August 22, 2025 • 60 mins
Through careful analysis, we reveal how director William Friedkin weaves hidden means and symbolism into the fabric of his hit film. The Exorcist becomes less a story of horror and more a cinematic riddle an encoded sermon about the fragility of the human soul, and the terrifying reality that the greatest battles may be waged not in haunted houses, but in the shadowed corners of humanity.
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Episode Transcript
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Speaker 1 (00:41):
Welcome back to Raise by Giants Live discussion. Good to
see everyone. Welcome everyone in the chat and any moderators
and channel members out there, and to anyone that's listening
to the replay, thanks for joining us. And if you're
listening on the audio only, welcome, and if you're watching
on YouTube acts, be sure to follow the audio only
on any and all podcast platform you can set it
to where the shows are automatically downloaded upon release. I
(01:04):
listened to a lot of podcasts while I'm driving on
Spotify and doesn't seleck up all that data, so be
sure to follow the show on Apple Podcast, Amazon iHeartRadio,
and Google Podcasts so you never miss a show. A
Clockwork Shining is now available on to be anywhere you
can download the two B app. You can now watch
my documentary A Clockwork Shining on twob so even if
(01:25):
you've seen it already on Amazon Prime or Apple TV Plus,
watch it again on tub I have the link pained
to the top of the chat and it is also
in the description with that down we have with us today, author, filmmaker,
writer and producer and star of our hit documentary is
A Clockwork Shining on Amazon Prime and Apple TV Plus
and JFKIX Solving the Crime of the Century. Links are
(01:46):
in the description, Jay Widener, welcome back to the show.
How's it going. I'm doing great. And we had some
revelations the other day while we were on the phone.
And what kind of sparked this conversation was a show
called The Institute. I don't know if people have seen this.
I spoke about it the other day with one iola,
(02:10):
But I thought that that was strange, Jay, because it
seems like every time we do something, and this could
be just a coincidence, but it's happened like three times now.
I don't know when something doesn't become a coincidence anymore.
I think after two I think it's pretty fair to
say around two times of something happening over and over again,
it's no longer a coincidence. But there always seems to
(02:32):
be some sort of propaganda surrounding whatever it is that
we decided to do.
Speaker 2 (02:38):
And I noticed that, how about fifteen documentaries came out
right after we came out with JFKX, when there had
been almost no films made about the jfk assassination. I
know because I would have watched them if they come out,
and there was hardly any and now there's you know,
you go on Netflix and various services and there's like
(03:02):
eight or nine different films on each service, and all
of them, in their own way, seek to debunk what
we say in j k X, and it's very odd.
Speaker 3 (03:13):
And then.
Speaker 2 (03:15):
A Clockwork Shining comes out. And then not only is
there a plethora of YouTube and various shows talking about
the Shining and Kubrick, but then this odd TV series
(03:37):
which is out right now, it's still playing in two
more episodes of a book by Stephen King called The Institute,
which is a very interesting.
Speaker 3 (03:49):
Idea.
Speaker 2 (03:50):
Because I'm gonna say this right now, I'm going to
reiterate it as we go along here. We really didn't
know the stuff that's in the book or the movie
The Institute until a couple of years before the book
came out in twenty nineteen. So what am I talking about.
(04:13):
I'm talking about how around twenty seventeen it became it
was discovered that abused children can acquire psychic abilities from
(04:34):
the abuse as a matter of course of the abuse. Telekinesis,
telepathy and those kinds of things, and that's what this
show The Institute is about. Right, Yes, So in the show,
they kidnapped highly intelligent children and torture them to get
(04:58):
them to become more psychic, and they do tests on him.
And then there's reasons why they're doing this. I don't
want to get into it because it's kind of a
stupid reason. But the idea is that Stephen King in
twenty nineteen is now inculcating in fiction and now in
(05:19):
this series, this idea that abuse can cause psycho psychic power,
psychic abilities. And I've been around a long time and
it wasn't It was not known before that. Now it
was known probably in a cult circle you know that
(05:40):
this was true. That may be true, and maybe some
of what the stuff Alistair Crowley is talking about, But
in the general public, we did not know that. We
thought that, you know, abuse caused, you know, terrible things
to happen to people later in their life, and we
knew the abuse caused people become more especially people who
(06:03):
are victims of sexual abuse, become very, very sexually oriented
in their in their adult life.
Speaker 3 (06:10):
I'll just put it to you that way.
Speaker 2 (06:12):
And whereas regular people who weren't abuse, don't don't don't
kind of get obsessed with sex as much. So we
know there was these effects of sexual abuse, but we.
Speaker 3 (06:22):
Didn't know.
Speaker 2 (06:25):
About that that it would actually cause psychic abilities to happen.
Speaker 3 (06:29):
And so that's what this show is about.
Speaker 2 (06:31):
They're literally torturing kids to get them become more psychic
than they were when they were brought into the institute.
Speaker 1 (06:39):
And that's what we talked about in the Clockwork Shining
surrounding Danny, and we're like, this is the reason why
Danny has these abilities is because he was abused by Jack.
I mean, it clearly states that in the movie The Shining,
I mean, the doctor that comes to the apartment in
Boulder and talks to Windy and examines Danny tells Windy
that that's exactly what happened. And when he says, oh, well,
(07:02):
when he started seeing these and having these episodes after
Jack injured his arm, broke his arm, Okay, so that's
a very traumatic event where a kid, especially coming from
your dad. So it's almost like Stephen King kind of no.
Speaker 2 (07:21):
No about this is that in the book, Danny was
always psychic, Okay, he did not become psychic from the abuse.
And this is going to become important as we go
along here. Kubrick added that, all right, So Kubrick knew
somehow in nineteen eighty or seventy nine, whenever he made
(07:42):
the movie that Danny's psychic abilities was because of the
abuse he suffered from his father. And he added that
in emphasized it, like you say, and became a paramount
part of the whole understanding in The Clockwork Shining for
(08:02):
what was really going on underneath everything, and that in
our conversation we were talking about that, and then you know,
I brought up the fact that it's possible, just possible,
that we have misunderstood the horror film The Exorcist. Now
(08:27):
there is a link to that because William Friedkin, who
directed The Exorcist, was good friends with Stanley Kubrick, who
directed The Shining. Kubrick was offered The Exorcist in nineteen
seventy three to direct, and he turned it down because
he thought it was too Catholic and he was an
(08:47):
atheist and Jewish. She just couldn't get into the Catholic
stuff right, And so eventually William Freakin accepted it, and
even though he was an atheist in the jew too,
which kind of makes you wonder why he would want
to make a film like this since it's so catholic,
especially the last act of the film, or it's just
(09:08):
the whole ritual exorcism.
