood of the holly tree, right? Which people aren't aware of the fact that the wood of the holly tree was. Happened to be the favorite wood used by druid magicians for their wands. Composition. Yep. Now imagine a world, all right, where, where, where clearly. What else is that other than casting a spell? Malevolent. Malevolently manipulating the minds of the general public. That, that to me is what Hollywood.

[B]

The language is all there, right? Like you're. When you're picking an actor, you're, you're casting. It's a, it's a casting. Or when you're looking for the right channel, you're looking for the right program. Like they're. All of the language is embedded in It. This goes back to something that we talk about pretty often on the show, which is this war on definitions. Right. If you could change the fundamental meaning of a word and then reintroduce it to a populace, you've destabilized people's understanding of the nature of reality so fundamentally that no one could ever come to an agreement on a thing. So now casting is no longer within the context of casting a spell, although it still is functionally what's happening. It's now associated with. With actors and things like that. And then, of course, these actors are routinely telling you that they are. They become someone else entirely when they're, you know, in character. It's called method acting. And the best actors do it. You see that the best actors are possessed or channeling. Is that what you're telling me?

[A]

Yeah, I mean, everybody that plays the Joker comes to mind.

[B]

Yeah, everybody that plays the Joker or. Or anybody who's. Who's, you know, even Superman. I mean, what was the guy that did Split? Yeah, yeah.

[A]

So the joke.

[B]

Particular spirit. Right?

[C]

Yeah.

[B]

But the guy who did split, he's a great actor. Fantastic actor, fantastic channeler. I don't know, but, yeah, he's. He's going through and playing so many different characters in that film, and one of them is inherently like a demon, a beast, a monster. And, man, I forget what that guy's name is. Fantastic actor, though. But. But, yeah, McAvoy. Yeah, good call. I love that dude. Love the way he channels the spirits and does, you know, all the witchcraft, but it's all right there. And. And I think, honestly, for people that have their doubts as to the spiritual nature of the big game, you know, the big club that you're not invited to in. In the words of George Carlin, the. The nature of it is on display in Hollywood, if you would just look at it. But, yeah, that's. That's a. I mean, Hollywood famously. I think one of the first films that were entirely developed in it was really early. Might have been like, 1913. 1914 in Hollywood is. I forget the name of the film, but they erect a gigantic, identical version of the Gates of Ishtar from ancient Sumer, and to this day, it still sits there. It's in Hollywood. If you go there, you can see it. So somehow, for the first film that they ever made in Hollywood that was entirely made in Hollywood because there were films being made at the time, but they were like, you know, being shot here and done here. This was all done in Hollywood. And by 1914, it had aired and and you know, all of its apparatus and the, the gates of Ishtar that they erected, they, they put so much work into that. It still stands to this day. It's still there and it's, it's a one to one. You can see the, the actual gates of Ishtar. You know, it's, it's all lapis lazul, it's all blue. It's got the, the golden lions and everything flanking either side of it. It's on display in a museum, I believe. But this version that they created for this film, that was all inherently about Babylon, which, you know, I would argue Hollywood is the new Babylon still stands to this day. So it wasn't even like, you know, you make props and they're meant to be torn down and, and they were like, look, this is our first go. I don't want to go too hard here. It's the first one that we're doing in Hollywood. You know, let's make it so that it never falls. You know, it stands for over a hundred years. Like what? Dude, that's.

[C]

Honestly. And that's why I, I referenced. So I watched a film not, not too long ago that was called under the silver lake from 2018.

[B]

Yeah, that's a fascinating movie.

[C]

Okay. Dude, it's amazing, honestly. And especially so it made me think that we should all be far more careful with what we consume because just revelation of the method obviously exists and sigil magic is absolutely real. But these practitioners and initiates of all of these various ancient occult traditions, they rely so heavily on culture creation through, I believe, pop culture. Right. But it's a powerful medium and these are sophisticated methods of, of social engineering that they're, that they're cultivating and relying upon. And so once you realize that these culture creation mechanisms of social engineering and have been essentially relied upon for so many generations, right. Then really it becomes acknowledging that they are strategically and deliberately co opting culture, these cultural touchstones. Right. And, and this is becoming commonplace, you know, among the psychological engineers and the mind war operatives. And this is why I view what Christopher Nolan is doing and the, the destruction of the cultural value of the Odyssey for an entire generation with no one basically batting an eye whatsoever other than, you know, the usual suspects which are co opting this into the culture war in, in, in regard to this, this reinforcing the two party paradigm and this partisan nature of how you can only view and internalize and interpret things based on this, this ultimate two party paradigm, that is the only reflection or I mean, the only window in which you can view and reflect on. Upon art in general and let alone internalize the conceptual values. And so this, to me, is a perfect example. When you see the. The Travis Scott casting, the. The Elliot page, the Helen. The Helen of Troy being legitimately like a Somali pirate. That. That's what it looks like, dude. I'm the captain now. That's what she's about to say to Tom Hanks. And it's just like, insane to me that.

[A]

That.

[C]

And this has nothing to do with. Obviously there are beautiful black women that exist on earth, but again, this was not. Do you need to cast this woman who. Who basically, it doesn't fit that, in my opinion. And as far as that profile. And it's almost smearing the. The. It's intellectually insulting in. In a reality. In reality. Because for me, I felt like they were insulting my intellectual fortitude. Like, are you kidding me?

[A]

You see what we were just talking about? And I. It's a little bit of a departure from the topic here, but pre show, I've been obviously getting into it with the Orthodox people in the Orthodox church.

[C]

I love every second of this, by the way, just so you know, from. From an outsider's perspective.

[B]

And.

[C]

And I believe in God, obviously. I'm just like, I. I've never. And this is nothing. I mean, it is sort of personal, I guess, but I don't know. Jay Dyer. Okay. I met Owen when we went the last brogrove. I really appreciated Owen, honestly. I felt like he was a genuine person. And. And, you know, the conversation that I had with him, I really enjoyed. I. I honestly, I like going a lot, and I just. I've had appreciation for Jay's content in the past. Just certain things, certain concepts that I've usually. Nothing to do with what he's most known for, to be honest. Right.

[B]

It's about black Kangs.

[C]

Yeah. Yeah.

[A]

His occult Hollywood books and his various literacy studies are very interesting.

[C]

Exactly.

[A]

We had. Man. I guess I. I don't. I don't know if I want to go into the whole story of how we met him, but I. I will if. If you'd like that. But what I was. What I was getting at was just like the idea of the artwork within the Orthodox church. And I know that there are reasons why it's depicted this way, but I'm an artist. I make my money doing this. And I don't know whatever people would say. I'm a bad artist, a good artist, doesn't matter. I'm a professional one, and I know what's good. And I know how to do what's good. I understand, like, the replication of it. Like, we can see this with our eyes. People understand this. And every time I look at orthodox art, it's one of these things where I go, all right. You know, I. Like, I never really set out to disrespect it, but I just go, interesting choice, and I move on. I would never replicate that. I would never put that in my house. I would never bow to it. That's a whole nother can of worms. But as I'm looking at it now, and I'm like, you know what?

[C]

The.

[A]

The gloves are off as far as respect goes. And they've been on for a couple of months. I'm like, well, let's talk about what's on your wall right here. And let's talk about the perspective issues. Let's talk about the. The size issues. Let's talk about the issues with the human anatomy. Let's talk about the issues with. I mean, I think the color is. Is nice.

[B]

The colors, yeah, but the colors. I learned, like, one. Like, a great deal of them that I was like, actually, the use of color is nice. Those were all enhanced with AI to add contrast to the colors, but I imagine that at one point, they were probably much more vivid and refined. Yeah, yeah. And then over time, and that's fine

[A]

for me, the issue is structurally how this stuff is. Is built, and it's like, it doesn't resemble the human form, which, in my opinion, my favorite form of art I've been drawing since a child is the human form. So, like, when we're talking about some of these, like, Greek sculptures, I. I'm a. I'm actually a sculptor. Like, that's what I love to do. I have clay at home, and sometimes I will sculpt. My son is really good. I think it must run in our family. Check this out that I sculpted. We do it in 3D models now. This is a big one. This might be available.

[B]

I didn't even realize he was here.

[A]

Yeah, yeah.

[B]

Shout out to Nephi.

[A]

Shout out to Nephew. We're doing. I'm making. I'm making another one. Printing it out. But I really appreciate that form because it. It pays homage, and it could get slippery as well, but it pays homage to the human form. And the human form, I think, is the most. It's the most complicated creation of God, and it shouldn't be. It shouldn't be worshiped, but it also shouldn't be disrespected. So when I look at the Orthodox church. And, like, what.

[B]

They've.

[A]

What, They're. Well, that they're praying to these things as well. And they're being very slippery with.

[B]

Well, that's what happens.

[A]

Consider worship.

[B]

When you make fun of it, you. You're considered.

