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Speaker 0 discusses claims related to two major historical events and the alleged suppression of information surrounding them. First, regarding the assassination of John F. Kennedy, Speaker 0 asserts that the assassination was carried out “by the Tiny Hats,” and that 18 witnesses were found dead afterward. This assertion is presented as a central point in the book, which Speaker 0 says has been banned because it “admits that after JFK was taken out by the Tiny Hats, 18 of the witnesses also ended up no longer alive.” The speaker emphasizes that the pattern is that “they always try to eliminate anybody who can expose the truth.” Second, Speaker 0 connects the JFK event to the Apollo moon-landing narrative. The claim is that after the alleged people went to the moon, the astronauts who supposedly went to the moon “also ended up no longer being here.” The implication is that those who could have spoken out against the moon-landing story were removed. The speaker then elaborates that “they took out the people who could have said something, who could have told people that they just landed in Nevada instead of actually going to the moon.” Throughout, the text frames these statements as part of a broader pattern of silencing witnesses who might reveal the “truth.” The speaker presents the sequence as follows: after JFK’s assassination, witnesses who could reveal the reality were killed; similarly, after the moon-landing story, astronauts or others connected to the event who could provide alternative information were also eliminated. The underlying claim is that both events are accompanied by deliberate actions to prevent disclosure of a hidden truth, with the book cited as a vehicle that documents or supports this view, contributing to its ban. No additional context, verification, or evaluation of these claims is provided in the excerpt. The focus remains on the asserted linkage between high-profile events, the deaths of witnesses or involved individuals, and the notion of intentional suppression of alternate explanations. The overall narrative centers on alleged conspiratorial patterns of eliminating people who could reveal the supposed truth behind JFK’s assassination and the moon landing.

The scene opens with Conductor Clark and Miss Janice welcoming the audience to a reading, with Janice inviting everyone to learn about the letter h, mentioning activities like hula hoop and a “massive global hoax.” The discussion pivots to the Apollo eleven moon landing allegedly taking place on 07/20/1969, with a line from Neil Armstrong: “this is one small step for man,” followed by a mock counterline: “Then one giant lie to mankind.” Ticket Sam, a long-time rail rider, is teased about his story for the kids. Sam promises a real whiz banger: a tale about a president named Kennedy who vowed to put a man on the moon before the end of the decade, while NASA supposedly struggles to get a rocket into space. In response, a plan B is introduced: Stanley Kubrick will be the one to fake a moon landing, using tricks learned from filming 2001: A Space Odyssey. Kubrick teams up with “the mafia,” who will fund a secret soundstage in Las Vegas. While people think they’re in space, the astronauts are kept busy with whores and gambling, and then paid off, brainwashed, or killed. A question about proof of the hoax is raised with a squawk, and the dialogue questions whether there is real proof. The narrative then introduces “Gully Bird” and “Hobo Dan” as voices contributing to the discussion. Hobo Dan explains how he used to fly to the moon all the time, claiming the “only real astronaut” is doctor Timothy Leary. This leads to a reminder of a song line: “This whole moon rocket ain't what it appears to be,” asserting it was “baked in a kiln in Japan.” The piece concludes with thanks to Obo Dan for the prior contribution, labeling the content as fun, credible, and the truth. The session ends by indicating that this is all for now, promising more reading later, and emphasizing that the most important part of reading is Reading Between the Lines.

