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The Shining Decoded Pt 2: Room 237, Grady Twins, Labyrinths & Epstein Parties!

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On today’s episode of the Occult Symbolism and Pop Culture with Isaac Weishaupt podcast we continue our decoding of Kubrick’s The Shining! In Part 2 we’ll walk through the second half of the film- we’ll talk about symbolism found in the German Adler typewriter, eagles, phoenix, labyrinths, Heretic, Grady twins, Room 217 vs Room 237, Faustian bargains, Kabbalah bathtubs, Eraserhead, who is Delbert Grady, 42, REDRUM, Horace Derwent’s Epstein parties, Roger the Dogman, Bears and Baphomet! 

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Isaac Weishaupt is a prominent author, researcher and host of the Occult Symbolism and Pop Culture podcast since 2014, where he explores the hidden meanings behind pop culture, conspiracies and esoteric philosophy. With a background in engineering and a deep interest in occult systems, Isaac bridges the gap between mainstream entertainment and the arcane by decoding the symbols, rituals and belief systems woven into films, music and celebrity culture. He’s written several books on Illuminati symbolism, occultism, secret societies and the paranormal. Drawing on a mix of research, intuition and cultural analysis, Isaac offers a critical yet accessible lens on the forces shaping the modern world from the shadows…

Isaac hosts the Occult Symbolism and Pop Culture podcast (supported by the supporter feeds like Patreon) and “Breaking Social Norms” podcast. He has been a featured guest on Coast to Coast AM, Tin Foil Hat podcast (honorary member of Mount Crushmore), The Confessionals, Eddie Bravo’s “Look Into It,” Ground Zero with Clyde Lewis, Chris Jericho’s “Talk is Jericho,” Richard Syrett’s “Strange Planet,” House Inhabit’s Substack, “Those Conspiracy Guys,” Dave Navarro’s “Dark Matter Radio,” Richard C. Hoagland’s “Other Side of Midnight”, SIRIUS/XM’s The All Out Show, The HigherSide Chats, VICE, COMPLEX magazine, Esquire, Newsweek, The Atlantic and many more radio shows and podcasts. His fresh perspective and openly admitted imperfections promotes the rational approach to exploring these taboo subjects and theories.

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*STATEMENT: This show is full of Isaac’s useless opinions and presented for entertainment purposes.

Full Transcript (Courtesy of all show Supporters):

*Note that this is pretty accurate- not 100% though. It’s run through software that is generally very accurate and then I give it a quick once over but there are most likely some errors.

[00:00:00] Speaker A: In part two of our deep dive into the Shining, we unravel the second half
of Kubrick’s haunted masterpiece. And the rabbit hole only gets deeper. We’ll decode the Adler
typewriter, the phoenix and eagle symbolism, and the Transformation of Room 217 to Room 237
from Faustian bargains to kabbalistic bathtubs, from Eraserhead to the Grady twins and Roger
the Dogman. We’re digging into Horace Derwent’s Epstein coated parties. But Baphomet bears,
red rum, and Kubrick’s ritual laden overlook maze. The veil is thinning.
That’s right. If you’re here listening to part two, that means you’ve already listened to part one.
And if you didn’t, I don’t know what you’re doing here. Go back and listen to part one.
It was. It was the episode right before this. Because in part one, we gave a critical look at the
cast and crew in the background of the Shining. And then we walked through the first half of the
movie.
Now today, in part two, we’re gonna finish the movie itself. And then I’m coming back for the next
episode for part three, where we’re gonna decode everything and try to make sense of what the
conspiracies are and what the real occult symbolism is behind this film. All right, now, same deal
as the last time, right? You want to watch the video version, Just go sign up for Tier 2,
patreon.com illuminati watcher or the VIP section. Tier 2 gets you the early access ad, free
version of the video.
Otherwise you’re on that free feed loser status for the video, which you gotta wait. And then
there’s pesky ads. Oh, my God, what a nightmare. You don’t want to do that. And same as last
time, explicit language trigger warnings, right? For.
For sexual abuse type discussions. Same thing as last time as part one. So with all that out of
the way, let’s continue where we left off at the end of part one. At the end of part one, we saw
Dick Halloran talking to Danny about the Shining. And he gives him a final warning, says, do not
go to room 237, Danny. All right, so in today’s analysis, in part two, we resume the film.
We’re told it’s now a month later, and Danny is riding his big wheel around the hotel.
This is a thing that happens a few times in the movie.
And these Big wheel clips are what some of the sort of crypto kuberologists used to map out the
actual hotel.
A Lot of people before me have spent a lot of painstaking time trying to recreate this hotel. And
what they found was nothing lines up. There’s floors where there shouldn’t be floors. There’s
hallways where there shouldn’t be hallways.
And the implication is that Kubrick made this a maze. He made it very surreal. It doesn’t make
sense.
So Danny riding the big wheel around the hotel is the way of sort of forcing us to take a look at
that. Okay, so Wendy, she’s. She’s sort of doing room service here, and Jackie’s sleeping until
freaking noon.
And. And you’ll notice the usage of the mirror again. And. And same as last time, I’ve got
images. I’ll put them on the Instagram, but also the video version I’m gonna play the images with
while I speak and play the movie clips and so on. Okay, so we have the usage of the mirror
again, the portal. And you notice in Kubrick movies, he uses the mirror prominently featured in
Eyes Wide Shut. When Alice is looking into the mirror, it’s in the movie poster.
And Wendy asks if.
If Jack will go on a walk with her.
And he’s like, no, I got to keep writing this book.
Even though he’s sleeping until noon.
And we see the Colorado room where he. You know, that’s where he’s doing all his great writing.
And Jack has his typewriter set up, and the typewriter is an Adler typewriter, and we’re going to
talk about that in a sec. But he’s aggressively throwing a ball against the wall. Still not writing.
He’s throwing a ball against the wall against Native American artwork. Again, another reference
to the Native Americans. This tension between America, Native Americans.
And we talked about this in my book, Kubrick’s Code. The typewriter that Jack is using in the film
is a German Adler. And Adler in German means eagle.
Because in Stephen King’s novel, Jack is using a typewriter called an Underwood.
And this is one of the main arguments for the Shining being actually a film about the Holocaust.
Kubrick himself was Jewish. There’s arguments that he had maybe some anti Semitic views at
times.
But he was married to Christian Harlan, and she was the niece of the German filmmaker Viet
Harlan.
And Viet Harlan was recruited by the Nazi minister of propaganda himself, Joseph Gables, to be
the leading director of propaganda. So Kubrick probably had many discussions about this, right?
He’s a filmmaker himself.
He’s very knowledgeable in symbolism and propaganda himself.
It seems all too perfect.
Now, the eagle is interesting in terms of symbolism. If we refer to the Secret Teachings of All
Ages. A book by 33° Freemason, Manly P. Hall.
He talks about the Zodiac and how it’s connected into all this. And because the reason why
that’s important is because they believe in this idea of ritual magic, hermetic principles, as
above, so below. Right. It’s the idea that the cosmos are. The things happening in the cosmos
are linked to the things happening here on earth.