[A]

And this is why I started to. This is why I started to poke at it, because they are like. They're like this. It's not a. It's not God. And I was like, well, you get very angry when I make fun of it because it is your God. But the point is that I think it's. I think there's a correlation with that. And, like, corporate art. Corporate art was this thing that I've been beating up on for years, because you look at it, it's this weird thing, simplified version of the human form again. And it's meant to be there to make you feel like. Like you're supposed to look at it. And everybody around you goes, oh, applause. How wonderful. But the reality is, inside, you're dying because you understand.

[B]

Yeah, demoralizing.

[A]

It's a demoralizing bastardization of the. The most beautiful thing that's ever been created, the human form. The hands are not correct. The eyes are simplified. The face is misshapen. It's. It's just all up. And when I look at orthodox art, it's the same exact thing. And I'm like it. Then it leaves you to wonder.

[B]

I'm trying to find that one that you posted today.

[A]

If that's done on purpose. Like, is this done? Is this. Is this an op? Because they're doing it now with current roles, like movies, but it's not. There's nothing new under the sun. So back then, would you have done this with Christian. Christian artwork? So when people look at this, they look at the savior of mankind and they go, oh, like, this is not even a human being.

[B]

Yeah, I have a perfect alien, right, bro? Great. Alien is a crazy thing to say. Look at this.

[A]

The exaggerated features on the fingers, like a long nose. And they'll go ahead and explain it away and all that.

[B]

But, bro, it's not satisfactory. Like, for. So if I say this is bad, you can hate me.

[A]

That's what I've been getting. And as a matter of fact, Aiden Mattis, remember, we had him on the show early on, he wants to come back on and explain to me why this is good. And I. Sure you can. Come on.

[B]

This is not good.

[A]

It's just. Yeah, go scroll up a little bit. There's a. It probably means something, but it Looks like boobs.

[B]

Oh, yeah.

[C]

It really does. Yeah. Both, honestly.

[A]

And they'll go, well, you're a plebe. You're a boob. You don't understand.

[B]

Find art.

[A]

Find art. And I go, no, no, no, no. Art is. Art is supposed to be self explanatory. When you see a thing, you go, this is beautiful. There's not. I shouldn't have to look through this and dissect what these little pieces mean. That's pretentious. Especially when we're talking about Jesus Christ, the Lord and savior of this world and all of humanity. Do it. Correct.

[B]

Do it.

[A]

Do it.

[B]

Good.

[A]

This is not good. And it's done on purpose that way. But it's the same thing with films. It's the same thing with modern art. It's everywhere. And it's done to demoralize. And if people. It demoralizes when the people around you buy into it.

[B]

Yeah.

[A]

When I'm.

[B]

When everybody pretends I'm like the guy

[A]

standing up and everybody else. No, I'm the guy sitting down. You know that, that famous picture, I think it's like in Nazi.

[B]

Oh, yeah, yeah. Where he won't stand.

[C]

Ye.

[A]

Stand up and he has his arms folded. And everyone's like, look at this guy.

[B]

He's an.

[A]

And I'm like, no, but that's bad. This is actually bad. Yeah, I'm taking a brave stance. Everybody else should be going, yeah, this isn't that great. This isn't that great at all. You're. You're drawing God, and you haven't even tried.

[B]

You have. What are you tried? Yeah.

[A]

What are you doing? It's, it's, it's pathetic. But this is what they do with art. Sorry to interrupt.

[C]

Absolutely. No, I think Plato had an interesting take on basically the commercializing of. Of. Of fine art or just art in general. Right. And I always thought, you know, Plato's the Republic. I thought it was a. Something that is extraordinarily valuable as far as just culturally and conceptually and, And I think. But the concept really. He goes so far as to claim that basically the worst part of. Of commercializing art is. Is that the artists wouldn't necessarily do this, but intentionally. Right. Although I do think some. That that exists. Right. There's. There's definitely, I would think a minority that are maliciously or malevolently kind of purchasing the.

[B]

The other ones would be institutionalized. They would roll through the. The sort of. The gears and come out that way.

[C]

Exactly. It would just be almost money in time, a systemic Consequence of that process would essentially be. Be. So they would almost entirely like, truly believe that they were being morally virtuous. So you see all this virtue signaling, you see how it's. It's layered into especially pop culture concepts in. In their modern form. But this is really, I think, mainly because. And Plato basically considered that this is kind of a lack of knowledge. It's a reflection of the lack of knowledge of the concepts that they. That they were in them in their own right, attempting to critique. Right. And so it's like this level of ignorance that you're effectively revealing, you know, unintentionally. And. And so this would inevitably spread. It would lead to the spread of emotionally charged misinformation is basically what would happen. And that, I think, is what we see. It's like people that I know and love have embraced, but not only embrace, these bad ideas, they take them and they run with them to such an extent to where it becomes their identity, because they're legitimately suffering through an identity crisis, and they've yet to even fundamentally understand who they are as far as their core values and core principles. And if you don't have a set of core principles that you have outlined and acknowledged for yourself that you very much are aware. Right. Are kind of. This isn't about which way the political moral wind is blowing in in the current moment. It's about providing yourself with that foundation, that moral foundation that. That you can rely on in that moment of confusion that is always, I think, brought upon us by design in that way. But you see how basically it would erode almost the. The. The. It would almost erode the value of just an ultimate truth existing in general. Right. Because this becomes it. It erodes truth in. In. In society and at large. And it basically kind of leads to this ultimate chaos, which is order out of chaos. And I think that's very much what they hope for us.

[B]

We.

[C]

We are intellectually infants for the most part in regards to the general public. And so they are waiting for Hollywood to take them on that proverbial ride, you know, philosophically, to lead them into, you know, the ultimate conclusion that they will come to, which is really just parroting their favorite, you know, sort of.

[B]

Yeah.

[C]

Celebrities, which they worship on a daily basis. And this is. It's just a frustrating thing to witness is that.

[B]

You know, why I appreciate it, though, so as they try to march us towards that inevitability. And I think you're right about what you're seeing, and I do think it is an inevitability the machine that they're using has to become more and more egregious and it's trespassings against us. You know what I mean? And in that it becomes much more noticeable. And I like when the world doesn't hide its nature from you that well. So, you know, there, there is the sort of unthinking masses and, and, and they're going to be deceived or they are being deceived. And what I do like is that the deception is becoming so clunky that more and more of them will escape from it. Which is, which is ideal. And I, I like to think that it is more to your advantage if there is some great propaganda machine weaponized against you, that they've taken art and they've weaponized it against you and you know, in all its forms, music and movies and, and, and you know, paintings and everything, and they've weaponized it against you. Certainly that's, that's happened, right, not just in the Orthodox church, but Cubism and, and like that, the, the modern reductive everything is just spheres and cubes. I forget there's a, there's a terminology for it, but they've, or, or let's say like the Jackson polyp or Pollock polyps is a pus filled module. Pollock, you know, where he's just splashing paint on a canvas and going, look how profound it is. And then you look around and every single option for your wall in TJ Maxx is just nonsensical strokes and splashes of paint. And that's supposed to be art. It's all been weaponized against you. But it's gotten so obvious that I, I, like I said, if that machine is truly aimed at you, which it is, I would like for it to start stripping off its camouflage and stop posing as just something normal, you know, in the, in the scenery, and instead reveal its visage to be a grotesque monster that seeks your, your, your death. And in that way it becomes more obvious to not only fight against, but more vindicating too because when, when it's hiding its nature from you, you're as a good person, not so sure if you should hate this thing. You know what I mean? I find myself doing that a lot where I'm not so sure if I should crank the furnace in my heart up to a thousand degrees so that it burns with a fiery hatred for this thing that is, you know, the opposite of God. And the, the, when I know I can do that is when it's obviously the opposite of God. So So the more we get there, man, the, the happier I am. I was just watching Disclosure Day, which is another piece of propaganda. And in the immediate.

[A]

He's got a list of like 35 points.

[B]

Yeah, yeah, yeah. Five minutes. When they introduce the woman in red, the, the chick who has her spurge out on the Weather Channel and starts speaking in alien language. They introduced her with butterfly symbolism as a, as a little throwback to Project Monarch.

[A]

And Project Monarch, this movie's riddled with that.

[B]

It is filled with that. And we're gonna do a, a breakdown of it episode maybe sometime this week. But Project Monarch for, for people that are, you know, kind of in the shallow waters of conspiracy. You know, every time a celebrity has a, a robotic meltdown on stage, Katy Perry starts. Her eye starts twitching and. Or what's that lumbering bigfoot looking black from the talk show? Oh yeah, where she like all of a sudden spazzes out and then falls down.

[A]

That was a guy for a long time.

[B]

She does look like a dude.

[A]

Project Monarch, I'm pretty sure she was Odyssey.