In the exchange, Speaker 0 questions whether the other is maintaining that there were no planes that hit the World Trade Center. Speaker 1 clarifies that this is not the claim they are making; rather, there is no significant wreckage from a large Boeing crash at any of the four events. This framing emphasizes a distinction between the presence of aircraft impact and the apparent absence of substantial debris. Speaker 0 then asks if Speaker 1 saw the videotape that others saw, prompting a response that encourages a frame-by-frame analysis of the South Tower. Speaker 1 asserts that what you will see is a “fake, a cartoon display,” arguing that an aluminum airplane cannot pass through a building like the South Tower as if it were thin air. In other words, Speaker 1 contends that the footage demonstrates a simulated or cartoon-like depiction rather than a real-time account of an aircraft penetrating the structure. Following this, Speaker 0 probes whether Speaker 1 is suggesting that the news media was involved in this fabrication, indicating a belief that media sources contributed to the apparent display. Speaker 1 affirms the suggestion by stating “Yes,” and notes that there was only one so-called real-time film, adding that “we don’t really understand how they did that.” This introduces a claim of media involvement and a mystery surrounding the production of the visible footage, implying manipulation or concealment of the true events. The dialogue ends with Speaker 1 mentioning that there are “video ex” (likely beginning to refer to video evidence or explanations) but the thought is cut off, leaving an incomplete reference to further material or evidence that would support the previous claims about the nature of the footage and the method by which it was produced.

Speaker 0 and Speaker 1 engage in a candid interview about why the interview is being conducted and a startling revelation connected to a long-term secret. Speaker 0 asks why Speaker 1 finally agreed to talk after multiple letters, and what motivates this interview. Speaker 1 explains that, at first, he was drawn to the opportunity and challenge of making the film, approaching it like any other production and not fully considering the long-term effects on society if it were ever discovered. He says he has always been conflicted about it, but did not realize that conflict until years later. The conversation moves to a provocative claim: the rumor about the fake moon landing. Speaker 0 asks for clarification, and Speaker 1 states plainly that the moon landings were fake, and that the rumors were true. This admission comes as a surprise to Speaker 0, who had only heard the rumor in general terms, not a definitive claim. Speaker 1 confirms the assertion and explains that this is the core of a fifteen-year secrecy. Speaker 0 questions how such a claim could be discussed or released, noting that they had planned to cover several of Speaker 1’s films, including Barry Lyndon, The Killing, Clockwork Orange, and what appears to be a reference to “mean,” and expressing curiosity about why this revelation would be disclosed to a relatively unknown interviewer rather than to a major outlet like CNN. Speaker 1 repeats that the rumors were true and clarifies the timing: the fifteen-year period is connected to the disclosure. Speaker 0 then connects the fifteen-year delay to a potential “time release” of a major secret, suggesting that Speaker 1 is using the interviewer to conceal and eventually reveal this information on a scheduled timeline. Speaker 1 closes with a mention of his upcoming film Eyes Wide Shut, implying a link between the secret and his forthcoming project. The dialogue centers on the tension between making films, the societal impact of their content, and the strategic management of a years-long, high-stakes revelation.

The conversation follows Howard Beale, who declares a final revelation and that “the light is impending. I bear witness to the light.” He appears disoriented, and Speaker 1 escorts him to a conference room, noting Beale’s agitation and his own impression that Beale is mad. Speaker 2 interrupts Beale’s crisis with a stark warning: “You have meddled with the primal forces of nature, mister Beale, and I won’t have it. Is that clear? Do you think you merely stopped a business deal? That is not the case. The Arabs have taken billions of dollars out of this country, and now they must put it back.” He frames the disruption as an ecological and economic rebalancing, insisting that “There are no nations. There are no peoples. There are no Russians. There are no Arabs. There are no third worlds. There is no West. There is only one holistic system of systems.” He lists currencies—“Petro dollars, electro dollars, multi dollars, Reichmarks, RINs, rubles, pounds, and shekels”—as the structural reality of the world’s order. Speaker 1 expands on the idea, stating that “It is the international system of currency which determines the totality of life on this planet. That is the natural order of things today.” He further declares that “the world is a college of corporations, inexorably determined by the immutable bylaws of business.” He argues that the world’s dynamics are driven not by nations or ideologies but by corporate power, likening the global arena to a business enterprise. The dialogue then moves to Beale’s role and the proposition of his audience: “And you will atone.” Speaker 1 asks if he’s getting through to Beale, noting Beale’s television platform: “You get up on your little 21 inch screen and howl about America and democracy. There is no America. There is no democracy. There is only IBN and ITT and AT and T and DuPont, Dow, Union Carbide, and Exxon.” He contends that the Russians also operate with analytical tools, using “linear programming charts, statistical decision theories, minimax solutions,” to calculate prices and investments, asserting that “We no longer live in a world of nations and ideologies, mister Beale. The world is a college of corporations.” Speaker 1 concludes with a chilling vision: “The world is a business, mister Beale. It has been since man crawled out of the slime. And our children will live, mister Beale, to see that perfect world in which there’s no war or famine, oppression or brutality. One vast and ecumenical holding company for whom all men