A magician can use his or her will to cause changes in the universe and so on.
I’m going to read you from Secret Teachings. It says Scorpio being the sign of a cult initiation.
The flying eagle, the king of birds represents the highest and most spiritual type of Scorpio in
which it transcends the venomous insects of the earth. As Scorpio and Taurus are opposite each
other in the Zodiac, their symbolism is often closely intermingled in ancient calendars and
constellations. It says the scorpion. The constellation Scorpio of the Zodiac joins with Mithras in
his attack upon the bull. And always the genie of the spring and autumn equinoxes are present
in joyous and mournful attitudes.
Now the book goes further into this idea of the symbolism of eagle as the ruler of the mundane
of the masses. The mouth breathers, you and I, okay. Because they have this very elitist
worldview that only the. The elites deserve the best.
Kind of like how Stuart Allman says only the finest people come here. Right.
They look with disdain upon the middle and lower class peasants.
Aleister Crowley said the slave shall serve. That’s how they view us. Okay.
Among the Greeks and Romans, the eagle was the appointed bird of Jupiter and consequently
signified the swiftly moving forces of the demiurgis.
Hence it was looked upon as the mundane lord of the birds. In contradistinction to the Phoenix
which was symbolic of the celestial ruler, the eagle typified the sun in its material phase and also
the immutable demiurgic law beneath which all mortal creatures must bend. The eagle was also
the hermetic symbol of sulfur and signified the mysterious fire of Scorpio, the most profoundly
significant sign of the Zodiac and the gate of the great Mystery being one of the three symbols of
the Scorpio. The eagle, like the goat of Mendes. That’s go with the bobs, right? That’s the
Baphomet, which plot spoiler at the end of the Shining.
That’s what Jack is doing the, the. The stance of the Baphomet go he’s gotten with the bobbins
being one of the three symbols of Scorpio, the eagle, like the goat of Mendes, AKA the
Baphomet, was an emblem of the theurgic art, the secret processes by which the infernal fire of
the scorpion was transmuted into spiritual light. Fire of the gods.
Now, the eagle is very important to all of the mystery religions because it is the spirit of the
Phoenix. It’s a symbol that represents the alchemical transformation of mankind.
The initiate is reborn into the new understanding of this world and rises from the ashes like a
phoenix. Right. That’s why it’s represented as the final stage of alchemy.
Kubrick knowledgeable about the concepts of alchemy, as is evident from 2001 Space Odyssey.
But should my dear listener not believe me yet? Let’s keep reading. Manly P. Hall. He connects
the Phoenix to the actual American eagle. Because that’s where we’re going with this, right?
We’re talking about America. Oftentimes all the colors in the film, the red, white and blue. And
such European mysticism was not dead at the time the United States of America was founded.
The hand of the mysteries controlled in the establishment of the new government. For the
signature of the mysteries may still be seen on the Great Seal of the United States.
Careful. Which, by the way, was at the Republican national convention in 2024.
Yeah, they had the Great Seal. Do you remember that? With the pyramid of the All Seeing Eye,
New World Order stuff.
Careful analysis of the seal discloses a mass of occult and Masonic symbols, chief among them
the so called American Eagle, a bird which Benjamin Franklin declared unworthy to be chosen
as the emblem of a great powerful and progressive people.
Here again, only the student of symbolism can see through the subterfuge and realize that the
American Eagle upon the Great Seal is but a conventionalized phoenix.
A fact plainly discernible from an examination of the original seal.
In his sketch of the history of the Seal of the United States, Galliard Hunt unwittingly brings
forward much material to substantiate the belief that the original seal carried the Phoenix bird on
its obverse surface and the Great Pyramid of Giza upon its reverse surface.
So there you go. America illuminae confirm us.
The eagle holds great significance in terms of the secret destiny of America.
Also written by Manly P. Hall. It’s about basically this New Atlantis Neoplatonist fantasy, Plato’s
Republic, this idea that the scientific elites should or AI should be the new governing body
because people are just too dumb, left to their own devices.
And that’s why you see the symbolism of all these occult concepts in. In the NASA, you know,
pagan system, the on the patches and so on.
And that’s the main idea of occult symbolism in the world of conspiracy, is that they’re trying to
do alchemical transformations of the entire country on some level.
So Wendy and Danny, they’re running into the labyrinth. And Danny says. Or Wendy says. Or is
it Danny? Danny says. Loser has to keep American America clean. I’ll play the clip for you. What
are they talking about?
[00:11:33] Speaker B: Now you’re gonna lose and I’m gonna get you. You better run.
Look out.
I’m coming in close.
Do you have to keep American Queen? Oh, yeah. Keep American clean. Okay, Danny, you win.
[00:11:55] Speaker A: I think the reason they say that is because back in that time, there was a
Keep America Beautiful public service announcement released in 1971 with this native American
crying. And to me, it seems kind of like, I don’t know, it’s drawing attention to Native America,
Native Americans and usa okay, now what’s more interesting is that they’re running into a
labyrinth. And the labyrinth is not in the book at all, which is kind of crazy.
Labyrinth is a. An idea loaded with symbolism. It’s a journey for the initiate.
And it’s like the original Greek mythology of the labyrinth of the Minotaur, which was all about
imprisoning the Minotaur. And Theseus has to conquer this maze to confront the shadow. Right?
That’s always like the individuation process of Carl Young.
Or you could argue, like I will in part three, that Jack Nicholson’s character, Jack Torrance, is
confronting his own shadow.
But in the Minotaur mythology, it’s about confronting the shadow that’s all the way in the center
of the maze. It’s deeply seated. You got to work towards it.
And it’s a bit of a play on what Aleister Crowley and Jack Parsons were doing with crossing the
abyss or confronting Coronzon, the shadow. They wanted to destroy the ego fully so they could
cross the abyss and become masters of. The temple in the labyrinth is symbolic of the great
work, right? This is what all these occultists are always talking about. It’s becoming reborn with
this occult gnosis.
Carl Jung had the symbolized, the personal, unconscious mind as a labyrinth. And a person
would need to navigate the labyrinth and go deep into the center to find the shadow, to find their
true self.
Because as you grow, you are programmed from social norms and constructs and church and
politics and parents and family and friends and all this stuff. It just. Your brain is just soaking all
this stuff. Up. And you don’t really have a true self in there.
It’s buried in there right now. It’s very interesting. Kubrick would add these elements to the story
that, again, wasn’t in the book.
And it’s kind of like how the interior shots of the hotel are not really possible. And it doesn’t make
any sense. It’s like an MC Escher artwork with different worlds folding on top of one another.
Multiple dimensions of reality existing in one space.
And it creates a liminal realm, or what they call today back rooms.
And it’s a sort of ports into this world where we’re not really sure what’s real. What’s a
hallucination? Are they dreaming? Are they awake? Why are. Why didn’t. Why did some of these
things not make any sense? This is kind of like the world of Twin Peaks, right? Very David
Lynch.
And in the book, there’s no labyrinth, but there’s these hedge animals that come to life.