[B]

But Project Monarch is the, the basically the arm of MK Ultra that brainwashes and produces influencers and, and celebrities and such for you to emulate and find. And their, their symbol is the Monarch butterfly, which I think represents the hemispheres of the brain. You know, each wing being one hemisphere of the brain and it's hemi sinking and all that other. So they show that and then what happens right after that? She gets on TV and has a meltdown. Just like Bigfoot Black lady or just like Katy Perry or any of these celebrities that have these Project Monarch style meltdowns. And that theme is, is consistent throughout the entire thing. Later on you find out that, you know, spoiler alert guys. If you've not listened, watch the movie. The, the butterflies show up again in her childhood home at the scene of her trauma. So there's your trauma based mind control. They're doing it right. There's your trigger and what they do. Oh, Wendy Williams. Thank you, Sancho Dickhard. What they're doing there is their. And then afterwards, by the way, they show you that the trauma is actually good. It's good. The trauma is good and the things that are traumatizing you are good. And it, you know, so the whole thing is riddled with all this and they, they are, they're weaponizing this art. Steven Spielberg being top tier directors, you know, for, for modern day films and he is showing you the, the things that they're using to do this to you right in Your stupid face. But luckily it's, it's now the bars lowered and so if you're smart enough, you can see it. And then they go, and by the way, we're still gonna psyop you. The aliens are good. The trauma's good. The taking you as a child and, and butt you on the, on the cold metal table. That's all good, baby. It's empathy. That's called empathy, baby. You're gonna love it. It's all good. So, yeah, I, I like when they make it overt so I know what to kill.

[C]

Right. No, I agree with that. And I think that the, the problem is, is that the average person, the vast majority of people in, in terms of the general public, they aren't as tuned in right in, in terms of being able to internalize and interpret what exactly the, the level of, of deception leveraged against them. It's, it's almost. They, they go in with the concept of, you know, they're just going to enjoy this pop culture flick right in reality. And, and in every way they have incentive baked into their intellectual minds which are very much in their infancy in a real way because they haven't been tapped into. And I think this is all an individual pursuit, right? And it's driven out of us through the conditioning that, that where we experience all throughout our lives. And so they go in with this ultimate kind of baked in inherent goal of, of defending this strange celebrity culture when, as if it is something, you know, to, to kind of align yourself to morally in, in reality, it's again that virtue signaling. It's that, that appeal to emotion, which is all. The Delphi method, this is. The Rand Corporation developed this in Laurel Canyon. I mean, it's just the same usual suspects that, that are and that are basically responsible for all of the most heinous foreign policy positions that we've taken over the course of history. You know, modern history and, and beyond the fact that the CIA set up a liaison office in 1996 in Hollywood to, with the first cousin of, of, of what's his name, the guy that played in Men in Black, right, who was the, the Tommy Lee Jones first cousin?

[B]

Lee Jones, yeah.

[C]

Legitimately set up a CIA liaison office and he was a psychological warfare expert. So like, okay, is that, is that coincidental when you have the face of the Men in Black, his first cousin being the CIA representative as a liaison to the Hollywood office that they would set up to what restructure what they claimed is that they took basically they took a, they took a, a Sort of loss in terms of pr, the CIA, the Agency itself, following the, the end of the Cold War. And so they needed to resurrect their viability in the minds of the general public. So they needed to have a new wave of, of glorified propaganda which would, which would set up the Agency to be, become this, this savior of, of all of modern Western society. And, and, and so every, everything you can point to. You see these way too popular TV series that never end, that have just ludicrous number of seasons on television.

[B]

The Walking Dead does that. Never. It, it never ends. And then they go spin off. They do like 8 spin offs.

[A]

Dude.

[B]

I'm like, this is just the show. I used to say, you either die Breaking Bad or you live long enough to become the Walking Dead. You know, tell me a story and then end it, man. I, I don't wanna, I don't want to go on forever. But like, that idea of like, it had me thinking of like weaponized nostalgia, right? So you know, saying that people will blindly defend all of this apparatus that is like Hollywood and know the celebrity driven worship centers, it. It's like they've realized you can do something to us through good storytelling. You can like find a place in our hearts and then you become just this, this thing that we defend emotionally and blindly. Nobody wants to believe that Will Smith is getting butt and eating babies because he was also in Men in Black and, and you know, Independence Day was a great film. There is something about specifically nostalgia that is I recognize as very dangerous. And it is like my son, he's 11 years old and he was trying to explain to me. He's like, I get a weird feeling when I think about like shows that I used to watch in places that we used to live and things like that. And I'm like, oh shit. He's, he's trying to describe nostalgia. I didn't realize it hit me so quickly. 11 years old is, is pretty fast to experience that. But there are things that if I hold or if I smell or if I watch, it brings me back. And, and it's like such a strong tie to the material world that I'm realizing like, that's actually probably not good.

[A]

I used to do that to cheat on test, not cheat, but I get like, I would, as I'm, as I'm studying, I would smell something specific or particular.

[B]

Oh, to bring that. And then you sniff that in class. Markers, huh?

[A]

Maybe even, I don't know, like a man. Whatever.

[C]

That's like a level of inducing mind control. In yourself. It's almost like I, I used to.

[A]

I know I seem like an idiot, but I used to do. I used to do like cocaine. Cocaine. I. I got very deep into this course about perfect pitch. I probably told you.

[B]

Yeah.

[A]

And I used to fall asleep with middle school C, the middle seat tone playing, so that way I can internalize it. So I had. I don't have perfect pitch, but I have relative pitch, meaning I could. I know I could definitely locate a C wherever it's played in most of the. The octaves, because I would just like, just blap myself up with that specific tone. And I figured if I could just internalize it, then I could. I'd be. And it works, but I don't know what else it does.

[B]

Right, right.

[C]

That's hilarious. Now you brought up demonic disclosure day. At least that's what I view it as. Right. Yeah, yeah, I saw.

[B]

Did you watch it?

[C]

No. See, this, this is the issue I have. I haven't watched the Odyssey either, but that movie, bro. I'll. I'll briefly. Just like, as far as the oversimplified conclusion of Christopher Nolan, I'll. I'll illustrate that in a moment. And also the, this synonym. Right. The. The Elliot Page casting, which, which was supposed to be like a moral tone.

[B]

Who was she supposed to be?

[C]

Yes. So this is, this is fascinating, honestly, because most people aren't aware of this character in the first place because it didn't exist in the Odyssey. And so. Yeah, yeah. And that's another issue I have with Christopher Nolan even writing this character in, because this was strategic and by design and deliberate it. And so you have Elliot Plage playing this so known a Greek soldier. Right. Which was apparently like one of the. The most formidable ancient Greek warriors that was the first cousin of Odysseus and, And was instrumental in the Trojan horse ruse. Right. And so this is.

[B]

Again, does that look that he just put in?

[C]

Well, no, that, that, that lore does exist. Right. And. And, but not technically, because this is interesting to me because basically Sinon does not as a character appear in Homer's original poem the Odyssey. It's a different. It's. It's, I believe, the Aeneid, Virgil's Aeneid is where this character exists. And that's the only reason we have a reference to Sinon as, as the, the cousin of Odysseus and also being instrumental in the Trojan horse ruse. And so that all stemmed from the character originating from Virgil's Aeneid, I believe, is how you pronounce. I Don't know. But rather than the Odyssey. Right. So that's important to understand in the first place, beyond the fact it was so funny and revealing of the level of ignorance in the general public in modern day is like you have people. And I think this was by design as well, is like they wanted to make this a cultural debate to where each. And, and also to almost like, for example, all the false allegations of Elliot Page being cast as Achilles, I thought. And then, and then having the, the over emotional reaction that would be deliberately tied to that sort of inherently, that would, would, would inherently take place is the point I'm making. And, and so what's interesting is that if, if you read the Iliad and the Odyssey. Well, the Iliad is basically the story of, if you remember, Dave Benioff did the film TROY in like 2004 or something, I think. Right. And it has like Brad Pitt playing Achilles and, and Sean Bean. Who's the best. Odysseus. He should have been cast as Odysseus. Honestly, I think Matt Damon's, you know, just a terrible cast. But either way, you have all this modern dialect playing out as well in the script.

[B]

Like, I don't like that. Yeah, that's a, That's a problem.

[C]

That's a problem for me personally. But, but I will say that in regard to just this, this character, this, this Sinoan character. So it's interesting because basically this is supposed to be like in, in the mythology, right? It's basically in the classic mythology. This character Sinon was, was more of like a trickster, like a Loki, like a deceitful. Oh, that's interesting. No, yeah, I know, right. Like, I feel like you just basically entirely undermined the value of what this character could have represented in a real way if you did want to write them into this adaptation.

[B]

Yeah. Like, is he a girl or is he a guy? What a trick.

[C]

Right, so, so, and, and again, it's like, as you said before, I think it's less than six minutes that, that Elliot Page is in the actual film. And same with. Because she does come back, I think later on as a recurring character in the Underworld or something that has a conversation with Matt Damon. And, but again, I have to say, man, stop. People need to really stop trying to convince me that Zendaya is a talented actress and, and yeah. And that she's attractive. Like, honestly, like, what are we doing here?

[A]

Yeah.