Look closely at this scene. Notice the figure about to give a Baphomet face to Jenny. Pay attention to his right hand making a peace sign, but look at the left hand—he has one finger extended. This resembles a Baphomet salute, which is unusual. Following this moment, there's a reference to the moon landing, suggesting skepticism about its authenticity. Just wanted to share these observations.

The speaker argues that Epstein is, or is described as, an agent, an attache, a legate of the Rothschilds, with emails confirming this involvement in business deals beyond a mere legate role. The claim rests on a long-standing connection they allege between the Rothschilds, intelligence networks, cults, and the history of the nation state of Israel going back to Moses Hess in the 1860s. They emphasize the Rothschilds as an elite, powerful European banking dynasty, noting that intelligence essentially originates from banking. According to the speaker, this view of intelligence goes beyond popular depictions of espionage and assassination; the core origin of intelligence, even per mainline Rothschild biographers like Morton, is the story from the early chapters of the famous Waterloo narrative, in which the Rothschilds allegedly had advanced intelligence that enabled them to buy up the collapsed stock market in the UK and London. The speaker states this as true and highlights that the ability to do that came from advanced intelligence. They further connect this lineage of intelligence to the broader power structure: when David Rockefeller built his banking empire, it followed from his claim of coming out of military intelligence, a point he reportedly brags about in his memoir. The argument then ties together intelligence, cults, networks, and Hollywood, asserting that they are all interlinked and that there is no better example of this than Epstein. The discussion concludes with a pivot to Eyes Wide Shut, asking what the film was trying to convey—whether it was a warning or if telling truths is part of the ethos of these groups to reveal information in plain sight. The question of Eyes Wide Shut serves to illustrate how the themes of elite networks, secrecy, and openly displayed signals are perceived as interconnected with the broader claims about intelligence, power, and cultural institutions.

Stanley Kubrick's last movie, Eyes Wide Shut, allegedly led to his assassination because it depicted the secret lives of wealthy elites. The film purportedly reveals their involvement in sacrifices, murder, rape, pornography, and killing, all hidden behind a facade of respectability. According to the speaker, these elites appear important and well-dressed but are secretly murderous. The movie's title, Eyes Wide Shut, reflects America's ignorance towards these leaders, be they political or religious.