It’s pretty creepy. Jack is like. He. When he’s outside working, he. He senses them looking at
him, and he senses them moving. It’s. It’s pretty unnerving.
And I. I haven’t seen the TV version of the Shining.
I mean, just on principle, it can’t be as good as Kubrick, right? But I think that the. I think the
hedge monsters are possibly in the TV version. I could be wrong.
So Kubrick. We get the classic Kubrick crossfade of Jack Torrance and Wendy and Danny
running around the labyrinth, and he. He’s kind of just sulking around the hotel, and he throws
this tennis ball against the wall, and it basically disappears. You don’t really see it go anywhere,
just it. It makes a noise like it bounces off the wall, but you don’t see it.
Now the same ball is going to come back later. We’re in. Going to find out where it went
mysteriously.
And at this point, he leans over this giant diarama on a table of the exact labyrinth that’s outside,
and it zooms in to the labyrinth on the table inside the house.
And it shows Wendy and Danny in the center of the labyrinth, running around.
What are we even talking about? Doesn’t even make sense.
It doesn’t even make sense. This was just like the film Heretic. If you haven’t listened to my
Heretic analysis, boy, have I got a treat for you.
I didn’t even realize I’d seen the Shining many, many times. And when I did the Heretic film
analysis, which has a similar situation where Mr. Reed is using ritual, magic, in a way.
And he’s controlling this reality that he can kind of lean over his own diorama and see the
characters moving around.
He’s controlling reality through magic and this diorama as above. So below I’ll put a link in the
show notes. If you haven’t listened to the Heretic film analysis. Oh, boy, that’s a good one. It’s a
real doozy.
All right, now we are shown on the screen that it’s now Tuesday. You’ll notice. You’ll notice
Kubrick changes. It’ll be like a month later. Tuesday, 4pm it’s like, what?
You can’t get your bearings. And that’s the point.
Danny, big wheeling again, down on a new floor. And this time we’ve got this carpet pattern that
you. The iconic shining carpet pattern. He stops at room 237, but the door is locked again. He’s
wearing red, white and blue, as usual.
What’s Jack Torrance doing? Well, he’s finally typing. Oh, thank goodness.
Thank goodness. He broke his writer’s block.
And Wendy comes by to check on him. She’s also wearing red, white and blue.
And Jack’s being a total jerk.
He’s like, you know, these interruptions are distracting me and slowing me down.
So he implements a new rule.
If I’m in here typing, or if I’m not typing, whatever the fuck I’m in this room, it means he’s working,
so don’t come in. Do not bother him.
And then he drops the abusive line. Why don’t you start right now and get the out of here with
the ultra villain mega Jack Nicholson eyebrow arch.
Now you’ll. Now, you’ll see echoes of this in Twin Peaks as well. Because Leo Johnson, he also
loved to make roles. He was also abusive to his wife, she. Shelly Johnson.
He was big on telling her the rules, like she can only smoke a certain brand of cigarettes. And he
shows her how to clean the floor and so on.
So we finally get the first dreaded snowstorm and Wendy and Danny are playing in it wearing
red, white and blue yet again.
And we get the classic meme of Jack Torrance staring off into space like a total maniac.
And you’ll notice behind him is a fire, like a giant fireplace. And this is very much the same
symbolism that lynch used in Twin Peaks with Ben Horn being an evil character and showing the
fireplace.
But what’s real creepy about this scene is that the end of it? Jack Nicholson or Jack Torrance?
He looks up like he’s looking at A spirit or something. What’s my man looking at?
It’s very clear. I plan. If you’re watching the video version of the show, you can see the clip.
Well, now it’s Saturday. We skipped some days. Jack’s typing, though. Still working.
Wendy’s in. In the control room. She’s trying to figure out the radio system.
She gets it figured out. She calls KDK1, which is the forest service, from her radio, which is
KDK12.
We hear about the storm is the worst they’ve ever seen. Naturally.
Fun fact. There’s an homage to the Shining and Breaking Bad where there’s a police Officer
uses the KDK12 call sign right before he catches an ax to the dome piece.
Good one. Breaking Bad. That was a great show too.
Danny is big. Wheeling around, he sees the Grady twins again.
And they say, come and play with us, Danny. Forever and ever and ever. Super creepy.
And then he also has the vision, the shining vision of them butchered with the axe.
He’s still wearing red, white and blue, in case you were wondering.
He tells his invisible friend Tony, his alter ego, his alter, dissociated alter, that he’s scared. And
Tony says, it’s just like pictures in a book. It isn’t real.
Oh, and if you want more on that. In Kubrick’s Code, my book, I talked about the photographer
Diane Arbus, who Kubrick had studied. And she took photos of, you know, a bunch of freaks.
I think you freaky, and I like you a lot.
So if you want more, check out Cooper’s Code.
Monday. Now it’s Monday, and it’s time for what could be the creepiest scene in the whole film.
In a way, Jack. He’s bugging out, right? He’s losing it. He calls Danny into the room to sit on his
lap.
And what makes it creepy is how Jack is behaving and how Danny is acting pretty associated.
He’s still wearing red, white and blue, by the way. Danny asks if he’s feeling all right. Jack says
he’s just tired and he’s got too much to do to sleep.
And it’s kind of a long clip, so. My. My folks with A.D.D. hang in there.
It’s gonna be a minute, but let’s check out this dialogue of these two talking and I’ll come back.
[00:21:46] Speaker C: How’s it going, dad?
[00:21:49] Speaker D: Okay.
[00:21:52] Speaker C: Having a good time?
[00:21:56] Speaker D: Yes, dad.
[00:22:00] Speaker C: Good.
Want you to have a good time.
[00:22:06] Speaker D: I am, dad.
Dad?
[00:22:16] Speaker C: Yes?
[00:22:18] Speaker D: Do you feel bad?
[00:22:23] Speaker C: Oh, so tired.
[00:22:30] Speaker D: Then why don’t you go to sleep?
[00:22:37] Speaker C: I can’t I had too much to do.
[00:22:45] Speaker D: Dad.
[00:22:48] Speaker A: Dad?
[00:22:51] Speaker D: Do you like this hotel?
[00:22:59] Speaker C: I do.
I love it.
Don’t you?
[00:23:09] Speaker D: I guess so.
[00:23:13] Speaker C: Good.
I want you to like it here.
I wish we could stay here forever. Ever, ever, ever.
[00:23:34] Speaker D: Dad.
[00:23:36] Speaker C: What?
[00:23:39] Speaker D: You would never hurt Mommy or me, would you?
[00:23:47] Speaker C: What do you mean?
Did your mother ever say that to you?
That I would hurt you?
[00:24:00] Speaker D: No, dad.
[00:24:03] Speaker C: You sure?
[00:24:05] Speaker D: Yes, Dad.
[00:24:12] Speaker C: I love you, Danny.
I love you more than anything else.
Whole world.
I would never do anything to hurt you.
Never.
You know that, don’t you?
Huh?
[00:24:29] Speaker D: Yes, dad.