Speaker 3 (09:12):
But what if.
Speaker 2 (09:16):
I'm not downplaying that there's a devil. I'm not downplaying
that demons can get into people and cause them to
do things. But the the sexual nature of Reagan's exposition
before in the first part of the movie tells me
(09:39):
that actually Reagan, the little girl in the Exorcist, is
a victim of sex abuse. Her obsession with sex and
then her the abuse wherever she got the abuse is
what is causing her to be telepathy, to be able
to talk in tongues, to speak in Latin because he
(10:02):
reads the priest's mind. He knows how to speak Latin,
caused the bed to shake, cause all that stuff to happen.
What if that's actually a direct result of previous sexual
abuse of Reagan.
Speaker 3 (10:17):
That is not really talked about.
Speaker 2 (10:19):
And is it possible that when the church is called
in to people in the past who had been sexually abused,
that they never even thought sexual abuse could be part
of this, so they immediately just assumed that they were
possessed by the devil. I mean, these are legitimate questions.
(10:41):
I mean, and in the movie, the movie is structured
so that every time that Reagan does something weird, the
next scene is a psychological explanation for.
Speaker 3 (10:54):
What she did.
Speaker 2 (10:55):
So you can see it's clearly structured so that even
the film makers have doubts about the devil being in Reagan, right,
and they're looking for other explanations for that. And we
also have to know that William Peter Bladdie, the guy
who wrote The Extorousist, he probably didn't know this whole
thing about psychological and psychic ability coming from abuse. Nobody
(11:22):
knew it back then. This is all a new thing.
I didn't know about it. I never heard about it.
And when you start realizing that Stephen King is now
writing books about it and inculcating it into culture, you
really have to wonder how long this idea has been known.
And so what I think is that William Friedkin sort
(11:48):
of added in the whole sexual It's in the book
and everything, but he added it in because it was
a way for him to deal with the material in
a way that an atheist could deal with it. So
the abuse came from the other part of all this
is where is Reagan's dad. Okay, Reagan's mom talks to
(12:12):
Reagan's dad on the phone, and she's not very happy
with him. It's clear she's very hostile to him. And
he never she never tells him that her daughter's having
all these problems. She never tells him that she's going
to an exorcist. She never tells him that, you know,
possibly her daughter murders someone. Right, He's like left out
(12:33):
of the picture, almost as if Reagan's mom was hostile
to him for some reason. And it is curious that
he's left out of the picture. But the real question,
the really weird part of this whole thing of requestioning
the Exorcist and what's really going on in this movie
is the murder of her mom's film director Burke. Burke
(12:59):
is throwing out of Reagan's window and he hits these
steep stairs and rolls down the stairs and breaks his
neck in such a way that it's twisted backwards, completely backwards.
And Reagan's mom in Reagan's mom's assistant see some kind
(13:20):
of commotion going on as they're arriving home. They see
some stuff going on and some sirens and stuff. They
don't know what's going on, and then they go into
the house. And then they're in the house and then
one of her assistants comes in and says, did you
get to hear the news? And he said, what Burke died?
He fell down the stairs right by your house and
(13:42):
he was thrown out of Reagan's bedroom window. And nobody
in the movie, not the police inspector, not the priest,
not Reagan's mom, no one ever asked the question, what
the hell is the film director Burke doing up in
Reagan's bedroom at home, in their house when they're not there.
(14:08):
Does he have a key? Does he have a key
to the house? Does he have free access to Reagan?
Speaker 3 (14:14):
Right? I mean you have to add what's he doing
in the house?
Speaker 2 (14:18):
And how can nobody ever questions what's he doing in
my daughter's bedroom?
Speaker 3 (14:23):
Right? But he was up there. There's a lot about it.
Speaker 1 (14:27):
And so.
Speaker 3 (14:31):
I think that.
Speaker 2 (14:34):
The authors and probably a lot of the previous exorcists,
not knowing that sexual abuse causes you to get telekinetic
and telepathic abilities, they thought that they were possessed by
the devil, right, because they're reading their mind, and which
Reagan does in the movie. Right, And so that's what
(14:57):
I think I think that that's actually the secret of
the extra is that we're dealing with sexual abuse, possibly
from more than just her father or the or Burke,
the film director. Maybe it's some kind of ritualistic sexual abuse.
We don't know, you know. And the fact that no
one actually questions what he's doing up in her bedroom,
(15:21):
including the police guy, really makes you wonder was it
all okay? I mean, is it okay for this grown man?
And by the way, he's clearly shown earlier in the
film as being a pervert. He remarks about finding a
hair hair from down below it is Martinia or something
whatever he's drinking, right, so he's clearly shown as being
(15:44):
kind of a leccherous dude. And then you know, he
dies and is thrown out the window. And so you know,
did he go up into the room and Reagane just
finally had enough, you know, and that was it, you know,
she threw him out the window. And so how can
a little girl throw you out the winter? Well, we
know that ninety pound women can lift up two ton
(16:07):
trucks to get their kid out from under retire, right,
So it's been done in moments of.
Speaker 3 (16:13):
Fury and.
Speaker 2 (16:16):
Danger, frail human can pack a punch, so it's not
all of the Ordner. And besides the Reagan does have
increased physical ability. I mean she's thrown people around and everything.
And again, is this a result of some kind of
(16:36):
sexual abuse? And the real, the real killer of all
this is that the way that she expresses her herself
in such an overtly sexual manner, not just with the
cross and that scene, the famous scene that you know,
she also throws herself into her mom's face and blood
(16:59):
all over her mom's face, I mean freaking is like
no holds bar back, showing you that this girl is
acting as if she was sexually abused. Now here's a killer.
You brought this out. I had not even thought about it.
So Reagan's mom, Ellen Burston, she goes out to all
(17:21):
these psychiatrists and nobody can tell her what's wrong with Reagan,
and she getting all these tests which are torture. Follow
the medical scenes of Reagan. They are torturing, completely torturing her.
It's harder to watch those scenes than any other scenes
in the movie. It really is, and you feel so
sorry for Reagan during those scenes. But then she finally
(17:45):
reaches her wits end and she goes to the Catholic
priests and asks him for help, and he's really skeptical
and great actor. All the actors are great in the movie.