Jay Dyer discusses Eyes Wide Shut as revealing real elite rituals and networks, tying the film to a long history of Hollywood signaling and covert influence. The host notes the Epstein files as lending psychological plausibility to the film’s depiction of elite sex rituals that solidify hierarchy, power, and control. Dyer says his 2011 academic-style analysis of Eyes Wide Shut highlighted Kubrick as an anti-establishment filmmaker embedding messages about propaganda, deep state ties, and elite circles into his work. He cites academic literature on the CIA’s intimate relationship with Hollywood and suggests the film’s narrative—Tom Cruise as a wealthy New York doctor invited to a hidden, higher-tier party where a tier above him engages in ritual sex and possibly murder—reflects a network that compromises the wealthy and wields intelligence-agency-like capabilities, including media manipulation and assassinations. Dyer emphasizes a recurring motif: the mask ball as a mechanism of compromise. He notes a line in the film where a costume-store owner, a trafficker connected to the network, says the protagonist will need a special cloak worn by European royals, implying a lineage of aristocratic ritual and underage trafficking. He asserts the film presents a “black mass”–style rite with Crowleyan influences, with a Hierophant figure depicted as running the cult, suggesting the network operates with the power of an intelligence apparatus. The Rothschilds’ masked balls are framed as a historical precedent for elite sexual blackmail and power. Dyer connects Epstein-era revelations to earlier Rothschild ball imagery (Audrey Hepburn among attendees) and argues that such gatherings served as a method to compromise prominent figures, aligning with broader tactics of intelligence, finance, and sex-cult networks. On the question of Eyes Wide Shut’s intent, Dyer cites Vivian Kubrick’s view that her father was genuinely anti-establishment and used film to convey hard truths he believed people did not understand. He describes the film as an initiation or ritual in itself, with Bill Harford’s immersion into the elite world revealing how sexuality is used as currency to control the masses. He notes the film’s ominous music and hints of satanic or inversion symbolism, linking them to Crowleyan inversion concepts. He also mentions Epstein and Bannon’s discussions, suggesting overlap between occult interests and real-world power structures. The discussion broadens to the role of intelligence and celebrity in film. Dyer references Operation Hollywood, the CIA–Hollywood relationship, and MK Ultra-adjacent programs (like Midnight Climax) to illustrate how sex, trauma, and manipulation have historically been used in intelligence operations. He cites Kinsey’s funded research on underage sexuality and the promotion of a spectrum of sexuality, framed as a cultural influence that could be leveraged by elites and intelligence communities. He connects this to broader patterns of using sex, drugs, and ritual to shape political and social outcomes, noting that prominent figures (queens, kings, billionaires) purportedly participate in such networks and that Epstein’s emails allegedly positioned Maxwell as a Rothschild operative with ties to Mossad and Soviet intelligence. In relation to Kubrick, Dyer discusses the film’s cut and the unreleased final edit, suggesting that the published version may omit explicit child-pedophilia elements present in Kubrick’s later thoughts or earlier cuts. He recounts Vivian Kubrick’s stance on the director’s intention and the possibility that the final version strips out more explicit material. The conversation also touches on predictive programming and the idea that pop culture prepares the public for forthcoming disclosures. Steven Spielberg’s role in predictive programming is discussed, including his involvement in pro-military propaganda in the 1980s and the potential interplay with ongoing disclosures about aliens or UFOs. The speakers note that filmmakers across genres—some with occult or Kabbalistic influences—may embed ritual or occult themes, while others pursue more overt exposure of secret histories. Jay Dyer promotes his work Essential Tark Hollywood and JaysAnalysis.com, inviting listeners to explore his three-volume analysis of Hollywood, propaganda, and elite networks.

The video discusses the theory that Stanley Kubrick was murdered for exposing the secrets of the Illuminati in his film "Eyes Wide Shut." The Rothschilds' Illuminati ball is mentioned, along with the strange photos and costumes from the event. The 24 minutes cut from the film after Kubrick's death are speculated to contain the climax of the movie and potentially reveal shocking information about elite mansion parties and child trafficking. The video also mentions Kubrick's death being 666 days before January 1, 2001, and the possibility of his death being made to look like a heart attack. The connection between Kubrick and Nicole Kidman's father, who was involved in a Luciferian group, is discussed, as well as the symbolism and disturbing scenes in "Eyes Wide Shut." The video concludes by asking viewers what they think was in the missing 24 minutes.