[C]

They try and force these constructed personalities in Hollywood onto you as if, and if you haven't noticed, she's getting the treatment. She's she is being cast in films that sell themselves. She. She doesn't have to actually become Athena. She's almost in every scene, basically, is what I've read. You know, she's in many of the scenes is the problem. Right. And. And the point being is that she's supposed to be the goddess Athena. It's just again, this, this is something that. When you realize that almost no one on the set itself of Christopher Nolan's Odyssey even read the original Iliad and Odyssey and, and the female that was cast as Helen of Troy, which her name was. What was her name? It's. It's like Lupita Nyong or something like that. Yeah, yeah. A series of clicks and she, she was in the film for like less than four minutes, I think. Right, right. But.

[B]

But huge. Both of them, huge spots in the trailer. Right. So this is like, absolutely. This is stoking the flames. It is smart as far as a marketing tool goes. But the effects that it has when it's compounded with all of the other instances of Hollywood doing this sort of thing to the public is a broadening of the divides, which maybe I don't want to be. Why are you with them?

[A]

But I can't understand why people are getting upset at this. Like, again, I, I do enjoy the

[B]

Odyssey, the voice slop.

[A]

Yeah. I enjoyed the Iliad as a kid when I read that.

[C]

Yeah. The concept, right. It's the 10 years of the Greek Trojan War. Right. That's what it really is. And it's sort of like the very tail end of. Of the conflict itself through Achilles eyes. You realize Odysseus was the trickster who actually cultivated the ruse of the Trojan horse which allowed them to walk away victorious and. And sack the ancient city of Troy. That's the entire. And then the odyssey is the 10 years following the Greek Troy, Trojan War, where Odysseus is trying to make his odyssey home, right back to Ithaca, Greece, where. Where, you know, so essentially he's been gone for 20 years total. It takes 10 years for the war and 10 years for him to return home to, to Ithaca. And, and I just always thought. And, and here's the problem that I have is because, again, it's like I understand the concept of what. And don't get me wrong, I'm not sitting here like, criticizing Johnny and Sam. I love them to death. It's just me, me personally thinking that you're oversimplifying this. I can definitely compartmentalize and appreciate. I can still watch this movie and enjoy the Right. The visual appealing nature of a high. Of a big budget action film. And also, you know, appreciating at least the core concepts of the Odyssey and internalizing them the way that they should be internalized. And I will not allow them to demoralize me throughout the process.

[B]

I was a little bit bummed out though. There's a, there's a dramatic lack of muscles. I get very of.

[C]

Of Elliot Page running with the armor on. I mean it's just like, just look

[B]

like a child, like a toddler in their parents armor. But yeah, I just miss the days when like action films. We're going back, we're watching a lot of like the 80s stuff with Jack and like everybody was Jack to the gills, roided out. Everybody put get back on steroids. People go like, oh, Chris Hemsworth is on steroids. There's no way you get that physique. He had better be. He's Thor. I don't want him to look at all like a normal dude. I want him to be unbelievably jacked. When they spray tanned. The greatest development in cinematic history was spray tanning the abs on the 300 soldiers from Sparta. Great idea, Great idea.

[A]

I've developed a, a disassociation from whatever's being created today and how I should feel about it. Because I, I'm very aware that they make these things like disclosure day, here's something and here's how you should feel about it. And I was like, that part of me is dead. I don't.

[C]

More personal that Sam liked the movie.

[A]

I might watch it and come back and tell you that I liked it. But it's because of this disassociation that I have to, I think this world in general, like I, I like Matt's idea. Since we. We've started the, the podcast in this shop. He, he labels every email as, you know, Matt Hepner of the Standard coffee shop. And it says pilgrim slash stranger. And he's like, I'm just passing through. I don't, I don't belong here.

[B]

Yeah.

[A]

And honestly, there's not much you can do to offend me. You can't draw any pictures of Jesus to offend me. What you can do are some like spiritual maladies, which I'm going to tell you that's gay. But like to offend me with a story of ancient Greek mythology being misquoted.

[B]

Well, that's actually great though what Austin is doing is good because to get to where you are, you first need to learn that, that they're trying to

[A]

do this, and I'm fully aware, and

[B]

you should hate it.

[C]

But then you.

[A]

I go through this mode of like hatred and anger toward these people and I can still bring that out. And that's a lot of fun for comedy and stuff. And. But the reality is when I search myself, I go, couldn't care less.

[B]

That's what we're finding is like, but

[A]

keep making that multi million dollar slot for me and make it real good,

[B]

make it real sloppy.

[C]

Worried about how it will affect me? Yeah, I'm worried about how it affects the people I know and love that are suggestible enough and, and I think vulnerable enough psychologically to where these terrible ideas take root.

[A]

Yeah.

[C]

And that effect. Yeah. And it is, you know, and that's, that's the problem that I have personally is that these are people I only want the best for. And I know I can't control the outcome in terms of their, their lives and their intellectual path. And it's something that I constantly grapple with because it's outside of my control.

[B]

Well, that's exactly it though. You, you nailed it. Like, what you're grappling with is coming to terms with like, oh yeah, I'm not of this world. I'm in it, but I'm not of it. And I'm just passing through. Like, that is, that's the, that's the fight, I think where people go wrong is where they don't ultimately come to that conclusion and like, sigh, a big breath of relief in, in very many ways that. Where you realize, like, oh yeah, I'm not of this world. Like explicitly in the Bible, it tells you that. It tells you to be in it, but not of it, you know, and that you are just passing through. And, and when you see we're in this really remarkable era, right. Austin, where it's like, for a time there was a big curtain over the world. So. So hundreds and thousands of years ago, everybody seemed to be pretty understanding about the nature of the world. And then in America for the last however many 200 years. But you know, since Americana was even a thought or something that you could point to, like, there it is. That's when Americana, especially that nostalgia idea of America starts this idealism, what America could be, what the world could be. That started and that was like really a curtain over the nature of the world. And then in the last 10 years, we've watched that curtain drop really rapidly in comparison to like the history of America. And we're getting acclimated once again to the fact that the world is exactly as it was a thousand years ago. They're still these kids. They're still killing these kids. They're still sacrificing. They're still in cahoots with all these demons and spirits and all this. And they want to poison you and kill you and twist the way that you perceive everything. And that's a unique thing. I think people of old were maybe a little bit more armed to deal with that. And I think what we're realizing in our generation now is like, yeah, we don't. We don't get that that thing was an illusion and the world is exactly as it's always been. And that's okay because we're not of it.

[A]

I'll tell you, I like the. I like the direction that this episode took. And I know that you probably made me.

[B]

I feel like it's a great conversation.

[A]

I feel like you probably studied to bring it somewhere else, but it doesn't matter because. Yeah.

[B]

Oh, yeah. You're always invited back on.

[A]

If you get here early enough for Brogrove, like, we can. We'll record some. Something in.

[C]

Yeah, we gotta do. We. We have to definitely talk about, like, I. I was hoping, obviously. I think the Odyssey Foundation. The only reason I brought it up was the transition to what matters most to me, and that is exposing these criminal cases that. That I think prove and reinforce so much of. Of the reality of the network that we're facing, this formidable threat that that is being posed, especially in regard to. Against the most vulnerable among us, as I've said so many, so many times before. And I think that's the only reason that I could personally, like, honestly, I think that's why that Jake and I got along so well from the beginning was because when we were discussing the finders that. That original episode we did when. When we had first met, like, we both, like. I. I just was naturally emotional, becoming more emotional as I was speaking on the network. And the overall consequences of. And. And two, to see the. The emotional sort of reaction within Jake, it was. It was the equivalent of how it affects me, you know, to my core. You know, how. How this is. We're in a spiritual battle on a daily basis. And I think that I love what you had to say about we're all just passing through, but I also think. And I think this is what you were also saying this in a. In a real sense, just maybe not necessarily did you say it exactly in this way, but it's basically to. To embrace the mentality throughout this temporary process, to hopefully have a Net positive impact on the people around you. Right. And I feel like that is my ultimate goal. I hope to become a better person on a daily basis. Someone I can look in the mirror and think, you're on the right path. This is the ethical path to follow. You're. You're doing the right thing. You're not in this for the wrong reasons. Right. And I think, like so much of my. Your intention, your underlying intention, I think matters more than anything. That's why, personally, it's fascinating to me to. To. To just cultivate these friendships and these relationships and. And like, at every turn, every step of the way throughout this process of. Of even, you know, publicly creating the podcast and engaging in this community is. It's really what I appreciate more than anything is the genuine nature of having these interactions. And. And legitimately, I can feel like when I walk away from these conversations with you guys, I genuinely feel like we're brothers, like, you're my friends, like you're legitimate. We're in this battle in the trenches, on the front lines of the mind war together.

[B]

Yeah.

[C]

And we're attempting to intellectually grow in this strange sort of. As much as I am philosophically opposed to collectivism, there's a beautiful nature in terms of how we are coexisting and attempting to. To consistently become a better version of ourselves in whatever way that might, you know, come fruition in terms of your priority. But I just think that's kind of what I discovered.