But what do the two Catholic priests do the last
last act of the movie. They tie Reagan to a
bed and they torture her. So the answer to a
(18:10):
person who's been tortured and abused is to torture and
abuse her. And that is really the story of humanity,
where we have people abusing young people and then turning
them into abusers as a NonStop chain of command.
Speaker 1 (18:31):
And to try and cover up the abuse that happened before.
I mean, this always kind of struck me as odd.
Why is it only Abrahamic religions that deal with possessions
and demons? Why are their only Catholic exorcists? Right, You'd
think that if the Abrahamic religions were correct and true,
(18:53):
why would supposed demons only mess with the only group
of people that can cast them out. It really doesn't
make any sense. Have you ever heard of a Hindu
having a demonically possessed person that required the conflict churches
blessing for an extorcism?
Speaker 2 (19:12):
No, but the Hinds do have rituals where they enact
where they become the God or goddess. Right, I've seen him,
I've been there, I've seen it. It's pretty dramatic. But
they are possessed by the God, but it's just a
short lived possession during the ritual that it's over and
(19:33):
they're they're back to themselves and they know that they
were acting it out and all that, and you know,
because they studied the god that they were impersonating.
Speaker 3 (19:42):
So no, and I.
Speaker 1 (19:45):
About what about Buddhism. I've never heard of a Buddhists
requiring the assistance of a conflict church in regards to
someone exercising demons.
Speaker 3 (19:54):
Kind of laughable.
Speaker 2 (19:55):
Actually, yeah, So my theory is is that the rituals
of the Abrahamic religions open up the person doing the
rituals to demonic attack.
Speaker 3 (20:13):
I do believe that is true.
Speaker 2 (20:15):
But also all three of these religions, I hate to
say it.
Speaker 3 (20:20):
But they're well well known for sexual abuse of young people.
Speaker 1 (20:27):
And that's my point, right, Okay, So when's the last
time you heard a Catholic priest walk into a monastery
and exercise the possessed freaking shinto monk. Never so you
would think by the logic of the Church that the
people that aren't involved with or believe in the Abrahamic
religions would be the weakest. Okay, in the furthest away
(20:47):
from God. I mean, that's pretty much what all of
Christianity is like. Anybody that doesn't believe in Christianity isn't
of gotten? Is the furthest away of from God. That's
why there's all these people trying to convince others to
go to church and go to the Bible. You know,
why isn't anyone else being possessed besides the believers in
the fundamentalist Abrahamic religions? And is it just a coincidence
(21:09):
that most sexual abuse scandals out of any religious institution
ever is the Catholic Church.
Speaker 3 (21:16):
Yeah.
Speaker 2 (21:16):
The other two are pretty good too, man, don't don't
don't underestimate them. Uh, you know remember the the the
video of the synagogue in New York, the underground tunnels
and all that.
Speaker 1 (21:33):
So I think Judaism as a as an offset of Christianity,
it's very similar.
Speaker 2 (21:40):
Yeah, Christianity probably doesn't worship the Yello him as much,
but yeah, I would say it is instilled from from
the rituals and the beliefs of those religions stemming down
from the Elohim. I mean, because if you read the
Old Testament, the Elohim who made us, supposedly they're fornicators,
(22:05):
they're alcoholics, they're I mean, I don't know, they're murderers,
they go out with young women, and so.
Speaker 3 (22:14):
I don't know.
Speaker 2 (22:15):
They appear to me to be not very nice. Whatever
they are gods or people or whatever. And I think
that the three Abrahamic religions which were created by them
have the same predilections that they have, and they're passing
it down to their children. And it would be interesting
to see statistics on you know, the number of sexually
(22:39):
abused people around the world and see what religions that
they come from. And I'm gonna bet you they all
come from this religion.
Speaker 1 (22:48):
I'm going to bet that they all come from the
Abrahamic the three main Abrahamic religions. I mean, that's a
that's a given. I mean, I'm sure that we could
probably look it up really quickly and find that information. Well,
it's just incident that the religion that has the most
sexual abuse is also has the most demons possessing people.
(23:10):
There you go cause the only intressist in any religion,
like give me a break.
Speaker 2 (23:17):
And back when I was young, which was about the
time the Extorcist got made, I'm very I learned a
long time ago that when I was around adults when
I was a kid, to just be quiet and listen
to him. I could learn a lot more just by
listening to him and not saying anything. And so I
(23:39):
would kind of disappear, becoming visible in the room of adults,
and so I would hear them say stuff. At the time,
I was six or seven and quite understand what I
was listening to. But as I got older, you know,
like ten or twelve, I started realizing that my parents' generation,
the males in my parents generation, they made jokes about
(24:03):
having sex and children all the time.
Speaker 3 (24:06):
I mean all the time. It was. It was an
ongoing joke.
Speaker 2 (24:11):
And I remember talking to a member of my parents'
generation and he told me that it was his right,
he said, right now. He was like he was a businessman, salesman,
lived down the street from me, and I was talking
to her, like ten or eleven years old. He said,
it's my right. I said, what's your right? I said,
she's my daughter.
Speaker 3 (24:28):
It's my right. And you know, it really shook me up.
Speaker 2 (24:31):
At the time, and I thought, wow, So I think
it's actually more prevalent than we can imagine. And maybe
not so much now because it's become taboo, thankfully, But
in the old days, I think it was maybe like
higher than fifty percent maybe of the of that generation,
(24:53):
and it was taken for granted. And I also remember
again when I was maybe fourteen year years old, I
was watching TV. It was a congressional hearing for something.
My mom was watching it because she was really into politics.
Speaker 3 (25:08):
And I heard.
Speaker 2 (25:09):
Remember all of Congress were all men in those days,
all the senators were all men.
Speaker 3 (25:13):
Right, there weren't any women maybe one.
Speaker 2 (25:16):
And a guy got up and made a joke about
you know, old enough to I don't want to say
it knocked out old.
Speaker 3 (25:25):
Enough to, you know what, old enough to? You know what?
Speaker 2 (25:27):
Right, and it was and everybody laughed, it really laughed.
The whole Congress thought it was the funniest joke of all.
And he was making a joke about having sex with
you know, prepubescent teams essentially, and it was it was
so so what I'm saying, it was in the light
of the Exorcist coming out. We had an underground in
(25:48):
our society going already, right, and I'll even go one
step further. I want to disturb everybody, but I think
this thing have to be said. The Boomers. My generations
the biggest generations ever lived on earth. Okay, we I
think it was eighty five million of us in America
(26:10):
born between nineteen forty six and nineteen sixty four and
or forty five to sixty four. And the generation had
just our parents' generation. The men had just come back
from a two front war of absolute horror, especially the
Japanese part where my dad was at absolute horror, I
(26:33):
mean really horror. And so they were coming back from horror.
