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It is suggested that a small group was involved in something "off the charts bad." The speaker hopes someone like Whitney Webb will one day explain exactly how it was formulated, what they were doing, and how they were getting information out of people. The speaker believes that those involved have to age out and die before the truth comes out, using the JFK assassination as an example of a truth that remains hidden.

The conversation reveals a dark confession about the Umbrella Corporation and a hidden underground facility. It starts with Speaker 0 stating that “you and I have the same employer. We all work the Umbrella Corporation. The mansion above us is an emergency entrance to the hive. US security operators laced there to protect that end.” Speaker 1 asks, “What about this?” and Speaker 0 explains that “your marriage is a fake. Just part of your copper to protect the secrecy of the hive. And where is the hive? Children.” Speaker 1 then begins “Accessing schematic of the hive.” Speaker 0 provides a location and background: “Raccoon City, Eris Turbans. The mansion, where it was found, and through which we gained access to the train, which in turn brought us to the hive.” The hive itself is described as underground, “deep beneath the streets of Rackham City,” a “top secret research facility owned and operated by the Umbrella Corporation.” Its staff is substantial—“over 500 technicians, scientists, support staff”—who “live and work underground.” The research is said to be “of the highest importance” and “classified.” Their position on the map is indicated by heat signature, and Speaker 0 proclaims, “The planets will be mine. The king in black is awake.” Speaker 2 interjects, “I will kill your world,” to which Speaker 0 responds, “Everyone will burn you.” A dialogue ensues about power and faith: Speaker 1 calls for peace and a “strong link. Abandon your body to the will of our god.” The mood shifts to confrontation and urgency as Speaker 0 declares, “Savage.” Speaker 1 orders, “Ashley, run. Okay.” There are tactical exchanges and a sense of mounting conflict: “God, I thank for your gifts. You want it only?” and Speaker 1 responds, “Let's get up here.” Speaker 0 asserts, “Allow me to show you how it has—,” and Speaker 1 adds, “Let's go replenish the ranks.” The scene moves from ascent to combat, with Speaker 0 saying, “From here to under this armor. I'm not running from this one,” while Speaker 1 notes, “as much as I'd like to.” A moment of rebellion or resurrection is hinted at with, “Not every day you resurrected god.” The tension peaks with a grim resolve: “Darn. I'll not leave you for nothing to see. Already. We have no power here. Alright, Bugani now. They are in your very skin.” The exchange ends on a probing question and a shock: “What is it?” followed by Speaker 0’s question, “How, Derek? How?” indicating confusion or a reveal about a betrayal or transformation. Overall, the transcript centers on uncovering the hive beneath the mansion in Raccoon City, the scale and secrecy of the Umbrella facility, the existential threat posed by the awakening king in black, and the characters’ struggle to confront the revelations, protect allies like Ashley, and face the invasion or possession implied by those “in your very skin.”

The speaker discusses various conspiracy theories and allegations of pedophilia in Hollywood. They mention specific individuals like Tom Hanks, Steven Spielberg, Oprah Winfrey, and Dave Chappelle, suggesting their involvement in a cult. The speaker also brings up cases of child abuse and murder, including Jimmy Savile. They urge people to research topics like MK Ultra and express their desire for everyone to wake up to the truth. The speaker acknowledges the risks involved in speaking out but emphasizes their concern for exposing the alleged wrongdoing.

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 speaker discusses the book Death Object by Akio, claiming that nukes are fake and that all televised nuclear explosions are manufactured by Holly Weird. - They assert that nukes were not real because buildings remained standing and trees stayed intact during purported nuclear detonations. The speaker emphasizes that Japan was firebombed with napalm and mustard gas, not nuked. - The claim is made that nukes exist as a pretext to invade countries and impose a banking system, referencing “weapons of mass destruction” and a supposed invasion sequence tied to 9/11 and the idea of invading seven countries to bring a banking system into those nations. - The speaker explains a method for how the ruse would be carried out: staging TNT demonstrations to scare people into believing in nukes. They remark that photos of atoms are unavailable on Google, questioning how one could “split the atom” without a photo, and suggest that people are shown drawings of mushroom clouds to fear nukes. - The speaker asserts that Hollywood uses fear-inducing imagery to coerce compliance, describing the situation as a rabbit hole and labeling the world as filled with make-believe. - Throughout, the speaker emphasizes that there were no real nuclear weapons in the scenarios described and that the narrative around nukes is a constructed illusion used to justify invasions and control. - The overall message centers on distrust of official narratives about nuclear weapons, the use of firebombing versus nuclear detonation in historical events, and a conspiratorial view that cinema and media manufacture fear to influence public behavior and policy. - The speaker repeatedly references the book Death Object and the author Akio as a source for these assertions, encouraging readers to examine these ideas as part of a broader skepticism toward conventional explanations of nuclear weapons and geopolitical actions.