[B]

Austin, you know, you talk about, like, you're typically opposed to collectivism. Right? But. But collectivized under what? And for me, I've realized through doing this show, human beings are always going to be moved by a spirit. There's always going to be a spirit of what they're doing. And. And so there's no escaping that. There's no, like, doing it on your own. There's no, like, pushing off the spiritual realm and just doing this thing alone. There's always influences. There's always something that's going to be driving you. And to be unified in the correct spirit is like. Yeah. I'm typically also against collectivism because if you look at the collective, they're, like, retarded.

[C]

I mean, yeah, journey of the majority. Right. Like, that is the democracy, in my opinion. But.

[B]

But to be unified in a. In a totally different spirit, the spirit of righteousness, the spirit of truth, with which ultimately, as I sit, everything that I've done, everything that I've looked at points directly to Jesus Christ. It is that spirit, the Holy Spirit. That is those things that is righteous and that is true and that is good. That have no problem being unified with anybody in that. But typically, yeah. Collectivism. People. People don't. I think what I, what I was saying earlier about that idea of this is the nature of the world. And I'm definitely not saying like don't try to do anything about it. Understanding that I think is, is probably the first step in not losing your mind. Which is why kind of going back to what we were talking about with Jake Shields, it's remarkable to watch him sit here and allow people to watch him digest all this information in real time and not fall apart. Because very many people do fall apart. And I think a key to not falling apart, at least for me was, was realizing like yeah, that's, this is the nature of the world and while we're here, we are to fight against it. But we're supposed to be of a different spirit. There's the spirit of the world and all the spirits within it and then there's a totally different spirit that's outside of it. We're supposed to be unified with that and doing works at the behest of that spirit which is those, those works are going to alignment with it if those works are works of the truth, you know, works of righteousness. So everything you're talking about where it's like letting people know what's going on, it's like, yeah. Letting people know the truth. You're not out here deceiving people. It's not a deceptive spirit that you're in bed with. It's not, it's not a, a spirit of greed or of monetary gain. It's not a spirit of perversion or anything like that. It's a spirit of, of righteousness and of. And of truth. We're supposed to be doing that. Dude. Yeah. 100 I. I just don't want anybody to get the impression that I'm saying like, like just move through it. It's the world man. So you know it's gonna do what it's gonna do. Like no, we're supposed to fight against that. We're supposed to push against that. And the way that we do that is by doing exactly what you are doing, which is telling the truth.

[C]

Yeah. And I think honestly. And do you remember the, do you remember the quote back in the day from basically the, the popularized ridiculous concept during the drug phenomenon of essentially the LSD psy drug fueled culture that was. Was coming to fruition just after. Basically I think this was a consequence of MK Ultra basically coming to the domestic us in a real sense, in reality. And this all fundamentally began in the early 50s, late 50s, and, and then really started to have an impact on culture at large and in the west around the early 60s, late 60s and 70s. Now it was turn on, tune in, drop out, right? That was the concept by Timothy Leary. Yeah, yeah. And I just felt like that was a weaponized concept to neuter the revolutionary mindset, especially in that era, in that generation, right, of the counterculture, the hippie movement. All of these layers of, of deception and deliberate disruption societally were coming to fruition in every aspect of, I believe, the overall ultimate goal of, of undermining the value of culture in the West. And so in reality that's come full circle almost, it feels like. And I think they achieved so much of what they, you know, intended to achieve. And, and the one thing before I forget, I had one last thing to, to mention about what. And I thought you guys would appreciate this because of really kind of the philosophical nature of the conclusion of this in reality, if you do internalize it this way is like Nolan claimed that Elliot Page's character Sinon was to provide essentially was to provide a moral anchor for the film, right.

[B]

In way we would have to moral

[C]

anchor in the film, right. And this is, this is for me, it's, it's something that is fascinating, right, because again, it's, it's if, if you don't realize that the overall philosophical conclusion of Homer's Odyssey now obviously any. It can be, it's a layered interpretation, right? And it's very conceptually formidable as far as the value of it in, in the layers, in, in regard to what you have to internalize and, and in the actual text. But if you, you see what Christopher Nolan's claiming this oversimplified conclusion of his film adaptation was ultimately that society cannot function through. Basically the idea is that society can only function through having respect for strangers, right. And that his, his overall simplification of the concept is that for over 3, 000 years, right, since the passing of Homer, that this is a fundamental truth, that human nature has never changed in regards to this. Now I, I view this as a New age oversimplification once again, which is another appeal to, to emotion which is a part of the Delphi method. Because if you actually look at. And if you consider again what Helen of Troy, right. Do you, you think that face launched, you know, the Ten Year War? Are you with me? It's just a difficult thing for me to, to internalize again, nothing personal. I don't know this person.

[B]

You know, a thousand ships, but they were all owned by Jews.

[C]

Yeah, yeah. Somebody said when I was talking about it, the face that launched a thousand tweets.

[B]

Yeah, that's it.

[C]

But. But no, it was. It was basically. And again, it's just like for me personally knowing, really what I think should be understood from the Odyssey is that it's about domestic stability. Right. The value of family, the family unit, peace inside the family unit, and domestic stability. That conquering abroad should not be prioritized. Right. Because stability at home should be the ultimate goal. This isn't obviously, this in itself. They're tried to administer a reformation of society at large in regard to another way to philosophically internalize the. The text. But this is something that I think people need to understand more than anything is that they undermine the value of that very core concept with just the casting and the framework of the conclusion of the film. And so that in itself just entirely robs the cultural value that, that the. The Odyssey, I believe, inherently represents. And if you. You keep in mind the fact that I found out Christopher Nolan. Have you ever heard about Christopher Nolan's brother?

[B]

No.

[C]

Being a hitman.

[B]

What?

[A]

Oh, yeah.

[C]

This is crazy.

[B]

So why is he so gay then?

[C]

Yeah, it just. To me, it struck me as. Okay, none of these personalities rise to prominence by accident.

[B]

Oh, that's. Yeah, that's a great observation.

[C]

And so I see, basically he has a brother named Matthew Nolan, who's an older brother that was charged with the murder of an accountant named Robert Cohen in Costa Rica. Okay, so he was using a code name. He was operating as a hitman using the code name Oppenheimer, which obviously his brother Christopher Nolan would do a film that was glorified propaganda production on Oppenheimer, which himself was a psychopath, a maniac, and. And definitely a communist as well. In no way should be given a glorified puff piece to rebrand who he was as a person, as if he morally was affected by the outcome. Look, man, like, I did an entire episode on Oppenheimer. He's a psychopath. Right? It's a hundred percent. And, and so for anybody who's. Who's curious, definitely, I encourage you to go and listen. Listen to my episode on. On J. Robert Oppenheimer. But the Cillian Murphy, like, I didn't watch that film because I knew it was intended to demoralize me.

[A]

I didn't watch it either. And I. I spoke with my aunt and my uncle.

[B]

I watched Barbie instead.

[A]

And the propaganda that they spewed back at me about you know, from whether it be what's his name, from oh my God, Einstein. Oh yeah, Oppenheimer to Hitler to whatever was being told to them there. I'm just like, oh, like, like pulling my hair out. Like guys, like I said, do you think, do you think history really went this way? Do you think it was this simple like that wrapped up in a bow for you that you were correct in your assumptions the entire time? Like, no, man, you just got food spoon fed and now you're giving it back to me. But instead I just go, oh, that's interesting. Do you think that that's how it went? And they go, oh, absolutely. And they like quoting the movie to me.

[B]

I'm like, oh, crazy. And it's crazy that we're all just getting our ideals of history from Hollywood.

[A]

Like, I still, I love these people but, but I'm not in the same world as them. So I, I was just like, oh, that's interesting. Did you know that, you know, Einstein was largely a fraud, disregarded by his peers? And they were like, why would you say that?

[B]

And I was like, you know, he was a cousin.

[A]

Yeah, there's like papers about that he

[B]

was fingering his cousin.

[A]

There's direct quotes from his peers that said that he was not a serious person, but they said he was a genius in the show, in the movie you watched, right? And they go, yeah, yeah, you figured out. And I was like, that's interesting. I don't know, one of these things must be true. But anyway, what are you cooking? Like, I'm just passing through, dog, but there's nothing I can really do.

[B]

I'm.

[A]

We're up against like this big propaganda machine. I'll plant the seed. Yeah, let God.

[B]

Let God water it.

[C]

Yeah, yeah, beautiful. And, but that, that allegation in regard to Christopher Nolan's brother is fascinating stuff. And basically it was according to these court documents, in these court records that, that are in regard to Costa Rica attempting to have Christopher Nolan's older brother, Matthew Nolan, basically to have him extradited back to Costa Rica to face charges for, for attempted murder. And so this was Costa Rica filed and basically unsuccessfully applied for Matthew Nolan to be extradited back from the US to Costa Rica in 2009. And basically in the, in the court documents you see that there were numerous claims that were made right in, in regard to internally within the documents themselves, if you read them. And you see that it's all in regard to the circumstances surrounding this banker's death. This. This individual, last name Cohen. Right? Yeah. So it turns out that this. So according to the documents, Louis Alonso Douglas Magia was initially convicted of the murder in 2005. But the extradition court documents point to Matthew Nolan's involvement as a, quote, contracted killer. So Costa Rica contends that Mejia. This is not a rumor, like, contacted the accused and. And basically this is for a still undetermined amount of money. They never actually put this on record and hired his. Both. Basically, both of these individuals, the Megia and. And Nolan himself were. Were claiming to abduct this. They were. They were plotting to abduct this person.