Speaker 3 (26:39):
They were.
Speaker 2 (26:39):
And when they came back, they came back to wealth.
Because America started growing really rapidly.
Speaker 3 (26:44):
And millions and millions.
Speaker 2 (26:47):
Of young people everywhere everywhere, they had to change. Daylight
saving time was created right here in there for us,
so we could go to school in the daylight my generation.
So all sorts of societal things happened because there were
such a gigantic generation. Schools were being built like everywhere
because there was too many kids being born, and everything
(27:08):
was just flooding over and in the middle of all this.
So let's say the baby boomer started in nineteen forty five.
In nineteen sixty six, a song came out and it
was written by John Phillips, the lead singer of the
Laurel Canyon band Mama's and the Papas, and he was
(27:29):
sung by his best friend Scott mackenzie. And it was
a gigantic, huge hit in America at the time, and
it was a very melodic song, and it was called
San Francisco, and it was basically saying to all the
kids in America that you all come to San Francisco
because you're going to meet a gentle people there that
(27:52):
are waiting for you. Well, it's a given kind of
in in certain circles where an adult will tell a child,
don't worry.
Speaker 3 (28:04):
I'll be gentle with you.
Speaker 2 (28:06):
And this song was completely blatant and nobody saw it.
And so what happened is all the runaways, all the
kids without any parents, all the kids that were mad
at their moms and dads, everybody swept into San Francisco,
swept into that hate Ashbury neighborhood of San Francisco. Literally
(28:28):
one hundred thousand people between fifteen and nineteen right flooding
in because of this song. I just wanted to say
it on the side. John Phillips was later accused by
his daughter Mackenzie Phillips of having sex with her when
she was a little girl. Okay, and that's on record,
(28:49):
so I'm not making that up.
Speaker 3 (28:50):
Anyway.
Speaker 2 (28:50):
We all know the Laurel Canyon scene, right, and everything
went on there, and they were a big part of it,
including Michelle Phillips who was good friends with Sue Lyon
who was in Lolita. So anyway, what I'm saying is
is that right under the nose of everybody, my generation
(29:13):
got sucked into some pretty horrific stuff. And the people
that were sucking us into it were all in my
parents' generation. John Phillips, Timothy Leary, Hugh Hefner, they were.
None of the guys are boomers, just like none of
the Stones and none of the Beatles are boomers. Bob
Byllan is not a boomer. Those guys are all from
my parents' generation. They're from an older generation. They're masquerading
(29:36):
as boomers, but they weren't.
Speaker 3 (29:38):
And so.
Speaker 2 (29:41):
I probably the only one actually ever said is but
I think my generation got royally screwed by my parents' generation,
the greatest generation, you know, and they won World War Two?
Speaker 3 (29:52):
Jay, What's wrong with you?
Speaker 2 (29:54):
And and you know, and I see it everywhere, and
I think most of my generation never saw it at all,
ever happening still to this day.
Speaker 3 (30:02):
They never saw it.
Speaker 2 (30:03):
I never saw the manipulation, faking of the music, the
weird movies that they put out to influence us, and.
Speaker 1 (30:14):
The drugs being pushed by the CIO.
Speaker 2 (30:17):
The Beatles pushing LSD, you know, and all the casualties
of that happened that occurred there. And the fact that
you know, Lennon started figuring it out in nineteen eighty.
Speaker 3 (30:30):
And he didn't make it to the end of the year.
Speaker 1 (30:33):
And you know, so so I did a little I
did a little investigation into the true story of the Extorsis,
which are you familiar with the true story of what
the novel is written about, which was by William Peter
Blantly Bladdie Sorry, William Peter Blandie was a student at
(30:54):
Georgetown University in Washington, d C. Took a parapsychology class
and heard that heard the first mention of the story
by a Jesuit priests and professor named Eugene Gallagher, and
then he got in contact with other priests that were involved,
and he then wrote his book based upon a boy
who was possessed in nineteen forty nine in Cottage City, Maryland. Now,
(31:17):
the interesting part of this is that the identity of
this child was to remain anonymous. They called him Ronald
Doe or Ronnie. Now you're gonna find this really interesting.
Speaker 3 (31:30):
Jake.
Speaker 1 (31:31):
A man by the name of Thomas b. Allen. He
wrote a book called Possessed in nineteen ninety one which
was a non hollywoodified version of the true story of
the extorcism of Ronald Doe, which was the event that
The Exorcist was based on. And here in this Wikipedia
(31:56):
article by Thomas B. Allen, which is the author of
the Unhollywood if I had version of it. His most famous
book to date was Possessed. It is a retelling of
the true story of a teenage boy whom Allen identified
by the pseudonym Robbie Manahan from Mount Rainier, Maryland, who
went through the right of extricism in nineteen forty nine.
(32:18):
Allen track down the sole survivor of the team that
performed the ectorcism Walter hollering, that's an interesting name.
Speaker 3 (32:25):
Wow.
Speaker 1 (32:27):
Okay, so but if you go down here, so Alan,
this gentleman Thomas Minton Allen. He was speaking in twenty
and thirteen. Alan emphasized that definitive proof that the boy
known only as Robbie was possessed by a benevolent spirits
is unattainable. Maybe he instead suffered from mental illness or
(32:53):
sexual abuse, whoa or fabricated the entire experience, according to Alan.
Hollarn also expressed his skepticism about the potential paranormal events
before his death. So there it is right here from
the guy that wrote the unhollywood ified version of what
(33:16):
was based on the true life story of the extressist.
Speaker 3 (33:21):
Yeah.
Speaker 2 (33:23):
I remember reading about that story and I wondered if
that kid had been abused somehow, again emphasizing that the
abuse was a lot more prevalent than we're letting on
so at the time, now it's become taboo thinkingness. So
but then it was everywhere, and yeah, I think that
(33:45):
that's a really good find.
Speaker 1 (33:46):
Actually, yeah, I was looking around through researching into the
true story because I was like, okay, well this is
based On, you know, a true story. So I was like,
all right, well that's that would I mean, if our
analysis is correct, that William Freaking was trying to encode
within the ector sistem the actressism that you know, the
(34:08):
people that wrote the true story, not the you know,
the super Hollywood version by William Blattie for sure, but
the Thomas Allen version, who actually interviewed the last living
priest who was involved with the ectrecism of Ronald Doe
that he believed that it was sexual abuse, not the
money possession.