A: The conversation opens with references to the Epstein files and a sense that people are ignoring shocking information, including an incident at the Atlanta Airport involving a well-dressed Black man who freaks out, which they say they saw on social media. B: They discuss reading the Upstate files and criticize others for going on with their lives as if nothing is happening, describing the public as “zombies” and likening society to invasion of the body snatchers. They mention revelations such as a global pandemic and aliens, and claim that “Miles have been released,” yet people act normal. C: They express a belief that a small group of about 8,500 people is manipulating events, including media such as the Colbert show, and that reality as they know it is fake. They discuss the idea of predictive programming and insist that by presenting certain material or jokes, the public becomes desensitized and complicit. A: They argue there is a grand design behind these phenomena to desensitize the public to the idea of demons or occult wrongdoing, including references to Luciferian influence and spells cast on the world. They discuss a Colbert skit in which a baby is handed to Moloch and a dramatic red furnace, claiming the audience’s laughter signals hypnosis or conditioning. B: They claim there is a coded language in the Epstein emails, where references to “pizza” and “beef jerky” are used as code, and that such codes exist even if others dismiss them as paranoia. They note that some language is cryptic and argue that there is a recognizable code, contrasting it with the public’s dismissal of such interpretations. A: They mention the Epstein indictment and a claim about sulfuric acid: right after he was indicted, he allegedly ordered large quantities of sulfuric acid (six hundred and fifty-five-gallon containers, with figures like 8,000 or 50,000 gallons discussed) to process bodies. They repeat the claim that “they’re eating babies,” underscoring a belief in extreme horrors behind coded communications. B: They expand the discussion to alleged ongoing sacrifices in Los Angeles, suggesting high-level musicians are involved in daily sacrifices, including claims about killing chickens as part of those activities. They hedge about naming individuals, expressing concern about legal risk and safety, and reaffirm their position that such activities occur at a high level. A: The conversation repeats the sense of omnipresent manipulation and secrecy, emphasizing that a hidden group is controlling information and that people are afraid to confront it, with ongoing claims about decoding messages and real-world horrors behind public narratives.

Speaker 0 confronts Speaker 1 about their shared identity as Tyler Durden. Speaker 1 explains that they are the same person, with Speaker 0 slowly becoming more like Tyler. Speaker 1 encourages Speaker 0 to embrace this transformation, leading to a realization that they are both parts of the same person. The conversation ends with Speaker 1 mentioning a "changeover" where the movie continues without the audience knowing.

Speaker 1 argues that 'it's missing a narration. It's missing a third person narration that was originally in the movie' because the film was recut after his death, and 'they will deny it.' As a Kubrick student, he believes 'Kubrick wouldn't do that' and that Kubrick 'would have trimmed this scene.' He notes the film is 'missing a narration,' especially in the morgue scene with the dead prostitute. He says an entire thread has been 'squashed'—the two men who are in the background and later, in the final shot, you see Tom Cruise and Nicole Kidman in the toy store scene when she's looking at the Rosemary's baby bassinet; they're taking her away, they've given their daughter to the pedo cult. At England screenings, people outside heard Kubrick yelling inside: 'it's my movie. You can't cut it. You can't fucking cut my film.' He dies four days later.

Leaked photos from a Rothschild Illuminati ball are compared to scenes in Stanley Kubrick's film, Eyes Wide Shut, leading to speculation about elite mansion parties and Kubrick's death. The Rothschild ball featured bizarre costumes, including horned masks and birdcage masks, and questionable decor like baby dolls strung on tables. The menu hinted at cannibalism. Kubrick's film depicted a similar masked ball, but 24 minutes were cut after his death, allegedly due to studio demands. Some believe Kubrick was murdered for exposing secrets in the film, pointing to the timing of his death and the CIA's alleged ability to induce undetectable heart attacks. Rumors suggest the missing footage contained shocking content about Illuminati rituals, child trafficking, and elite pedophilia. Nicole Kidman claimed Kubrick told her pedophiles run the world. The film contains occult imagery, such as a toy store scene with references to Rosemary's Baby and MK Ultra programming. The video concludes by questioning what was in the missing 24 minutes and suggesting Kubrick's revelations may have led to his death.