[00:24:32] Speaker E: Good.
[00:24:35] Speaker A: So Danny asked Jax if he likes the hotel. And Jax says, I wish we could
stay here forever and ever and ever. Just like the Grady twins, right?
Danny asked if he would hurt Mommy because he sees in the future that with the Shining, and
he thinks he’s gonna hurt her.
Now. It’s Wednesday, and Danny’s playing on that same carpet, the iconic shining carpet. And a
ball comes rolling in. And this is what I propose to be the same ball that Jack Torrance throws
against the wall that disappears earlier.
This hotel’s weird. And he stands up, he’s playing with these. He’s playing with these toys.
And a ball comes rolling down to where he’s playing.
And he’s wearing. And he stands up and he’s wearing a sweater that says Apollo 11 again, red,
white and blue. And he walks down the carpet towards room 237, which is where the ball came
from.
I’m gonna play the clip, and then we’ll come back.
[00:25:40] Speaker C: Sa.
[00:26:16] Speaker B: Mom.
[00:26:43] Speaker A: Are you in there?
Now, this is the scene that’s the linchpin in the Jay Widener conspiracy about the fake moon
landing. Because as everybody already knows it, in the book version of this story, it’s room 21 7.
In Kubrick’s film, he changes to room 237. The official supposed version is that the Timberline
Hotel where they filmed the exterior shots for this had a real room 237. And they were worried
that people would be scared to stay there.
It’s a different world today. There would be a sales pitch. But anyway, the.
The. Their word, people would be afraid to stay there. So they say, hey, can you just change it
to. I’m sorry, let me back up. The Timberline supposedly had a real room, 21 7. They asked
Kubert to change it to 23 7. And that’s why it’s 237.
Which begs the question, why does the Timber Line have a room 217 but not a room 237? Who
knows?
The Also, I think Jay Widener, I heard him say that if you looked into it, the Timberline doesn’t
even have a room 217.
Nonetheless, J. Widener’s theory is that Danny, wearing the Apollo 11 rocket shirt, stands up
from the launch pad. That’s the shapes, the hexagonal shapes or saturnian shapes on the
carpet. And he travels down to room 237, which is symbolic of the Apollo 11 launch, going
237,000 miles to the moon, which is the distance it was back then. Apparently it’s off a little bit
now. It’s a little different, but back then it was 237,000 miles.
And. Which is also crazy to think of because if they didn’t know the miles to the moon back then,
you’re telling me we got people to the moon?
That doesn’t make any sense. But the whole thing with the moon doesn’t make sense to me. I
strongly believe we never did. We never sent human beings to the moon.
I wrote about it in my book, Conspiracy Theories and Unpopular Culture. Check it out. And I did
an episode on it I don’t even know, a couple years ago.
And then also, the key in the lock at room 237 says, room no. 237. And Jay Weiner says, you
move those letters around and it says moon room. Actually, moon rom. Technically.
And then also the numerology of this is interesting. If you do the numerology stuff, 2 by 3 by 7
equals 42, which is the same number you see on Danny’s shirt. 42 shirts of a bunch we’ll talk
about in part three.
Also, the Grady twins could represent the Gemini astrology sign, the Gemini twins. The Gemini
program was the predecessor to Apollo.
And again, the twins are not in the book. So Kubrick threw that in there.
So Wendy, she hits some high voltage switches in the basement.
She hears Jack yell when she hits these high voltage switches. And she walks as slow as
humanly possible towards the Colorado Room to check on them.
Good news. Jax is having a violent bad dream. And he’s screaming and she wakes him up and
he’s shook and he said, I had the worst dream ever. I dreamt I killed.
Killed you and Danny and cut you up into little pieces.
Then Danny walks in, right on cue, and his shirt is torn, his neck is bruised. What the heck
happened? He went into room 237 like Dick told him not to.
And Wendy assumes Jack abused him because he had this past of doing that.
And Jack, he’s like, in a catatonic state. He’s bugging out while Wendy’s accusing him of
abusing Danny.
You know, she’s mama bear style. Right now Jack’s getting upset so he stumbles over to the
Gold Room.
And in the book they actually go back and forth between Jack and Wendy. Jack. In fact, Jack
blames Wendy at one point.
But they actually talk it out like adults in the book. Because in the book, again, Jack’s not a total
monster. He’s just. He’s trying to be a good father. Trying to be a good husband.
Anyways, when Jack’s walking down the hallway to the Gold Room you’ll notice that there’s
these mirrors. And every time he passes a mirror he sort of like punches in the air.
Strange timing. It’s like his reflection is causing some kind of issue. He’s confronting the shadow,
basically.
And you’ll notice the colors. Emerald green, gold and red. Those are all highly charged wizard of
Oz colors.
So Jack goes in this empty, you know, Gold Room and he says he’d give his goddamn soul for a
glass of beer. Around our Q A bartender in a red tuxedo appears with a full bar of booze.
Stranger yet, Jack knows his name. He says hi, Lloyd.
How does he know his name? Is it because he’s always been there? He’s always been the
caretaker.
Anyhow, I want you to listen to this full dialogue because Jack confesses his feelings about
Wendy and Danny. My man is full of excuses. The whole time, Lloyd is just listening, stone
faced. Because you know, he reads through all of Jack’s bullshit too. Take a listen.
[00:32:10] Speaker C: God. Give anything for a drink?
Just a glass of beer.
Hi, Lloyd.
A little slow tonight, isn’t it?
Yes, it is, Mr. Torrance.
What’ll it be?
I’m awfully glad you asked me that, Lloyd because I just happen to have two 20s and two tens
right here in my wallet.
I was afraid they were gonna be there till next April.
So here’s what you slip me a bottle of bourbon, a little glass and some ice.
You can do that, can’t you, Lloyd?
You’re not too busy, are you?
No, sir. I’m not busy at all.
Good man.
You set him up and I’ll knock him back, Lloyd. One by one.
White man’s burden, Lloyd, my man. White man’s burden.
Say, Lloyd, it seems I’m temporarily light.
How’s my credit in this joint anyway?
Your credit’s fine, Mr. Torrance.
That’s. Well, I like you, Lloyd. I always like you.
You were always the best of them.
Best God damn bartender from Timbuktu to Portland, Maine.
Or Portland, Oregon for that matter.
Thank you for saying so.
I never left, laid a hand on him, goddammit.
I didn’t.
I wouldn’t touch one hair on his goddamn little head.
I love the little son of a bitch.
I’d do anything for him.
Any fucking thing for him.
But that bitch.
As long as I live, she’ll never let me forget what happened.
I did hurt him once, okay?
It was an accident, Completely unintentional.
Could have happened to anybody.
And it was three goddamn years ago.
[00:35:28] Speaker F: The little fucker had thrown all my.
[00:35:30] Speaker A: Papers all over the floor.
[00:35:31] Speaker F: All I tried to do was pull them up.
[00:35:36] Speaker C: The momentary loss of muscular coordination, you extra foot pounds of
energy per second, per second.