Speaker 2 (34:29):
Yeah, so that's that's what I'm saying. And then William
Freakin and Stanley Kubrick are really good friends. Stanley Kubrick
was supposed to make The Exorcist. He turned it down. Instead,
he made Barry Lindon, which was his biggest flop of
his whole career. And you know that nineteen seventy six
(34:49):
or so, he's nursing his wounds here, you know, licking
his paw, and he probably calls up William Freakin to
find out, you know, how did I make such a
mass failure?
Speaker 3 (35:00):
And you may effect a massive hit.
Speaker 2 (35:02):
I know, William Freak can say he talked a law
on the phone with Stanley, and I think William Freakin
told Stanley that the secret to the success of the
movie was equating her erratic behavior with sexual abuse. Secret
behind the scenes sexual abuse, right, And that's when Kubrick,
you know, he started working on The Shining soon after,
(35:26):
and injected that into it, that that's how Danny got
his psychic powers, was through that, And I don't think
there's any doubt about it, and it's quite brilliant.
Speaker 3 (35:37):
King. Here's where it gets really interesting.
Speaker 2 (35:40):
King made his own version of The Shining in nineteen
ninety seven or ninety eight.
Speaker 3 (35:44):
Something like that, and it was terrible and it failed.
Speaker 2 (35:49):
And so then I was thinking, well, what if King
started looking at his version of The Shining and Stanley
Kubrick's version of The Shining and try to figure out
why Kubrick's version worked and why.
Speaker 3 (36:03):
His version didn't work, and.
Speaker 2 (36:07):
Realized that The Shining was about mind control and that
Cubric's revelation about Danny getting psychic abilities from being abused
by his father made a lot of sense. Suddenly the King,
and then he wrote The Institute in twenty nineteen kind
(36:27):
of with enough clues pointing towards the shining kubricks shining,
not his shining in the Institute, that you have to
begin to wonder if he's not paying an homage back
to Stanley for Stanley having enough wisdom to slip all
that in to his mediocre ghost story.
Speaker 1 (36:50):
Well, I mean that makes one sent because the Institute
is filmed like the Shining, like the whole way scenes
of the and there's so many references to the Shining
in there. The I mean, the logo of it is
the well C and I and the freaking Monolith from
two thousand and one A Space Odyssey.
Speaker 2 (37:08):
And the good cop is named Wendy, same as Wendy
in the movie. And there's two twins, two twin girls,
it's like in the movie. And it's just odd, and
things in there are in there like only you and
I would have gotten. So that was really strange anyway.
Speaker 3 (37:30):
You know. So, I don't know.
Speaker 2 (37:31):
I'm sure that King saw our movie A Clockwork Shining,
because I know he's familiar with all of my Cubrick
work and has told people between us that that he
thinks I'm right about the moon Landing, and I think
he thinks for right about A Clockwork Shining after watching
the Institute.
Speaker 3 (37:49):
So I think we're seeing.
Speaker 2 (37:51):
Like this kind of feedback mechanism where Kubrick's work is
having a feedback mechanism on King and then that having
a feedback mechanism on us. And it's really amazing. And
by the way, King admitted that he got into riding
(38:11):
horror after he read the exercise. I mean, it's not
just it's not just that these guy things are all related.
You know, it's even more related than that.
Speaker 1 (38:24):
And it is even more related because I got something
that's shocking. Okay, Remember how I was telling you that
the Ronald dough his real name was never disclosed. They
kept his name a secret this entire time, from the
(38:44):
time that he was born I believe was nineteen thirty five.
They kept his real name and secret up until his
death in twenty twenty. Okay, his name, his real name
was Ronald Edwin Buckler. Ok Ronald Reagan, Ronald Edwin so
(39:05):
ed wn And after doing a little bit of digging, okay,
I think that this is going to blow your mind,
because it blew my mind last night at like three
am when I was looking into all this stuff. Are
you ready? Boy whose story was inspired by the extorcism,
grew up to play a key role in the first moonlanding,
(39:35):
what protecting his identity for decades using pseudonyms, The boy
went on to become a NASA engineer, contributing to the
Apollo eleven moon landing. Okay, Huckler was a crucial resource
who contributed significantly to the Apollo missions during the nineteen sixties.
(39:57):
Without his patent did tech anology that made Space Shuttle
panels resistant to extreme heat, our glorious astronauts wouldn't have
stepped foot on the Moon in nineteen sixty nine.
Speaker 2 (40:13):
Yeah, okay, Well that tells me definitely that he was
faking his exorcism.
Speaker 1 (40:20):
Well, I think that I'm Holy shipd.
Speaker 2 (40:24):
That is just weird. And what's his name again?
Speaker 1 (40:28):
His name is Robert Edwin Huckler h U K E
L E R.
Speaker 2 (40:35):
Interesting. And he went on to become a NASA engineer.
Speaker 1 (40:40):
The nasty engineer.
Speaker 2 (40:42):
And and don't forget the Exorcist. There's a at the party.
The astronaut is there and Reagan comes down the steps
at peas on the floor and says, you're going to
die up there?
Speaker 3 (40:55):
Remember, yep, yep.
Speaker 2 (41:00):
So the movie that's based on the real life incident
features an Apollo astronaut and the incident that it's based on.
The guy later works for Apollo.
Speaker 1 (41:16):
Yep was a NASA engineer.
Speaker 3 (41:20):
Yeah. Uh, those kind of things that really bother me.
Speaker 1 (41:25):
That blew my mind last night. I wanted to call
you at like four in the morning and tell you
about this, but I thought I would just save it
for the show. But I was like, oh my god,
I got to tell somebody because I was just like
trying to figure this out because I was like, there's
no way they kept this kid's identity a secret for
all the way because he had to be dead by
now you know that event happened in nineteen forty nine,
(41:45):
he had to have been dead, So it's like someone
had to figure out this person's real identity because I
was trying to figure out if it wasn't like the
whole thing was a huge hoax, like if it was
just like a made up story. And I was like,
do we know the real name of this kid that
the extressist is based on? And it's Ronald Edwin Buckler, Hey.
Speaker 3 (42:07):
Robert Robert or Ronald Ronald.