[B]

Right.

[C]

And then obviously, inevitably murder them. And so it turns out that Costa Rica basically, when they submitted evidence corroborating the assertion that Megia hired Nolan for the express purpose of murdering Cohen, they didn't provide enough detail that apparently through the extradition process would be, you know, damning enough evidence. Right. To. To move forward, which is why the extradition was. Was never successfully approved. But it turns out that, you know, and again, it's something that I think people should be aware of is that this is actually on record within the court documents where there's basically evidence that Matthew Nolan used the alias Matthew McCall Oppenheimer, which includes testimony and email records where he refers to himself as M.M. mcCall Oppenheimer. Right. And. And again, this is all through the context of him being hired as a hitman or a hired killer to. To assassinate this. This strange, you know, banker. And I think there was one other, because I believe an individual was arrested by the FBI at one point and the agent went on the record and what I thought was interesting, but anyway, that basically Nolan chose the name Oppenheimer allegedly to link himself to the immensely wealthy Oppenheimer diamond family. So the choice of Oppenheimer as a name appears to only be related to the South African diamond dealers and not the scientist J. J. Robert Oppenheimer. And so again, he's never convicted Matthew Nolan of being a hitman. Right. Or of disinvolvement in the murder. But it was in like 2009, which was four years after the death of this. This banker, that he. He filed for bankruptcy in Chicago and he was arrested by an FBI agent, Pablo Araya, that in that very year in 2009, Matthew Nolan, older brother of Christopher Nolan, was arrested by the FBI on these charges. Potential charges.

[A]

Interesting, because that's only one year after the Dark Knight, which.

[B]

Yeah, that's exactly what I was just looking at. Batman. No, Batman Begins, which is the initial one and then the Dark Knight is 2008, so. Oh, no, no.

[A]

The Dark Knight 2008, that's the Joker movie. That's.

[B]

Which is like. Puts him on.

[A]

Puts him right in the center of that MK Ultra programming. The movie shooting in Aurora, Colorado. Yeah, it's like that guy's. That guy's playing a role that's a domino. I wonder what this. I mean, mean, he must be a talented or a special in. A talented is a. I. I'd say he's talented, but a special individual. Meaning, like, chosen because he can do these things. He can bring these ideas to the forefront, whether it's from Oppenheimer, whether it's the. The triggering of the. The Joker from the Batman movie.

[B]

You ever see the Prestige?

[A]

No.

[B]

The Prestige is really excellent. It's like. It's about magicians, which is, you know, given. Given what Hollywood is really about. Prestige is great. So it goes. Batman Begins, 2005, Prestige 2006, the Dark Knight 2008, Inception, the Dark Knight Rises, Interstellar, Dunkirk. You know, Oppenheimer, the Odyssey. So it really takes a nosedive after Interstellar. But those few.

[A]

Oppenheimer and the Odyssey, I think they play huge roles.

[B]

Oh, they play roles.

[A]

Those are re. Oppenheimer. At the very least I've noticed now is reinforcing that or like Sloppenheimer. Sloppenheimer. Reinforcing the historical narrative to the boomer class that really needs to buy this for whatever they're about to present. I think that's very important in regards to nuclear technology and alien disclosure and whatever kind of technology comes from that. You have to believe that premise first for whatever's coming next.

[B]

Well, you said. You said 2009 is when the case is going on. But he's not convicted, right?

[A]

He's arrested in 2009.

[B]

He's arrested in 2009. Michael Nolan.

[C]

Matthew Nolan.

[B]

Matthew Nolan.

[A]

He's.

[B]

So he's arrested in 2009 for the alleged murder that takes place four years before that, right?

[C]

Yeah, exactly.

[B]

That's 2005, which is Batman Begins. So dude gets murdered, homeboy comes out with Batman Begins.

[A]

No, wait, did he fail the murder? It was a murder.

[B]

No, he was murdered, right?

[C]

Oh, yeah. No, the. The actual individual by the name of Cohen. I'll pull his first name here in a moment because again, in Colombia. In Costa Rica.

[B]

In Costa Rica. Come on.

[C]

Yeah. And it turns out that basically. And again, as I said, Matthew Nolan arrested.

[B]

Ah, the Jews got him. Oh, no, he's back.

[A]

That's interesting.

[B]

We've we haven't had technical difficulties with Austin this whole time until we started talking about the Jew and in Costa Rica.

[A]

Go ahead, Austin.

[B]

Okay, we're having a little bit of auspicious timing. What does auspicious even mean?

[C]

Yo, yo, yo. Oh, my God.

[B]

Auschwitz timing. There we go. Okay, he's kind of back. Austin, if you can see my hand signals, do a refresher. Rooney. Do a refresh and come back.

[A]

There you go.

[B]

Refresh your browser. This is what that means.

[A]

That's odd.

[B]

Spin it up. Do a little refresher.

[A]

What an interesting turn this episode is taking. Because I was expecting to go into. I mean, the last time Austin was on, we were supposed to cover Waco, I believe.

[B]

Yeah. Well, that's why I love Austin because

[A]

first, let me tell him.

[B]

Refresh.

[A]

Can you hear us, Austin?

[B]

Browser.

[C]

Yeah, yeah, I'm gonna refresh my browser as soon as, like, it's. It's tripping. So give me one second.

[A]

No problem.

[B]

Go ahead. Do your thing.

[A]

For sure.

[C]

I probably pulled 2. I pro. I probably pulled too many notes, if I'm being honest. I had so many tabs open. Dude, For real. It's an extraordinary amount of tabs. But yeah, go ahead and refresh that

[B]

because I think there is. There's a latency now.

[A]

He's a. Right now.

[B]

Now. You sure? Because I'm pretty sure there's a latency.

[A]

You're a latency.

[B]

Your mama.

[A]

Ouch.

[C]

Yeah, I'm refreshing right now.

[B]

Okay.

[A]

All right.

[B]

Yeah, I was pretty sure I. I detected late.

[A]

This would be. It would be like an interesting role for. For Austin to. To play for the Riddler weekly. Cut. The Riddler. He would actually look good in a green outfit. But no, for weekly content, do like these movie reviews and just break them.

[B]

That would be fun.

[A]

Fun. Yeah. People would go nuts for that kind of stuff. And it might even be like a little bit of a low, low hanging fruit. Like easy to do, right.

[C]

Watch a movie. Honestly. Let me. Can I go to the bathroom real quick and then I'll come back.

[A]

Well, let's. Let's actually wrap it up.

[B]

Oh, yeah. We do have another show.

[A]

We have another shirt.

[C]

Well, son of a. Okay, so just to kind of like, mainly I just wanted to mention the fact. And I did think that that was fascinating. Right. As far as Matthew Nolan and Christopher

[B]

Nolan, especially the timing of that.

[C]

And there's. There's this. Just honestly, in regard to. I had mentioned under the Silver Lake. Right. And I just wanted to briefly touch on the fact that basically this Film, it. It presents like this kind of occult conspiracy, right, that integrates like these. These wealthy elites who. Sealing themselves into these underground tombs with these young women who. Who are obviously like basically being procured as they were Hollywood starlets as young, young child actors that maybe never. Maybe their career never took off and they effectively were never successful as an. As an adult in. In the industry. But they would then become these Hollywood starlets and be a part of a prostitution network that would be basically providing these young Hollywood starlets to these wealthy elites in Los Angeles. And they have this whole subterranean system, underground tunnel system. And, and you see that the. The film itself has all these suggestions of like ancient Egyptian and pagan mythology that are kind of like layered into the plot and basically ritualistically rooted in. In a certain sense as well. And so you have the subterranean network under. Under Los Angeles, but then you have these hidden hobo co. And symbols that are being utilized throughout the film as well that, that are essentially tools to communicate, right? As far as, like used by the elite class to communicate, but also to maintain control. And so they. They utilize these hobo coded. Coded lang. You know, coded symbols. And like, one of them in the film is specifically stay quiet, right. As if it's subliminal messaging as well. And in pop music that, That I found interesting. There's this, specifically Andrew Garfield's. The main character. 33, by the way, is his age, which is in no way, as far as I'm concerned, a coincidence. And, and that reminds me, whenever we do finally talk about John Wayne Gacy. Yeah. It turns out that John Wayne Gacy worked. Not only did he have 33 alleged victims, he worked as a clown for Bresler's 33 Flavors ice cream. And he thought this was a. Yeah, no, I swear to you.

[B]

You.