[00:35:57] Speaker A: So after Jack sells his soul for a bottle of beer, he ironically orders a bottle
of bourbon.
Okay?
In the book he’s actually ordering martinis. He calls them Martians because his friend Al thinks
it’s funny to call them Martians.
Anyhow, at this point in the dialogue, Jack talks about white man’s burden, okay? And this
happens in the book also.
And I believe what he’s actually referencing is the term, the idea. Because the, the idea of white
man’s burden is this concept that the white man needs to expand, colonize, build empires
because the. The elite whites need to civilize the whole world into the. Their superior way of
being.
So my thought, reading the book was that. Oh, okay. I think he says that because it’s Jack’s way
of imperializing the drinks, which is why he says it, it’s a play on words. It’s colonizing Mars or
Martians.
Right? Which could be kind of weird because that ties into Elon Musk and stuff, right?
Or maybe it’s a reference to the hotel being built on Native American burial grounds as their. The
white man’s duty to dominate other cultures.
But in this dialogue, Jack says he’s got two twenties and two tens.
He’s worried it’ll be there till April because that’s when the family leaves is in April. And Jack, he
claims that he’s never laid a hand on Danny. He would never do anything that goddamn will
never let him forget what happened because he accidentally hurt him years ago.
And right when he gets done doing all this, here comes Wendy with a baseball bat to the Gold
Room. And she’s freaking out because Danny tells her, hey, there’s a strange woman in room
237 that tried to kill me.
Which you would think in a way Jack would be like, oh, good, like I’m not suspect number one
anymore.
But anyway, then we cut to Dick Hallorann. He’s watching the news from Miami because he’s
worried about Danny. And the Overlook sees this big storm coming into Colorado, and he. He
has, like, this severe case of the Shining. He kind of locks up.
Same time Danny is seizing up the fuck. In the book, there’s this whole thing about him needing
to go down to the Sidewinder town and. And Wendy and Jack try to figure out how to get down
there because he needs some medical attention. I think it’s from getting stung by bees.
Anyway, Kubrick made this way creepier, for what it’s worth.
So now Jack goes investigate. He goes inside of room 237. You see the purple and green
carpets. You see the golden yellow bathroom, kind of like the gold room, and. And gets crazy.
Take a listen.
[00:38:52] Speaker C: It sa.
[00:39:57] Speaker A: So Jack goes in there, and he sees a sexy woman in the bathtub. And
she opens up the curtain for Jack to check her out. Now, the bathtub, of course, a very curious
decision here to put in there for Kubrick. It’s the.
The kabbalistic cleansing ritual called the Mikvah. And we’ve talked about this countless times
on the show.
The passage of the moon goddess. You see a lot of celebrities dying in the bathtub. Whitney
Houston and Bobby Christina being the most mysterious of all of them.
And when you get into the realm of seeing how the music industry works with Diddy, you start
thinking, well, maybe these people are into some weird stuff.
Anyway, Jack sees this real hot chick nude, and he’s gets a big old creepy grin.
The woman walked towards him, and turns out she’s super into Jack. Jack’s hot, right? So they
start smooching down, and he looks in the mirror, and it’s. It’s actually an old decaying woman.
So Jack’s out of there, right? Jack’s all horned up from reading that Playgirl, I guess.
Now, fun fact. This scene was actually inspired by David Lynch’s Eraserhead because, as you
recall, in Part one, we talked about how Kubrick screened Eraserhead for the cast and crew of
the Shining to say. Like, this is the vibe we’re going for.
Because in Eraserhead, Henry, he has this sort of strange infatuation with his neighbor in room
27.
And again, the book doesn’t have this scene, right? Has similar scenes, but not the same scene.
It has Danny go into the room. He sees a spirit, and that’s why his shirt gets ripped in the film.
But in the book, Jack goes into the room, he Gets the heebie jeebies. He dips.
And again, it’s room 21 7. So it’s quite different in the book as well.
So big dick holler on. He’s, like, calling up Colorado. The phone lines are down. Okay? He starts
tripping down a little bit.
Meanwhile, back at the Overlook, Jack, he gets back to his hotel room completely unfazed, by
the way.
Let’s make sure we get that out of the way. Completely unfazed that he was just trying to make
love with a dead woman in the hotel that’s completely empty.
And he just tells Wendy he didn’t see anything at all.
And he’s very tender with Wendy right now.
And you’ll notice when you watch this film, listen to the background noises. You hear the wind
howling, like there’s some real spiritual activity drumming up in the hotel.
And Jack thinks maybe Danny hurt himself now since there’s no Boogeyman in room 237.
And Jack wouldn’t do this, but Wendy still wants to get Danny out of there. Jack hates this idea.
He tells her that she’s fucked his life up so far and she’s not about to fuck up his big book deal.
Meanwhile, poor Danny, he’s tripping balls. And he sees red rum on the door. He sees blood
gushing out the elevator. Things are getting bad.
So then Jack, he’s strolling the halls again. And there’s a party going down in the Gold Room.
You got balloons and music, the works.
And he heads in, and it’s now decorated with lots of red. Before I had green and gold. Now it’s
red and gold, right?
Like red rum. I don’t know. Just an idea. And he gets some more bourbon.
And he’s got cash in his wallet. But, hey, no charges from the house. Orders from the house.
Literal reference. The house is the Overlook.
Because the hotel, the Overlook, is actually like a giant spirit machine of some kind.
Jack says he wants to know who’s buying his drinks. Lloyd says it’s no matter. This is the
Faustian bargain. Remember he said he would sell his soul? Well, you just did, dummy.
A waiter spills drinks on Jack and offers to clean it in the bathroom.
And this is where things get nefarious.
Jack goes in the bathroom with the waiter. The waiter says his name is Delbert Grady.
Remember, Charles Grady was the guy that acts as kids? Who’s Delbert Grady? We don’t
know.
Delbert Grady’s in there. And Jack says, hey, I know you. That’s the. You’re the previous
caretaker who Acts as family.
And Jack tells graded that he knows what he did.
But Grady seems confused. And he’s like, I didn’t do that. And Grady tells Jack, you are the
caretaker. You always been the caretaker.
And earlier he did say that in the scene. He says that Jack is the most important person here.
I’m going to play the clip. Another long one. Hang in there. You know, I personally love the. The.
The Kubrick dialogue scene. Some people get very impatient. I think that’s the best part of the
Kubrick. Kubrick films. Take a listen.
[00:44:42] Speaker C: Awfully nice of you to say.
Of course, I intended to change my jacket this evening before the fish and goose soiree.
[00:44:51] Speaker A: Very wise, sir. Very wise.
[00:44:53] Speaker C: Here, I’ll just hold this for you.
[00:44:56] Speaker A: There to use it.
[00:44:58] Speaker E: Thank you, sir. Thank you.
Now, let’s see if we can improve this with a little water, sir.
[00:45:04] Speaker C: All right. I’ll just set my bourbon and I down right there.
[00:45:10] Speaker E: I’ll keep you a moment, sir.
[00:45:12] Speaker C: Fine.
What do they call you around here, Jeevzy?