Speaker 2 (42:11):
Well, well, you do realize that the character in the
book's name is Reagan, right, Yes, Ronald Reagan was not
a famous person outside of being an actor in nineteen
seventy or nineteen seventy one seventy two. He hadn't become
a governor or anything. And how would Peter Blady wouldn't
(42:33):
know the kid's real name anyway, would he?
Speaker 1 (42:37):
It depends. I think that the information was is that
the I'm pretty sure that the priests knew his real
name because he hadn't know his real name, but how
they got a lot of the how he got a
lot of the information to write the book. The actressist
was like a priest's diary. So it could have been
that one of the Jesuit priests didn't even write his
(43:00):
real name down in in the diary, or they could
have done a fake suiting in name and called him
Robbie or Ronald Ronald Doe. I mean, dough is synonymous
with someone that you're trying to cover up their real name,
so you just you know, she's a dough, he's a Doe,
you know. Yeah, Yeah, I thought that was incredible. I
was like, oh my.
Speaker 2 (43:20):
God, I really kind of I wonder if NASA knew it.
Speaker 3 (43:27):
Do you think they did No, they probably didn't.
Speaker 1 (43:31):
Well, he they had to. I don't know. They had
to have known. They have to do extensive background checks
on people that work in those kinds. They had to
have known it. They had to have known.
Speaker 3 (43:43):
Huh.
Speaker 1 (43:44):
And the guy that where where he grew up to
where he grew up was a cottage city, which is
only sixteen miles from Fort Meade, Maryland, which is the
army base that is the most prevalent army base in
the United States. Maryland is also where all the psychic
spy stuff went down, and it is also where the
(44:04):
NSA headquarters.
Speaker 2 (44:05):
Is and Langley is right there. And so wait a minute,
then that was in nineteen forty nine, so CIA had
been in operation for two years at that point.
Speaker 1 (44:18):
They had to know that that was him.
Speaker 3 (44:20):
He was some kind of early ok ultra experiment.
Speaker 1 (44:26):
I mean, it could have been, but I'm just still
shocked that the so he was born in nineteen forty nine,
he was supposedly possessed by demons in nineteen forty nine,
he would have been fourteen. That would have made him
fourteen years old whenever he was possessed possessed by these demons.
And then twenty years later, in nineteen sixty nine, he's
(44:46):
working on the Apollo eleven mission as an engineer. That
would have made him what twenty thirty thirty two fourteen
plus thirty four. He would have been thirty four years
old working on the Apollo Love mission. And then he retired,
and he retired in two thousand and one.
Speaker 2 (45:21):
That is very, very odd. I don't know what to
say about that. Cosmic coincidence proceeded way over time. But yeah,
So another weird thing about all this is that when
I first met my wife, she was living in a
town called Nayak, New York, just north of New York City,
(45:43):
and so I go to New York. I was living
in the West Coast. I go to New York, you know,
every couple of months this year, and we're just girlfriend
boyfriend at the time. And then one time she goes, oh,
we really have a lot of fun tonight. I oh, yeah,
what do we do? She said, Oh, I'm not going
to tell you. It's a surprise. So I was Okay,
(46:04):
We get in her car. We drive to this really
fancy neighborhood in Nayak, New York, big mansions and everything,
and I'm like, WHOA, I got pulled up to this big,
huge mansion and we get out and we walk in,
walk up to the front door, knock on the front door,
and Ellen burst it answers and we're at her house.
(46:25):
And Exorcist was her breakout film. By the way, she
became one of the greatest actresses of her generation, but
her breakout film was The Exorcist. And we had dinner
with Ellen Bursley with good friends with my wife, and
I actually got her to talk about the Exorcists, because,
you know, to tell me about it. And she told
(46:45):
me that in that scene in the bedroom where Reagan
does all her stuff, throws all the record albums around
and everything, she said that Friedkin had a rope on
a polly attached to her back and the technician was
supposed to give a little hug and jerk her back
onto the ground, but freaking, being the mad man that
(47:06):
he is, told the the guy pulling the rope to
get another guy. I have two guys pull the rope
as hard as you can. And so they pulled the
rope as hard as they could and injure her back
for the rest of her life. So anyway, it's just
really interesting. I don't beat many celebrities, and I just
happened to know the star The Exorcist, who was.
Speaker 3 (47:27):
A nobody too. By the way, at the time, No,
there's no stars in that movie.
Speaker 2 (47:31):
Everybody was a nobody, and they were really surprised when
the film made almost two hundred million dollars, which was
unheard of in the early seventies.
Speaker 1 (47:42):
So the little boy that the movie that The Exorcist
is based on grew up to be a Nazi engineer
that helped Apollo eleven spacecraft get to the moon. So
Qbriic Stanley Kubrick was supposed to direct the movie. Not
the extor system is based on in real life by
a boy who was possessed in nineteen forty nine by demons,
(48:06):
which we've discussed was more than likely mental illness or
sexual abuse, who grew up to be a NASA engineer
for the Apollo eleven space shuttle. If you break turned
it down, and then made a movie about abuse, possession,
psychic abilities, mind controled assassins, government cover them up, and
(48:29):
the faking of the moonlanding.
Speaker 3 (48:32):
That is I don't even know what just happen. That is.
Speaker 2 (48:40):
It would always say that's proof that we're living in
a simulation because I have no idea how that so
many coincidences, and then he retires in two thousand and one, right, yeah,
so yeah, so that's pretty wild. The Exercist is much
more we think it is. And you know, I like
(49:04):
to get into maybe later other shows, a couple of
other films that kind of go into some of this
this kind of dark stuff that a lot of people
don't see in the film, but what you open it
up and look at it, you see it. And I
don't think anyone's ever connected The Exorcist to you know,
(49:24):
sexual abuse and child abuse and acquiring psychokinetic and telepathic
abilities as a result of that abuse, which you now
know is the truth.
Speaker 1 (49:39):
Unbelievable. When I was looking in all this stuff last night,
I was like, oh my god, Jay's going to flip out.
He's not going to know what to say about this
because I still don't even really know what to say
about it because it's so unbelievable. It's almost like a
movie in and of itself. And you know, also with
the sexual abuse stuff, I mean that was what was
going on in Lolita behind the scenes, so Cubric had
(50:01):
to have been privy to what was happening there. So
then you.
Speaker 3 (50:07):
They had to he had to have known all of this.
Speaker 2 (50:10):
And you know, frankly, the the ending scene in Eyes
White Shot is Tom and Nicole handing off their daughter
to the two creeps that were at the party earlier, right,
And that's the very last scene in the movie, is
her heading down that hallway at Macy's with those two
guys that are in the movie all through the movie,
(50:30):
the same two guys, right, And it's clear that you know,
this is this is the reason why Kubrick probably didn't
last too much longer after he showed the film to
the Warner Brothers executives in nineteen ninety nine.