Speaker 0 and Speaker 1 discuss aspects of Stanley Kubrick and his film Eyes Wide Shut. Speaker 0 notes that Kubrick’s films are very different and that he was a “weird guy” who did complex mathematics in his spare time, mentioning that they pulled a script from Eyes Wide Shut. Speaker 1 explains they had a script from set and over the weekend realized it is missing a narration, specifically a third-person narration that was originally in the movie. The missing narration is attributed to the film being recut and changed after Kubrick’s death. They acknowledge that the party line is that the film was finished after his death, but Speaker 1 believes notes and inserts were changed, and that a narration is indeed missing. The missing narration is said to be present in a scene where the protagonist sees a dead prostitute at the morgue, leaning over her, which would have required narration. Speaker 1 states that instead of the narration, the film relies on other elements because Kubrick hadn’t had the recording of the narrator, suggesting they “clutched it together.” They claim there is an entire thread in the film that was “squashed.” This thread involves two men who are throughout the movie in the background and reappear in the final shots of the film. In the final scene at the toy store, when Tom Cruise and Nicole Kidman’s characters are looking at a Rosemary’s Baby bassinet, these two men are seen with their eyes on their daughter, implying they have given their daughter to a pedo cult, according to Speaker 1’s interpretation. Speaker 1 adds that during an England screening, there were reports from people outside the theater who could hear inside the theater Kubrick yelling at the executives, saying, “it’s my movie. You can’t cut it. You can’t fucking cut my film.” A big argument is described as occurring, and Speaker 1 notes that Kubrick died four days later.

The speaker recounts getting a black eye and being accused of Satanism. People claimed it was part of a ritual because others had black eyes too. The speaker clarifies that sometimes people just get hurt. The speaker recalls a magazine cover shoot where she held a button over her eye because the photographer asked her to. Now, she sees others doing the same pose and people claim they are in a "Satan club." The speaker says she only did it because she was told to, and others probably did too. Looking back, she thinks they probably are in the "Satan club," but she didn't know any better at the time. She suggests that in Hollywood, it's easier to identify who *isn't* in the "Satan club" because everyone is in it.

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 speaker believes a woman is hiding him from her husband. He says this is the only reason women hide someone. He believes the husband doesn't know about him at all. He says she leaves the house and changes his name to conceal him. He also believes the delay when she answers calls, followed by her calling back quickly and repeatedly, indicates something is going on. He mentions that in part two, her excuse for having the account was to give it to her husband.

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.

The speaker claims that Freemasonry is a satanic secret society that deceives people. They allege that Lucifer is the god of this realm, and his power is demonstrated through witchcraft, which is practiced by Freemasons. Bob Dylan, according to the speaker, admitted to making a bargain with Lucifer. The speaker connects JK Rowling's work to Masonic symbolism, citing the "Solve Coagula" tattoo and the Deathly Hallows symbol. They claim the Baphomet statue at the Satanic Temple represents Rowling's religion. The speaker asserts that Freemasonry and Satanism are intertwined, pointing to politicians displaying "devil's horns" and the rituals of Skull and Bones. They interpret Stanley Kubrick's "Eyes Wide Shut" as exposing a satanic secret society. Anton LaVey is quoted stating that Masonic orders have contained the most influential men in many governments. The speaker concludes that Freemasonry is Satanism in disguise, cloaked in Christian trappings, and controls the media and education system. John F. Kennedy was assassinated for trying to expose a monolithic conspiracy.

There are two things that scare the speakers: the 2020 election and the UFO story. The UFO story is particularly dark and has a spiritual component that they don't fully understand. They haven't shared this information with their wives or families because it is deeply disturbing. The implications of the UFO story are profound and the public may not be able to handle it. The speakers agree that it is too disturbing to share with their children.

The speaker questions the viewers about their knowledge of the cameraman and suggests that they may not know who is behind the scenes. They mention the possibility of being dead by the time the viewers watch the video and emphasize that the viewers don't know what the cameraman wants them to see. The speaker advises the viewers to destroy their television sets and states that they can only share the message of not following any orders at this point.

The speaker discusses their connection to the original books that inspired the movie, "Pan's Labyrinth," and how they came up with the idea for the film. They analyze the movie's themes, suggesting it contains subliminal messages related to pedophilia. The speaker criticizes Hollywood for promoting disturbing content and hidden agendas, particularly focusing on the symbolism in the film. They express a newfound awareness of the dark themes in movies and aim to expose the alleged evil in the industry.

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.

The speaker describes arriving in their mid-twenties with paranoid suspicions about Hollywood, feeling like a stranger in a weird town. They initially dismissed their fears, but later realized their "worst nightmares were real." The speaker says the town and industry's attitudes and behaviors are inescapable and divert newcomers, no matter how strong they are. They believe it takes "cockroach resilience" to survive, as being "fucked over" is an unspoken part of the social contract. Being an outsider made the issues glaringly obvious. According to Mel Gibson, Hollywood studios are "drenched in the blood of innocent children," and the consumption of baby blood is a currency. He claims Hollywood elites are enemies of mankind, breaking every taboo and operating with their own religious, spiritual, social, and moral frameworks. Gibson states Hollywood is "institutionalized pedophilia" that harvests the energy and blood of children, eating their flesh for life force.

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 expresses disbelief and confusion, questioning the reality of the person they are speaking to. They believe that the person is part of a simulated reality, but acknowledge that they did nothing wrong. The speaker urges others to share what they are witnessing. They express frustration and fear that the person will call security on them.

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.