[00:45:19] Speaker E: Grady, sir. Delbert Grady.
[00:45:26] Speaker C: Grady?
[00:45:27] Speaker E: Yes, sir.
[00:45:29] Speaker C: Delbert Grady.
[00:45:31] Speaker E: That’s right, sir.
[00:45:41] Speaker C: Mr. Grady, haven’t I seen you somewhere before?
[00:45:45] Speaker E: Well, no, sir. I don’t believe so.
It’s coming off now, sir.
[00:46:02] Speaker C: Ms. Grady, weren’t you once the caretaker here?
[00:46:08] Speaker E: I know, sir. I don’t believe so.
[00:46:14] Speaker C: You married man, are you, Mr. Grady?
[00:46:17] Speaker E: Yes, sir. I have a wife and two daughters, sir.
[00:46:23] Speaker C: And where are they now?
[00:46:27] Speaker E: Oh, they’re somewhere around. I’m not quite sure at the moment, sir.
[00:46:39] Speaker C: Mr. Grady, you were the caretaker here.
I recognize you.
I saw your picture in the newspapers.
You chopped your wife and daughter up into little bits.
And then you blew your brains out.
[00:47:13] Speaker E: That stranger.
I don’t have any recollection of that at all.
[00:47:22] Speaker C: Mr. Grady, you were the caretaker here.
[00:47:35] Speaker E: I’m sorry to differ with you, sir.
But you are the caretaker.
You’ve always been the caretaker.
I should know, sir.
I’ve always been here.
Did you know, Mr. Torrance that your son is attempting to bring an outside party into this
situation?
Did you know that?
[00:48:35] Speaker A: No.
[00:48:37] Speaker E: He is, Mr. Torrance.
[00:48:41] Speaker C: Who?
[00:48:45] Speaker E: A.
[00:48:50] Speaker C: A nigger.
[00:48:54] Speaker E: A nigger cook.
[00:49:04] Speaker B: Now.
[00:49:08] Speaker E: Your son has a very great talent.
I don’t think you are aware how great it is that he is attempting to use that very talent against
your will.
[00:49:36] Speaker C: He is a very willful boy.
[00:49:41] Speaker E: Indeed he is, Mr. Torrens.
A very willful boy.
A rather naughty boy, if I may be so. Bolson.
[00:50:01] Speaker C: It’s his mother.
She interferes.
[00:50:11] Speaker E: Perhaps they need a good talking to.
If you don’t Mind my saying so, perhaps a bit more.
My girl, sir. They didn’t care for the Overlook at first.
One of them actually stole a pack of matches and tried to burn it down.
But I corrected them, sir.
And when my wife tried to prevent me from doing my duty, I corrected her.
[00:51:04] Speaker A: So Jack’s confused.
Grady snitching on Danny, saying he’s trying to call for help for this situation.
Oh, yeah, there was a hard R drops a hard R in the conversation.
And Grady says that Danny has a talent he’s using against Jack’s will. And that, you know, that
pisses Jack off.
He’s a naughty boy. And Jack says it’s because of his mother.
Grady says perhaps they need a bit more than just a talking to, trying to get him to kill his family.
And Grady says that his girls didn’t care for the hotel either. They tried to burn it down. And his
wife also tried to stop him, so he had to correct all of them. So this Grady did kill his family.
Why is he acting all suspicious?
So Delbert Grady, who everyone said was named Charles, was the caretaker who acts as family.
Now he’s telling Jack that Jack is the caretaker.
Jack somehow knows Grady. He says, haven’t I seen you before?
How would he have seen him before unless he was always at the hotel somehow.
And we’re getting this. I mean, it’s like spiritual finger cuffs of some kind. Because by the end,
we feel like these two are locked into this weird reincarnation type environment.
When you see the photo at the end of the film, you’ll see it. Or maybe Jack’s just getting drunk,
you know, and his shadow is coming out and confusing things. Or maybe Delbert Grady is Jack
Shadow.
Because we know that, and this is in the book, we know that Charles Grady was also an
alcoholic and he got drunk and murdered his family.
[00:52:51] Speaker C: So.
[00:52:52] Speaker A: So Jack. Jack heads out on the mission, right? And the first step is to cut
off that radio. So, you know, and he doesn’t just unplug it, he pops out the relays and Big Dick
holler on. He’s. He’s flying out to Colorado. He’s like, I gotta get out there. Danny’s in trouble. He
drives a car up the pass through the snow, and this is where you get a shot of the crushed
Volkswagen. The crushed red Volkswagen. A dis against Stephen King, apparently. Come on,
fellas. I love both of you. What are you doing? We don’t have to fight.
In the book. In this scene, it just says there’s an overturned semi. Doesn’t mention Any
Volkswagen at all. So 100% Kubrick on that.
Wendy is in the Colorado Room and she’s got a baseball bat because she’s looking for Jack.
She wants the smoke. And she goes over to the typewriter to find his typing that he’s been doing
for all this time.
It just says the same things over and over again. Just says, all work and no play makes Jack a
doll. Boy.
Stacks and stacks of pages. He’s really lost his mind.
Jay Widener also points out that the all in a typewriter looks like a 11. Apollo 11.
And then right on cue, here comes Jack Nicholson around the corner while she’s snooping
through his beautiful book that he’s typing.
And he. And he shuts it all down. You know that damn Wendy. So nosy.
It is. How do you like it? Classic Jack Nicholson scene.
Again, another long scene. Just enjoy. This is peak. Jack Nicholson and Shelley Duvall.
Insane scene. We’ll come back.
[00:55:34] Speaker C: How do you like it?
How do you like it?
What are you doing down here?
[00:56:01] Speaker B: I just wanted to talk to.
[00:56:09] Speaker C: Okay.
Let’s talk.
What do you want to talk about?
[00:56:31] Speaker B: I.
I can’t really remember.
[00:56:36] Speaker C: You can’t remember?
[00:56:39] Speaker B: No, I can’t.
[00:56:48] Speaker C: Maybe it was about Danny.
Maybe it was about him.
I think we should discuss Danny.
I think we should discuss what should be done.
What should be done with him?
[00:57:24] Speaker B: I don’t know.
[00:57:26] Speaker C: I don’t think that’s true.
[00:57:28] Speaker F: I think you have some very definite.
[00:57:31] Speaker C: Ideas about what should be done with Danny.
[00:57:33] Speaker F: And I’d like to know what they are.
[00:57:39] Speaker B: I. I think maybe he should be taken to a doctor.
[00:57:44] Speaker F: You think maybe he should be taken to a doctor?
[00:57:48] Speaker B: Yes.
[00:57:49] Speaker F: When do you think maybe he should.
[00:57:51] Speaker A: Be taken to a doctor?
[00:57:54] Speaker B: As soon as possible.
As soon as possible.
J.
[00:58:04] Speaker C: You believe his health might be at stake?
[00:58:09] Speaker B: Yes.
[00:58:12] Speaker C: You are concerned about him?
[00:58:14] Speaker B: Yes.
[00:58:16] Speaker A: And are you concerned about me?