Speaker 3 (50:47):
And you know, so I don't know. It's like.
Speaker 1 (50:53):
There's some revelations there too. You send me a video
the other day. Then Cee I a aging basically revealed
that he's the one that gave over Stanley Kubrick to the.
Speaker 3 (51:07):
Secret Society. Yep.
Speaker 2 (51:10):
Yeah, And because Kubrick broke the rules, and I'm the
guy that broke out the story, by the way, or
the original story of people in the lobby of the
theater carrying a huge argument going on after the movie
played to the Warner Brothers executive. I was told that
by an assistant to Stanley Kubrick's. He was an American
(51:30):
and I only talked to him on the phone, but
he was there. He said he heard it. He heard
Stanley yelling out, this is my movie and you're not
going to cut it, and you know, yeah, we are
going to cut it, and we're going to cut you too.
Speaker 1 (51:45):
Yeah that, I mean, who would who would have seen
the original cut of the film. It would have been
the actors and the executives right there would have been
the only people that would have seen the original cut.
Speaker 3 (51:58):
Yeah.
Speaker 2 (51:59):
And there's there's just there's continuitiors that are unexplained. Only
filmmakers we'll see them. So they're kind of hard to explain.
Even what a continuity air is. It's difficult to explain.
But Kubrick was not we know from the shining and
the clockwork shining. He planned his continuity airs. They were
a part of his storytelling. So he would take a chair,
(52:20):
move it and put it back and stuff like that.
Oh it was a continuityor no.
Speaker 3 (52:24):
No it wasn't. He's doing He's messing with your head.
Speaker 2 (52:28):
But the continuityars in eyes white shot don't make any sense.
They don't tell you anything. It just feels like there's
something left out right that they've had to put these
two pieces of film together with a giant chunk in
the middle, all gone right, and you can't figure it out.
Speaker 3 (52:46):
What's going on?
Speaker 2 (52:47):
Why is this here? Why is there a gap year?
Why isn't anything being explained? And it's because they cut
the living crap out of it. There's no doubt about
they admitted it that they did.
Speaker 1 (53:00):
So the only people would be like Tom Cruise, Nicole Kidman.
Speaker 2 (53:08):
Well, I mean I just watched the last episode of
Mission Impossible last night, and let's tell you what. After
Eyes White Shut, Tom Cruise turned into a conspiracy theorist.
The entire Mission Impossible series is one long conspiracy. I
mean by these driving forces that are secretive and you
(53:29):
don't know who they are and you find out the
end it's all an AI called the Entity, which is
very similar to how by the way, And so I
think that working with Stanley made Tom a much more
interesting person.
Speaker 1 (53:47):
I think so too. All the things that I've heard
about Tom Cruise, he seems like a down the earth guy.
Speaker 2 (53:55):
Yeah, you know, he's probably hated by a lot of
guys because he's so handsome, and so he probably gets
a lot of jealousy. But I know people that know him,
they say he's a great guy. He was certainly patient
with Stanley.
Speaker 1 (54:12):
Yeah, they filmed as Why Chuck for that went over
only two years.
Speaker 3 (54:18):
Over a year. I know that.
Speaker 2 (54:19):
I can't even imagine, you know, shooting a movie that long.
I would go crazy, go out of my mind.
Speaker 3 (54:25):
So I don't know.
Speaker 2 (54:26):
But Satta Hubrick was great and William Freakin is a
great director. William Peter Bladdie also did another film, by
the Way that he wrote and directed after the Extrecist,
called The Ninth Configuration. And what's interesting about it is
it's a mental military mental institutions where it takes place
(54:48):
supposedly in Oregon, and the whole point of this mental
institution is to find out if the people acting like
they're crazy that are in the institution are faking it
or are they really crazy.
Speaker 3 (55:06):
That's the whole point of the whole movie.
Speaker 2 (55:08):
And that's the whole and they find out that most
of them are faking it, that there aren't really crazy.
Speaker 3 (55:13):
The just faking it.
Speaker 2 (55:14):
So I think it's interesting that Glad he would make
a film about that. And then and he goes to
such extensive links in The Exorcist to try to explain
with psychological methods how she's doing what she's doing. So
even he doesn't seem quite sure about if she really
(55:34):
possessed or not, is what I'm saying. And priest, Yeah,
and if you had telepathic abilities because of abuse, and
a Catholic priest too, you don't even know what that is.
You're twelve years old, comes to visit you and talk
to you. You read his mind and realize he thinks
to everybody's full of demons.
Speaker 3 (55:55):
And all of this.
Speaker 2 (55:57):
Well, then maybe you might start acting like that, I mean,
just to get scared of him, because you don't have
that dude in your room anyway.
Speaker 1 (56:06):
Yeah, it seems like the demonic possession and the actressism
is a way to cover up real abuse. And that
seems like is the undertone of what the Actressist is
really about. And that's what William freaking is trying to
expose within the Actressist. Is that cover up? Is that
(56:26):
the sexual abuse cover up by the church?
Speaker 2 (56:30):
Yep, that's exactly what I think. And he put up
with the last third of the movie and the Exorcism,
because and he made it look as torturous on that
poor girl as he could, didn't He he was showing
them abusing that poor little girl. And and and Peter
Blade's writing up the script and tell her we got
to do this. They do this, and he's like, oh, yeah,
(56:50):
we're going to show how you guys really treat people.
Speaker 3 (56:53):
I mean, that's what I think is going on here.
Speaker 1 (56:56):
Well, then when you look at the institute as well,
it's essentially the same thing too. They kidnapped these kids,
they torture them, they psychologically torture them, They give them drugs,
they shoot them up with some sort of substance in
the arm, like a green liquid with a gun, and
then they put these like a screens around them and
(57:16):
show them images to essentially break their psyche and activate
their psychic abilities.
Speaker 3 (57:22):
Yep.
Speaker 2 (57:23):
Using all the stuff that Kubrick talked about in Clockwork
Orangine The Shining, only now it's in a Stephen King
mini series.
Speaker 3 (57:31):
It's like, what with all the.
Speaker 2 (57:35):
References to the Shining, So clearly either Stephen or the
guy that wrote and directed the movie or the series
is understands the relationship between the Institute and what Kubrick
is saying in the Shining and which we prove it
in a clockwork Shining.