[C]

And he thought this was. Was hilarious. Basically. I thought it was kind of interesting. I pulled videos of him. This is what I planned on talking to you guys about. I pulled. I swear to you, I pulled clips. I'm ready, bro. But it's. It's funny because really, I think it's. It's important to realize that not only was he. Was he basically holding a job while leading a double life right at this. This ice cream ridiculous. Bresler's 33 Flavored Ice Cream Company, but he was. This is during the time he's allegedly this homosexual serial killer who was impersonating a cop. Every one of his vehicles, he would buy new vehicles, they would be all blacked out. It would have a spotlight on them. He would he was, he was impersonating a, a cop and, and basically provided him with this sort of opportunity to potentially procure children on behalf of the Delta Project. But also he's impersonating a police officer, inherently equipping him with this sort of like false sense of authority and security with the victim. I did think that was interesting and kind of fascinating. And, and there's a mind control connection. He, he had an incredible amount of volume that he was allegedly taking during the time that, that. And this is when he allegedly confessed, which is so crazy that, that he revealed in this video with CBS News that that basically he had an incredible drug habit.

[B]

Right.

[C]

Where he was taking an absurd amount of volume, tons of Valium that he was taking, which led to what he claimed temporary amnesia during his alleged confession. Man. And so I think that is.

[B]

You think that's like an altar coming.

[C]

Mind controlled. Absolutely. And I also think that the. Consider the possibility of pharmaceutical induced mind control, but also at the very least a temporary absence of the internal psychological restraint that typically provides impulse control. That is what benzos do to you. Right. I remember I became a klepto when I took Xanax, dude. Like it legitimately the consequences, the, the typical consequences that, that, you know, you are usually. That usually restrain you psychologically from engaging in this, in this, you know, lack of impulse control. Control.

[B]

Yeah. So it's interesting because volume, like if, if it is. It's great for a mind control thing because what is what needs to take place in order for the altar to come forward. Right. Or the programmed individual. You need disassociation.

[A]

This is how we lost Jordan Peterson.

[C]

Yeah, dude. Honestly. And I think, I think benzos are very much, you know, it's just concerning for me personally because I know how over emotional and also kind of. It, it also provides like this strange lack of, of again, it's this moral inhibition that you, you, you no longer have. Right. It's. It's a lack of moral inhibition, but it's brought about by this like in, in a way, I think it could potentially with, with this specific case could have been brought about by the possible malevolent use of these pharmaceutical agents. Right.

[B]

Yeah.

[C]

And so if you see, you know, and again, I'll have to show you guys the video at some point in the future we'll discuss this and, and the case itself because it's so much more important than. I mean I, I won't put it that way, but what we did discuss, I thought was, was an interesting conversation and worth having. But I do Think that knowing. And if you guys go back and I don't know if you watched that under the Silver Lake and all in it.

[B]

Yeah, I did. I. I don't remember too much, but I know I watched it and I found it fascinating.

[C]

Awesome. Yeah, there's. There's a. Basically, there's all this Morse code is. Is included in the subliminal messaging and the pop music, if you remember, it was like, I think the band was called Jesus and the Brides of Dracula. Wasn't that the name of the band? I think it might have been, yeah. Dude, it's crazy. And. And so it turns out Andrew Garfield's character, it is playing back the albums in reverse, you know, like basically doing the old Led Zeppelin thing thing or Pink Floyd thing and. And essentially discovers this subliminal messaging in the. In the music. And so in a specific number of songs, right? Like the most. It was basically the most popular songs on the album. And so he then goes and he confronts the lead singer, right? The front man for that band, Jesus and the Bride of Dracula. Brides of Dracula. And. And he basically follows him into the bathroom and then starts beating his ass and demanding that he explained to him, why did you put this. Why did you bake in this subliminal messaging into the podcast music? And he says. He says actually it was a ghostwriter and that he didn't write. He said. He said he didn't write those specific songs, the most popular songs on the album. The studio provided him with those songs. And so I thought, oh, my God. The concept of, like, how many of these celebrity constructs are even actively aware that they are engaged in this sort of underlying occult framework here. Yeah, and. And the owl's kiss, right. If you remember, this is a. A concept in the film. You have a female. And by the way, the whole time, fireworks are. Are blasting off in the film as well in strange moments that are apparently signaling ascension in regard to the. The subterranean cult bunkers, right, Where. Where the elites are, are basically ascending to that next plane of this New age philosophy as they ingratiate or they embed themselves in this underground tomb with these young women. But anyway, the point being is that you have this. This female, right, who's basically, if you remember in the film, she's crawling out. She doesn't even need an entry point. She's crawling out of the guy's oven as. As if she just like entered a portal through his oven. And. And so he's. So she's walking through his home completely naked, but with an Owl mask on. All right. And this is a female assassin who was sent to enforce the cult's will and is basically representing the divine feminine. And so what's fascinating to me is that this divine feminine is tied to basically this long standing elite cult in Hollywood. And the point being is that, and again, the, the overall concept is that it's. The Divine feminine is ultimately the celebrity culture acting as a spiritual trap which is luring men into a cycle of over consumption and helplessness. Right. This is like the bottom line of what this, you know, sort of elite pseudo scientific religious transcendence that they're attempting to, to write, engage in, in, in their ascension process.

[B]

Yeah.

[C]

Anyway, I'm sorry, I know it's.

[B]

No, no, no, it's, it's funny because we started earlier on in the conversation talking about some of the first films that they did in Hollywood and erecting the gates of Ishtar. Ishtar is interchangeable with, with, with Hecate or with Isis. And, and the, the, the symbol of the owl is directly associated with Ishtar and that divine feminine. The reason I'm saying that is because it's like all of Hollywood purpose is to drive us to this point where the divine feminine is more on display now than it ever has been. And that spirit is that entity that they erected the gates to in 1913. So it's like one big, you know, for the last hundred years we've been subjected to a really long game, I think, and a lot of the telltale signs of it are on display now. But if you look at it, it's been a long stretch for like the last hundred years, right?

[C]

And, and honestly, man, whenever you realize like that, that, and again, it's like the Morse code was actually applied to the fireworks to where it, the message translated to I ascend now. Which I thought was fascinating. Right. And you have again this, this sort of mythological parallels that are being presented in terms of like the Greek myths and, and you know, the. Really it, it's in regard to Persephone and Hades and the, the, to the, the abduction and ritualistic use of these young women, right. Which again is like Egyptian mythology as well with, with the underground tombs and Osiris and things of that nature. I think this is just like for, for people who are unaware, they should definitely go and, and watch this film because I have to re.

[B]

Watch it now.

[C]

Right. Because they claim essentially that the ultimate goal was for the plot to become a metaphor for millennial disillusionment. And I thought that is such an oversimplification how dare you try and say that. It's almost like they were gaslighting me throughout the, the whole process. And, and because again, it's like you, you realize that if you remember the boiling point, the ultimate climax of the film is, is when he goes to a gated community and breaks into this multi million dollar mansion that was the only, was the only property off limits for when the. The females were brought to this gated elite community and told that they were allowed to move freely through each of the houses in the entire gated community except step for that. Do not step foot into that ultimate billionaire's mansion at the top of the hill. And so Andrew Garfield's character ultimately finds himself obviously going there as the destination to, to in a way hopefully come back with a conclusion of what is actually happening. And, and he, he walks into a room where this old man that is almost like the face of all that is wrong in modern society, right. Who's like this, this ultimate psychological, you know, engineer of some kind who has been developing this pop culture for generations. So he, he says all of basically implicating false rebellions. He said all the music that you rebelled against society too when you were a teenager, right. Is basically, it was basically a construct. I wrote that music. And he starts to play, right? Like Nirvana and he's playing like all the, the greatest hits over, over the years. And, and you begin to realize that none of those bands actually genuinely, you know, had constructed their own art. And so, and so in reality the ultimate conclusion really becomes this kind of false rebellion, right. That, that we've been inundated as a society that even if you believe you're rejecting the structured system, you're actually facilitating it, you're actually engaged in it.

[B]

Yeah. Whether you Laurel Canyon, that's exactly what that is. Right. It's like you hijack. Well, I don't know if it, if it, if it starts off that way it looks like, because I don't think they can create. Right. It's the same reason that they need ghost writers to, to insert a theme or an idea into somebody's artwork is because they cannot create the artwork. They need actually gifted people to come along and do that. Then they can co opt it. And it's the same thing with these, these movements where you think that you're rebelling against the status quo or whatever, the psychedelics movement or the anti war movement or you name it, gets hijacked. They can't create that movement. Although in some cases I think they, they can kind of inspire it, but you still need, need radical talented, gifted people to create it. You can create a tinder box in which, you know, all of the elements are there for it to, to spring forth, but you still can't do it without the actual gifted people. But that's, it's shortly afterwards co opted and then steered and infiltrated and, and you know, funded and, and pushed in this direction or that direction. But that's their M.O. they can't create. They can only take a thing and twist it.