[00:58:20] Speaker B: Of course I am.
[00:58:21] Speaker C: Of course you are.
[00:58:23] Speaker F: Have you ever thought about my responsibilities?
[00:58:27] Speaker B: Oh, Dick, what are you talking about?
[00:58:29] Speaker F: Have you ever had a single moments thought about my responsibilities?
Have you ever thought for a single solitary moment about my responsibilities to my employers?
Has it ever occurred to you that I have agreed to look after the Overlook Hotel until May 1st?
Does it matter to you at all that the owners have placed their complete confidence and trust in
me and that I have signed a letter of agreement, a contract in which I have accepted that
responsibility?
You have the slightest idea what a moral and ethical principle is, do you?
Has it ever occurred to you what would happen to my future if I were to fail to Live up to my
responsibilities. Has that ever occurred to you?
[00:59:10] Speaker B: Has that. Stay away from me.
[00:59:14] Speaker C: Why?
[00:59:15] Speaker B: I just want to go back to my room.
[00:59:18] Speaker C: Why?
[00:59:22] Speaker B: I’m very confused.
I just need a chance to think things over.
[00:59:30] Speaker F: You’ve had your whole fucking life to think things over. What good’s a few
minutes more gonna do you now?
[00:59:38] Speaker B: Stay away from me.
Please.
Don’t hurt me.
[00:59:43] Speaker F: I’m not gonna hurt you.
[00:59:44] Speaker B: Stay away from me.
[00:59:46] Speaker F: Wendy. Say, wendy darling, light of my life.
[00:59:50] Speaker C: I’m not gonna hurt you. You didn’t let me finish my sentence. I said, I’m
not gonna hurt you.
[00:59:56] Speaker F: I’m just gonna bash your brains in.
I’m gonna bash them right the fuck in.
[01:00:03] Speaker B: Stay away from me.
Don’t hurt me.
[01:00:07] Speaker C: I’m not gonna hurt you.
[01:00:09] Speaker B: Stay away for me.
[01:00:11] Speaker C: Stay away from.
[01:00:13] Speaker B: Please.
[01:00:16] Speaker C: Stop swinging the bat.
[01:00:17] Speaker B: Stay away from me.
[01:00:19] Speaker C: Put the bat down. Wendy.
[01:00:21] Speaker B: Stop it.
[01:00:23] Speaker C: Wendy, Give me the bat.
[01:00:25] Speaker B: Please.
Stay away.
[01:00:27] Speaker C: Give me the bat.
[01:00:29] Speaker B: Stop it.
[01:00:30] Speaker C: Give me the bat.
[01:00:31] Speaker B: Jake.
[01:00:32] Speaker C: Stevie, stop swinging the bat.
[01:00:34] Speaker B: Please stop.
[01:00:35] Speaker C: Give me the bat.
[01:00:36] Speaker E: Wendy.
[01:00:37] Speaker C: Do it, Wendy.
Give me the bag. Give me the b.
[01:00:42] Speaker B: God.
[01:00:49] Speaker A: So Wendy’s like, oh, I just want to talk. Jack says, well, what do you want
to talk about? And he closes in on her. Danny hears the whole conversation in his head. And he
sees blood, right?
Jack being a total abusive jerk off.
Harassing her about his responsibilities to his employers. You also notice when he’s talking to
her, he does the 666 hand.
Talks about his contract with the Overlook. Because, remember, he made the Faustian bargain.
Said he’d sell his soul for a beer.
Jack tells her that he’s going to bash her brains in.
Does some tongue wagging as she backs up the stairs. She’s fending him off with the bat. She’s
swinging the bat at him. She actually swings the bat at him 42 times.
Kind of strange. There’s that 42 again. She makes contact on the 42nd swing. We talked about
this. In Kubrick’s Code.
Danny also says red rum 42 times before his mother wakes up. That’s a scene coming up here
soon. And they’re also watching A A. Wendy and Danny on the TV were watching a film called
Summer of 42.
The Nazi Final Solution began in 1942. 42 is the answer to everything in the Hitchhiker’s Guide
to the Galaxy.
Then there’s also the 42 negative confessions of Matt.
So, you know, is Kubrick indoctrinated into any of these esoteric ideas? I mean, he was
interested in them. I Know that much because of that book he bought.
So she drags him.
[01:02:19] Speaker C: She.
[01:02:19] Speaker A: She hits him with a bat. Drags him to the pantry room, closes him in there.
She grabs a big old Michael Myers sized knife, she locks him in this pantry room where he’s got,
you know, Kool Aid and Calumet.
Tries to get her to open the door, tries to manipulate her, saying he’s hurt real bad, he needs a
doctor. Wendy’s too smart for that. She’s gonna leave him in there. Go take Danny down to the
Sidewinder town. Bring a doctor back with her.
Jack says, you’ve got a big surprise coming to you. You’re not going anywhere because he
already disabled the Snowcat and the radio.
She heads out in the snow to check it out. Sure enough, he cut the distributor cap, spark plug
wires on the. The snow cap.
Then Kubrick shows us that it’s 4pm no idea what day. Anyway, Jack’s in the pantry room and he
hears a knocking. And it’s Delbert Grady.
And Grady’s shaming him. He’s like, bro, your son and your wife are handling you, right? So it’s
kind of jazzing them up.
And he’s like, look, me and the boys, we don’t think you got the balls to do any of this.
So he, he’s talking mad shit and he pops the lock.
And now Jack’s able to get out.
Meanwhile, Dick hollering, still in the Snowcat, he’s heading up the road. Boom. Good.
Meanwhile, Wendy decides to get a little. Little shut eye. Great timing for that. Wendy. And
Danny’s holding the knife and he’s repeating red rum, red rum, red rum, over and over and over,
all creepy creepers in style. Grabs a lipstick, heads over to the door, draws red rum on the door.
Wendy wakes up, looks in the mirror, sees the reflection. Big reveal for everyone. It says it’s
murder.
So red rum means murder, because that’s what he sees, right? There’s murder about to happen.
So Jack, he’s out now. He grabs the ax, starts axing down the door.
Wendy and Danny are locking themselves in the bathroom, trying to escape through the world’s
tiniest window.
Only Danny can get out. So she tells Danny, run, hide, whatever.
Jack gets to the bathroom door and doing big speech about little pigs. And he acts as a hole in
the door big enough to fit his head through. And he says, here’s Johnny, right?
Then she slices his ham with that big old knife.
Now, fun fact, Nicholson improvised that whole here’s Johnny bit. So classic. Probably the Most
classic line of the film.
They are. Then they both hear Dick Halloran and the Snowcat coming up. So, like, who the heck
is that? So Danny, he comes back into the house. He hides in the kitchen. Jack is stalking
around with his axe. Dick shows up yelling like a fool.
So Jack hones in on his location, and Jack hits. Hits Dick with the ax in the chest.
And this is in the same location of where he threw that ball earlier that disappeared. So it’s
almost like a blood sacrifice for the hotel, I think.
In the book version, there’s hedge animals that attack Dick on the snowmobile.