In this video, Vivian Kubrick, daughter of filmmaker Stanley Kubrick, addresses various topics including her father's involvement in the moon landing conspiracy theory, their close relationship, and his anti-establishment views. She shares personal stories about her experiences on the set of "2001: A Space Odyssey" and the premiere of the film. Vivian emphasizes the importance of not blindly believing everything in the media and taking responsibility for one's own beliefs. She also discusses her father's work on films like "Full Metal Jacket" and "Eyes Wide Shut," expressing admiration for Alex Jones and the need for personal evolution. Vivian touches on the strained relationship with her father and his death before completing "Eyes Wide Shut." She defends her father's integrity as an artist and discusses his films "Dr. Strangelove" and "A Clockwork Orange." Vivian encourages listeners to seek truth, elevate their consciousness, and stand up for their beliefs. She concludes by sharing her experiences of raising awareness about important issues in public interactions.

The speaker is scared of people who believe in something, referencing a family in a large house. The speaker knows Stanley Kubrick's cameraman, who claimed he worked on "Eyes Wide Shut" for four years in New York, but none of his footage was used in the final film. According to the cameraman, the studio cobbled together a "bizarre nonstory" with Nicole Kidman. The speaker attempted to contact the film's editor through a Hollywood agent to learn about the original film, but was rebuffed. The speaker believes there is more to the film than what is apparent.

Speaker 0 introduces the topic of Israel allegedly having influence over the US government and mentions that Israel assassinated JFK, pointing to William Cooper as the source who was also assassinated by Israel. Speaker 0 references Cooper’s book Behold a Pale Horse and notes that Cooper was the first to obtain original footage from a CIA whistleblower showing who shot Kennedy and how they shot Kennedy. He says the media’s clips started at a cropped frame, and that Cooper’s release prompted further questions. Speaker 1 explains that the assassin was the driver in the car with Kennedy, visible in a film with public help. He brings the film, saying it shows the motorcade on Elm Street in front of the Book Depository Building, Kennedy having been shot in the throat, Jacqueline pulling Kennedy toward him in shock, and the driver turning around with a pistol in his left hand, firing over his right shoulder and shooting the president in the head. Speaker 2 asks for a repeat and then the duo watches the film. Speaker 1 identifies the driver as William Greer, noting he was a secret service agent. He describes the weapon as an electrically operated gas-powered assassination pistol built especially for the Central Intelligence Agency, asserting there is no puff of smoke. Speaker 2 questions whether the weapon is indeed a pistol in the lower right corner of the frame. Speaker 1 confirms it is an air-operated pistol (pneumatic) and claims it fired an exploding pellet that injected shellfish toxin into the president’s brain, so that if the pellet’s explosion did not kill him, the toxin would. He states that he read all of this in the documents. Speaker 0 asks what type of weapon was used to assassinate JFK and references the 1963 time frame, saying that intelligence agencies would have such weapons. He then questions whether intelligence agencies could have used such weapons to assassinate Charlie Kirk. He suggests listening to Jack Posobiec and others who are “carrying water for this administration,” implying time will tell.

Get ready, because this one might surprise you. We all know Tom Cruise, but what about Philip Seymour Hoffman? He passed away at 46, but did he really exist, or was someone else playing his role? They starred together in "Mission Impossible," and their similar mannerisms and facial features raise questions. In various films, their lines and gestures sync up perfectly, suggesting a deeper connection. For instance, Hoffman mentions "Iceman," a character from Cruise's "Top Gun," and "white chocolate," Cruise's favorite dessert. These coincidences may not be random; they could be hints at a hidden truth. However, let’s be clear: Hoffman was a talented actor who tragically died, and this theory is purely for entertainment. If you enjoy this content, consider subscribing for more insights. Thanks, and have a great day!