[C]

Absolutely. And honestly, I'll, you know, I'll, I'll conclude with this because I, I really do have to go to the bathroom. And beyond that, No, I, and again, man, I appreciate you both more than you both realize. Honestly, it's something that means the world to me to have, have, have these friendships. And, and I, I just think that knowing, you know, there, there was when I went to Vegas this past pastime, we were having a conversation in regard to again, this pop culture being utilized as a tool and weaponized in a very real way to, and I mean obviously cast the spell ultimately in regard to deliberately deceiving the, the general public. And, and Ron introduced me to a quote from Rudolph Steiner that I had never read in my life. And, and it honestly, it, it resonated with me. It was something I felt like was worth reiterating at some point. And, and so clearly Rudolph Steiner is an overt, blatant New Age occultist. And.

[B]

Yeah, I have an interesting thing here or there to say though.

[C]

Exactly. And I also think that is really the best, the best opportunities were provided are, are when they hang themselves by their own words, you know, and I think that they do this so very often that we need to pay attention more, you know, and take them seriously because they, they aren't saying these things for no, for no reason. Right. And, and so, but Rudolph Steiner had this statement that he made and it was. There are beings in the spiritual realms for whom anxiety and fear emanating from human beings offer welcome food. When humans have no anxiety and fear, then these creatures starve. People not yet sufficiently convinced of this statement could understand it to be meant comparatively only. But for those who are familiar with this phenomenon, it is a reality. If fear and anxiety radiate from people and they break out in panic, then these creatures find welcome nutrition and they become more and more powerful. These beings are hostile towards humanity. Everything that feeds on negative feelings, on anxiety, fear and superstition, despair or doubt are in reality hostile forces and super, in super sensible worlds launching cruel attacks on human beings while they are being fed. Therefore, it is a, it is above all necessary to begin with that the person who enters the spiritual world overcome fear, feelings of helplessness, despair and anxiety. But these are exactly the feelings that belong to contemporary culture and materialism because it estranges people from the spiritual world. It is especially suited to evoke hopelessness and fear of the unknown in people, thereby calling up the above mentioned hostile forces against them. And I just thought that's a banger. That's amazing, right? In, in terms of this is the loose stealing that, you know, Sam has referenced so often in the past and things of that nature and, and just knowing that, honestly I very much believe that this is something far more critical for us to prioritize and be ultimately aware of for our own, you know, well being and the well being of our families that it should take priority. And again, it's anyway to reiterate and kind of like call back to the original statement of, of Hollywood and the Druidic Juan's composition. It's, it's up to us to finally once and for all attempt to break the spell, right. That's been cast upon generations of, I mean just generations of naturally organically occurring, you know, well meaning individuals who hope to, you know, have a positive impact on the people around them and society at large. But in reality they've been ultimately, they've been not only spiritually betrayed, but spiritually deprived. And I think understanding that you are in that inherent disadvantage is the only way to kind of, I think, defend yourself against, you know, again, at the very least manufacture a defense mechanism where you can intellectually defend yourself.

[B]

Right.

[C]

And, and internalize things without being led by the nose and told exactly how you should conclude. Yeah, nothing.

[B]

But that was actually, that was our by design, you know, to strip us of our relationship with the spiritual. And I think that people need to close that gap because what is clear is this, this machine that is, I like what he talked about where, where those, those emotions or those things that they feed off of despair and fear and all these things, these are the machinations of the material realm. And these are also the same things that all the propaganda machines hope to evoke from you so that they can feed. If these truly are spiritual principles and you look at that propaganda machine and it's sort of reaching a crescendo, right? It's, it's getting to this really gigantic place. Whatever it aims to do is spiritual and it looks like it's getting ready to do it. I think people would do well to reintroduce themselves to the spiritual realm and figure it out rapidly. In my estimation, that is, align yourself with Jesus Christ, fill yourself with that spirit, and, and do the bidding of God to the best of your abilities. Get good at hearing that voice, because we're all doing the bidding of some spirit at any given time. But if this thing is playing a spiritual game and it's ready to pull the trigger on us, and we have to all of a sudden reintegrate with the spiritual, understand it, and then align to the correct side, you don't really have a lot of time to do that. We got to wrap it up, Austin. We got to get out of here. But before we do, tell everybody where they can find you.

[C]

All right, brother. I appreciate you guys. You know that it's means the world to me every time you invite me back on or have me back, and. And I appreciate you guys being willing to have that conversation with me privately beforehand as well. Yeah, dude, I got nothing but love for you both, and, and I'm very excited to. To come down to Bro Grove. So, everybody, it's gonna be fun, and maybe I'll talk about what I want to. About. Talk, Talk about from once. Who knows? We'll find out. But not that I didn't want to have this conversation. It's just hilarious when I find myself, you know, two hours into a conversation that I never intended to have.

[B]

Welcome to every episode of Nephilim Death Squad, though. That's. That's just where I'm comfortable now these days.

[A]

Do you know. Do you know if Jose's coming down?

[B]

Is he.

[C]

I don't know. I need to talk to him honestly about. Because I'm sure we'll have to try and do something. Whenever I'm there, I'd like to see him, you know, so at the very least, just. I'll ask him, though. For sure. But where could people find you, Dude, Hell yeah. Oh, and I, I, I promise you I won't go on a tangent at all. I'll let you guys go. But, But I, I. Sam was telling me ever since Charlie Kirk's assassination to watch Snake Eyes, that, that Nicholas Cage film. It's a Brian De Palma film as well. He's the director. He's the one that did Scarface and the Black Dahlia and a lot of great films, and. But anyway, I go and I watch the movie, and really, it's. It's incredible. I mean, talk about. The Secretary of Defense's name is Charles Kirkland. You know, basically, the, the individual perpetrator the assassin is basically, he's a Palestinian, right? With. With planted false motive. You know, in terms of. It's just hilarious. And, and so the bottom line is there was a quote that at the very end of the film.

[B]

Film.

[C]

And it. It is ultimately the name of the film itself, right? Snake Eyes. And the quote was Snake Eyes. The house always wins. Right? Yeah. And I just thought, holy. Like, I'd never want to ultimately decide that that is our fate ever in my life. Will I accept that? But at the same time, that was a fundamental. Like, it's almost a curse. You know what I mean? It's a. It's a curse force being. It's. It's strange the way in which initiates will practice black magic. And, and that comes in the form of psychological deception more than people will. Will be willing to acknowledge. And, and so bottom line is there. There was one. I was researching Aldous Huxley the other day, and his, his, his. His basically his role in the occult origin of MK Ultra and, And, you know, even the pop culture reference of.

[B]

Of.

[C]

Of the Human Potential movement that was founded at Esalen and which is really just Tavistock 2.0 West west side, you know, essentially is what it is. But Aldous Huxley, though, he. He gave a speech, right? He gives this. This incredible prediction at the Tavistock Group California Medical School in 1961. And this is so fascinating. Of course, this Tavistock Group, right, is. Is the forum in which he's having this conversation. He says, and I'll leave you guys with this, he says there will be in the next generation or so a pharmacological method of making people love their servitude and producing dictatorship without tears, so to speak, producing a kind of painless, concentrate concentration camp for entire societies so that people will, in fact, have their liberties taken away from them, but will rather enjoy it because they will be distracted from any desire to rebel by propaganda or brainwashing or brainwashing enhanced by pharmacological. And I just thought when they hang themselves by their own words, we need to pay attention, right? And so did I cut out during that time, by the way?

[B]

A little bit, but I think it. It caught up.

[C]

Did you actually. You heard it then? Audibly, at the very least.

[B]

One more time. One more time. Just the, Just the last part, okay,

[C]

basically is just the point in which he, He, He. He finished the statement by claiming that essentially they will have no desire to rebel, right, because of the propaganda that they have endured throughout the course of their conditioning and the brainwashing. Enhanced by these pharmacological methods. And this seems to be the final revolution. So I just thought again, if you're willing to make such an extraordinary statement and acknowledge your. Your motive, your. Your agenda in a real sense, as I said to. To David not too long ago, just a few moments ago, like, the moments, they. They actually hang themselves by their own words. And we. We definitely need to pay attention. Is. Is the main.

[B]

And it's also wild because they tell you.

[C]

They tell you.

[B]

You listen.

[C]

I love you guys and I appreciate you both.

[B]

Love you, brother. I guess the next time we'll see you is going to be in like 10 days.

[A]

Yeah, a couple days.

[B]

11 days, something like that. So we'll be seeing you soon.

[C]

I know when. When I was in Vegas, the first thing I said was, oh. And I accidentally was talking about Bohemian Grove and this. This case of a ritual sacrifice of a child. And I said, brohemian.

[B]

Yeah, I do an interch. Now. I. I call the horrifying one Brohemian Grove. I do it constantly.

[A]

Anyway, yeah, all right. Awesome, man. It's been a pleasure. We'll see you in a couple days, guys. Come hang out. Come meet Austin. Awesome. We'll do something early as well, so we can. We can really get something.

[B]

Yeah. Let us know exactly when you're getting here as we lead up to it.

[A]

Until next time, guys. Don't forget to obey. Submit and comply. We will. And they will do it again. The end is written in the book.

[B]

In the pages.

[A]

They forget death.

[B]

When the last trumpet sound in the heaven.