And it’s a part of a.
I would criticize the section of the book. And Stephen King’s book just goes on and on about
Dick trying to get to the Overlook. It’s like, bro, I get it way too long. Kubrick was totally right to
condense that down.
And furthermore, plot spoiler for the book. Dick doesn’t even die in the book. In fact, he. He
helps Danny and Wendy escape.
So shit starts spiraling, right?
And we see, you know, Wendy’s walking around and she sees all kinds of crazy stuff. She sees
the elites, the. The man bear getting Hummer for the summer. Hummer for the summer.
The classic scene in the bedroom where the guy in the bear costume is. Is on his knees with a
dude. An elite in a tuxedo. And in the book, Stephen King says that it’s a party guy who dresses
in a dog costume because he’s the gay lover for the wealthy owner of the hotel named Horace
Derwent.
Horace Derwent was throwing hella depraved parties, which made me think of Eyes Wide Shut.
Made me think of Epstein. Made me think of Diddy, right?
And towards the end of the book, you hear more about the dog man. Because in the book, it’s a
dog. Dog. A guy dressed up as a dog. In Kubrick’s film, it’s a guy dressed up in a bear costume.
All right, so in the book, you hear more about the dog man. They call him Roger.
I’m going to read you from the book. It says Derwent upended the bottle of champagne and it fell
in a foamy Niagara onto the upturned mask. Roger made frantic slurping sounds and everyone
applauded again.
Some of the women screamed with laughter. Laughter?
Isn’t Harry a card? His partner asked him, pressing close again.
Everyone says, so. He’s AC dc. You know, that means he goes both ways for you young people
out there.
Poor Rogers. Only dc. He spent a weekend with Harry in Cuba once months ago. Now he
follows Harry everywhere, wagging his little tail behind him. She giggled. The shy scent of lilies
drifted up. But of course, Harry never goes back for seconds. Not on his DC side anyway.
And Roger is just wild. Harry told him if he came to the masked ball as a doggy, a cute little
doggie, he might reconsider. And Roger is such a silly that he did.
And it goes on Horse Derwent is publicly humiliating Roger for laughs. He’s abusing him and
everyone’s laughing at him, traumatizing him MK Ultra style.
So in the movie, we recall we saw Danny with the giant teddy bear at his apartment in Boulder
and he’s hiding from Jack.
But I think that stuff, teddy bear is a reference to pedo abuse, abusive children, the elites that roll
like Epstein. I think it’s all tied in there, especially given the ending of Eyes Wide Shut. We’re
going to discuss all this in part three.
And also you go back to Nicholson’s friendship with Polanski. Obviously, polanski assaulted a 13
year old girl.
And Jack Nicholson said this about Polanski. He said Roman has never been one to let anything
limit what he does. He’s a genius. That’s what he said in response to the critiques about his
friendship with Polanski and his raping of a 13 year old.
So Danny’s outside and, well, he escapes the kitchen. He runs into the labyrinth to hide from
Jack, outsmarts him though. He covers up his tracks, goes backwards through the snow. And
now Wendy’s getting all these weird visuals. She sees Grady with his head blown up. She sees
Dick Hallorann butchered.
She sees the elevators with the blood flood.
There’s a scene where she sees a bunch of skeletons everywhere.
And in the book she has all these same visions of these partygoers. But she also hears Glenn
Miller band playing, which was interesting because that’s referenced. That’s also in Twin Peaks,
when Sarah Palmer wants Leland to hurry up because they’re going to miss Glenn Miller Night,
Season 2, Episode 8.
If you, if you like Twin Peaks, have I got a deal for you. 55 episodes. The Twin Peaks Great
Lodge on my Patreon patreon.com Illuminati Watcher.
So Wendy goes outside, she finds Danny, they get into Dick’s snowcat and head out while Jack
is still traipsing around the labyrinth looking for Danny. He gets a little sleepies, takes a little
break, and whoopsie, ends up frozen.
Wakes up dead the next morning.
So that’s that’s how it ends. Jack basically dies trying to confront his shadow in the labyrinth.
All right? His dark side wins. Now he’s dead.
There’s danger in Crossing the Abyss. Aleister Crowley says, you must destroy the ego fully.
So then we get the date, and the camera zooms in on photos on the wall, and you see Jack
Torrance in the front of this crowd of partygoers, and it says it’s July 4th, 1921.
What?
Now, officially, Kubrick told Michael Cement back when the film was released that it suggested
there was a reincarnation of Jack. Which makes sense, right? Because Grady told him he’s
been the caretaker before.
Jack apparently keeps getting reincarnated and keeps on murdering, I guess, failing to confront
his shadow or integrate it.
Which means Charles Grady is also reincarnating in the hotel as well. They’re both trapped
forever in this. This portal. Just like the red Room in Twin Peaks. Oh, my God.
Also, in the book, Jack goes to room 217 and in the bathtub, he sees not a sexy woman but
George Hatfield, the boy that him and Al hit when they were drunk driving.
And they described George Hatfield being dead with silver eyes.
Just like you see the dead people in the Red Room of Twin Peaks with silver eyes.
Now, what’s curious about this final shot of the movie is that Jack is standing with one arm
pointing up, one pointing down. This is the baphomet. This is the goat with the box bobs, the as
above so below, symbolized by one arm pointing up, one arm pointing down.
And this was just like when Jack was standing over the labyrinth looking down on Wendy and
Danny. That’s a bit more of as above, so below. He is the master magician.
Fun fact. This photo was actually real, Obviously not with Jack Nicholson’s face on it. And it was
only recently revealed that the original photo was from a 1921’s Valentine’s Day ball in London
at the Royal Palace Hotel in Kensington. And Kubrick had it airbrushed to show Jack’s face over
that of Santos Casani, a ballroom dance construct instructor.
So there you go. The film is complete.
But we’re not done yet. We’re not done yet because I’m coming back and I’m hopeful I can get it
all done in one part. Hopefully, part three will be the last part of this.
It might be a long one, but we’re gonna do an in conclusion.
And we’re gonna discuss about all the things that you found in this movie.
You and I together as one.
We’re gonna Talk about the Stephen King drama. We’re gonna talk about America. We’re talking
about Eyes Wide Shut. The elites, accessing hidden realms, occult symbolism, portals. What
else do I got on here? Saturn.
Oh, I got some good stuff on Saturn. You’re. You’re not going to believe it. You got to come. The
Saturn stuff is worth the price of admission. Wait till, wait till we come back for that. That one’s
going to blow your mind. MK Ultra.
What else do I got in my notes? I got lots of stuff. Jack Shadow. And then the big one. Blood
sacrifices to the gods, the bloodthirsty gods.
I’m going to definitely, definitely illuminate, confirm this story, so you do not want to miss it. So
stay subscribed to this show because I’m coming back in the next episode. It’s going to be part
three where we’re going to wrap it all up. Make sense out of everything you’ve seen today, and
it’s gonna be a great time and you’re gonna love it. Now, if you want to support the show, you
got options.
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[01:14:29] Speaker C: Sam.