Speaker 0 opens with a colloquial line addressing the audience: “Y’all, are we in Satan's little season?” He then states that he may have found a clue, signaling that what follows is a potential hint or piece of evidence relevant to their discussion. He invites others to consider this clue by saying, “Well, I might have found a clue.” This establishes a tone of speculative inquiry and curiosity. He directs attention to a specific piece of media as the vehicle for the clue: “Check out this movie clip from 1999, Arnold Schwarzenegger's End of Days.” The reference to the year and the film title anchors the object of scrutiny in popular culture, identifying the exact clip he wants the audience to review. By naming Arnold Schwarzenegger and the film, he provides clear attribution for the clip and sets expectations about the source material. Following the identification of the clip, he asks for audience interpretation: “and tell me what you think.” This request makes the clip a conversational prompt, inviting others to share their analysis, impressions, or conclusions about the content of the clip and its relevance to the ongoing discussion about “Satan's little season.” Within the exchange, there is an internal cue that he quotes a fragment from the clip itself: “‘27. I know.” This fragment is presented as part of the clip or dialogue, indicating a line that may carry significance or contribute to the clue he believes he has found. The presence of this quoted line suggests an element of the clip’s dialogue that could be central to the interpretation the group is expected to consider. He then adds: “Right? They always have to tell us.” This line seems to reflect a rhetorical observation about the nature of information or disclosure within the clip or within the media being discussed, implying a pattern of revelation or certainty that characters or narration tend to provide. The overall flow moves from an initial question about a larger concept (“Satan's little season”) to the presentation of a specific media artifact, followed by an explicit invitation for audience feedback, and concluding with a quoted line and a remark on a recurring tendency in storytelling or messaging. The structure emphasizes collaborative interpretation of a pop-culture reference as a potential clue.

Stanley Kubrick, born in 1928, was a talented filmmaker known for his unique camera work and storytelling. He began his career as a photographer and made his first short film at the age of 17. Kubrick went on to direct several successful films, including "Spartacus" and "The Shining." Some conspiracy theories suggest that Kubrick was involved in faking the moon landing footage, as his film "2001: A Space Odyssey" showcased advanced special effects. His final film, "Eyes Wide Shut," explores themes of secret societies and the dark side of the elite. Kubrick's death shortly after the film's release has led to speculation about its controversial content.

In this video, Patrick Meuray discusses a film he made before Stanley Kubrick's death in 1999. The film reveals the truth about the fake moon landing and was supposed to be released in 2015. Patrick explains that the film is a confession and no one knows he made it. There is no name attached to the film, as it incriminates the US government and NASA. Patrick confirms the rumors about the moon landing being a conspiracy and admits to being the one who made the film. The conversation ends with Patrick expressing his seriousness about the matter.

Speaker 0 raises a provocative question about Hollywood: whether famous people must sacrifice their first born child to reach a certain level of success. They ask, “Is that a crazy thing to say?” Speaker 1 responds by distinguishing between what can be proven and what is believed. They say they do not have proof for the claim, but they believe a club exists that grants certain levels of stature, influence, or power in exchange for a blood sacrifice or a sacrifice involving a family member. They suggest the sacrifice could involve a mother or a relative, or even a transition of one’s child, asserting that the motivation behind these acts is worship of a god described as a false god. Speaker 0 prompts for concrete signs that would support this belief. Speaker 1 explains that signs could be observed by researching public information about celebrities. They propose using Google to examine how many stars have lost a parent or a child, or have died in accidents, or died during a particular period in their life. They also suggest looking into how many stars have transgender children and to consider who might be pushing that narrative. They imply that these patterns or coincidences could be indicators of the claimed “club” and its requirements. Speaker 0 characterizes the described phenomena as dark. Speaker 1 reiterates that the phenomenon is satanic, identifying it as Baphomet and associating it with evil. Speaker 0 concurs, reinforcing the assessment as very dark. In this exchange, the speakers discuss the existence of a supposed exclusive group within Hollywood that requires extreme personal sacrifices—potentially including a child or a parent—as a precondition for attaining high levels of fame, power, or influence. The claim is framed as belief rather than proven fact, but it is presented with the assertion that signs could be investigated through public records and celebrity life events, including parental loss, child loss, and the presence of transgender children among celebrities. The conversation attributes the motive to worship of a “false god” and identifies the rooted belief system as satanic, specifically mentioning Baphomet, and labeling the phenomena as dark and evil.

The speaker draws connections between the 2021 horror film Black Phone and real-world figures and artifacts. They note that Ethan Hawke’s character, the grabber, is a child abducting serial killer who wears a scary demonic mask and mutilates and murders children in his basement confinement. One child the grabber kills is posed in a way that mirrors the same pose used by one of Jeffrey Dahmer’s victims. The speaker then connects that pose to artwork in the home of Tony Podesta, who, along with this statue, reportedly has numerous pieces of art depicting children being abducted, tortured, imprisoned, and in some cases carried around in cages by men wearing that exact same demonic mask. The narrative continues by identifying Tony Podesta as the brother of John Podesta, described as the campaign manager and longtime friend of Hillary Clinton and the Clinton family, who allegedly had Jelaine Maxwell, “of all people,” in the third row of their wedding ceremony. The speaker then asks who could be the production designer of Black Phone and posits the possibility that it was Patty Podesta. They claim that on Patty Podesta’s webpage, in addition to the films that this person has worked on, there is also a note that they are an anti fascist. The speaker asserts that “the National Socialists” opposed fascists, and then adds that “it was the communists” who basically are the anti fascist. Further, the speaker highlights that Patty Podesta is described as a curator for the Stanley Kubrick Museum. Kubrick is then referenced with several controversial associations: some people claim he faked the moon landing, and he is linked to Eyes Wide Shut, a film that purportedly depicts elites involved in scandalous affairs, including tormenting and torturing children. The speaker finishes by saying that these are “coincidences,” or perhaps they raise questions, leaving the matter open for interpretation. Overall, the transcript weaves a chain of alleged connections among fictional film imagery, real-world Podesta family members, Jelaine Maxwell, and controversial cultural artifacts linked to Stanley Kubrick, framing them as noteworthy coincidences or prompts for further inquiry.

The speaker discusses the moon landing and presents a theory linking it to Stanley Kubrick. They reference a photograph of Kubrick during the filming of 2001: A Space Odyssey in England at what they call “the studios NASA East,” noting that Kubrick is walking with a group of people who are identified, except for one man in the row behind them. The speaker identifies this unidentified man as Louis Jolyon West and asserts that West is “west of MK Ultra,” a claim about West’s involvement in mind control. The speaker states that West was a specialist in mind control and in creating cults, and that a large portion of his information has not reached the public. They claim West worked extensively with UFO people, witches, and Satanists in order to create subcultures. They assert that Jolyon West ran one of the free clinics in a counterculture area of San Francisco, clandestinely, and that Charles Manson was receiving treatment there with the Manson family. The speaker further asserts that Jolyon West was involved with Jack Ruby and Sirhan Sirhan. They also claim West was involved with Whitley Strieber, the author associated with UFO topics. Additionally, the speaker says Jolyon West was involved with the Stanford Research Institute’s remote viewing experiments and connected to numerous other activities. Finally, the speaker ties these claims together by suggesting that if the unidentified man behind Kubrick in that photograph is indeed Jolyon West, West’s involvement extends to “creating the belief system around” the moon landing. The overarching claim is that Jolyon West’s extensive network and activities—ranging from MKUltra-associated mind control to connections with notable figures and counterculture phenomena—played a role in shaping public belief about the moon landing.

Stanley Kubrick's last movie, Eyes Wide Shut, allegedly led to his assassination because it exposed the secret lives of wealthy elites. The film depicts their involvement in blood sacrifices, murder, rape, pornography, and killing, all hidden behind a facade of respectability. These elites appear as important figures in nice suits, but are murderous behind the scenes. The title, Eyes Wide Shut, refers to the American public's ignorance towards the true nature of politicians and religious leaders, who are essentially the same. The speaker urges viewers to watch the movie.