Speaker 1 (57:53):
I think we do. I think we were spot on,
and Stephen King had to recognize that and done and
wrote this book. I mean, you also have Room Too
fourteen oh eight as well, and that was like a
quase weird mk ultra book and movie, which I also
(58:16):
think was in relation to Stephen King's portrayal of the
Shining as well. So you know, Stephen King was like, Okay,
well you you took my movie and kind of did
whatever you wanted to do with it. Then I'll make
an entire movie that surrounds one hotel room like Room
(58:38):
two thirty seven, not the documentary, but like the actual
room within the Shiny two three seven, and I'll make
an entire novel about a guy inside of one singular
hotel room.
Speaker 3 (58:53):
Very very interesting.
Speaker 2 (58:55):
Yeah and yeah, so anyway, everyone up watch The Exorcist.
Watch it with new eyes.
Speaker 3 (59:03):
The devil may not be there.
Speaker 1 (59:06):
I don't think that he is. Jay, thanks so much
for coming on, really appreciate it. Could you let people
know where they can find you online and where they
can watch both of our documentaries.
Speaker 2 (59:18):
They're both up on Amazon to b Apple, just type
in JKX or a clockwork Shining. They've hugely influential films.
I'm even surprised by it. And yeah, I have a
show on a YouTube called reality Check. You check out
my free stuff at Jaywidner dot com and all of
(59:38):
my movies and documentaries are up on either Amazon or Gaya.
Speaker 1 (59:44):
Thanks so much, Ja Easter upper in Amazon, Amazon Baby,
Amazon prim in too be things for coming on. Really
appreciate it. Appreciate everyone in the chat. Please be sure
to hit the thumbs up button out the channel on
the algorithm, sure subscribe, hit the bell like on as
well for notifications, and we'll see you guys next time.
Bye bye
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(01:25):
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(01:46):
in the description, Jay Widener, welcome back to the show.
How's it going. I'm doing great. And we had some
revelations the other day while we were on the phone.
And what kind of sparked this conversation was a show
called The Institute. I don't know if people have seen this.
I spoke about it the other day with one iola,
(02:10):
But I thought that that was strange, Jay, because it
seems like every time we do something, and this could
be just a coincidence, but it's happened like three times now.
I don't know when something doesn't become a coincidence anymore.
I think after two I think it's pretty fair to
say around two times of something happening over and over again,
it's no longer a coincidence. But there always seems to
(02:32):
be some sort of propaganda surrounding whatever it is that
we decided to do.
Speaker 2 (02:38):
And I noticed that, how about fifteen documentaries came out
right after we came out with JFKX, when there had
been almost no films made about the jfk assassination. I
know because I would have watched them if they come out,
and there was hardly any and now there's you know,
you go on Netflix and various services and there's like
(03:02):
eight or nine different films on each service, and all
of them, in their own way, seek to debunk what
we say in j k X, and it's very odd.
Speaker 3 (03:13):
And then.
Speaker 2 (03:15):
A Clockwork Shining comes out. And then not only is
there a plethora of YouTube and various shows talking about
the Shining and Kubrick, but then this odd TV series
(03:37):
which is out right now, it's still playing in two
more episodes of a book by Stephen King called The Institute,
which is a very interesting.
Speaker 3 (03:49):
Idea.
Speaker 2 (03:50):
Because I'm gonna say this right now, I'm going to
reiterate it as we go along here. We really didn't
know the stuff that's in the book or the movie
The Institute until a couple of years before the book
came out in twenty nineteen. So what am I talking about.
(04:13):
I'm talking about how around twenty seventeen it became it
was discovered that abused children can acquire psychic abilities from
(04:34):
the abuse as a matter of course of the abuse. Telekinesis,
telepathy and those kinds of things, and that's what this
show The Institute is about. Right, Yes, So in the show,
they kidnapped highly intelligent children and torture them to get
(04:58):
them to become more psychic, and they do tests on him.
And then there's reasons why they're doing this. I don't
want to get into it because it's kind of a
stupid reason. But the idea is that Stephen King in
twenty nineteen is now inculcating in fiction and now in
(05:19):
this series, this idea that abuse can cause psycho psychic power,
psychic abilities. And I've been around a long time and
it wasn't It was not known before that. Now it
was known probably in a cult circle you know that
(05:40):
this was true. That may be true, and maybe some
of what the stuff Alistair Crowley is talking about, But
in the general public, we did not know that. We
thought that, you know, abuse caused, you know, terrible things
to happen to people later in their life, and we
knew the abuse caused people become more especially people who
(06:03):
are victims of sexual abuse, become very, very sexually oriented
in their in their adult life.
Speaker 3 (06:10):
I'll just put it to you that way.
Speaker 2 (06:12):
And whereas regular people who weren't abuse, don't don't don't
kind of get obsessed with sex as much. So we
know there was these effects of sexual abuse, but we.
Speaker 3 (06:22):
Didn't know.
Speaker 2 (06:25):
About that that it would actually cause psychic abilities to happen.
Speaker 3 (06:29):
And so that's what this show is about.
Speaker 2 (06:31):
They're literally torturing kids to get them become more psychic
than they were when they were brought into the institute.
Speaker 1 (06:39):
And that's what we talked about in the Clockwork Shining
surrounding Danny, and we're like, this is the reason why
Danny has these abilities is because he was abused by Jack.
I mean, it clearly states that in the movie The Shining,
I mean, the doctor that comes to the apartment in
Boulder and talks to Windy and examines Danny tells Windy
that that's exactly what happened. And when he says, oh, well,
(07:02):
when he started seeing these and having these episodes after
Jack injured his arm, broke his arm, Okay, so that's
a very traumatic event where a kid, especially coming from
your dad. So it's almost like Stephen King kind of no.
Speaker 2 (07:21):
No about this is that in the book, Danny was
always psychic, Okay, he did not become psychic from the abuse.
And this is going to become important as we go
along here. Kubrick added that, all right, So Kubrick knew
somehow in nineteen eighty or seventy nine, whenever he made
(07:42):
the movie that Danny's psychic abilities was because of the
abuse he suffered from his father. And he added that
in emphasized it, like you say, and became a paramount
part of the whole understanding in The Clockwork Shining for
(08:02):
what was really going on underneath everything, and that in
our conversation we were talking about that, and then you know,
I brought up the fact that it's possible, just possible,
that we have misunderstood the horror film The Exorcist. Now
(08:27):
there is a link to that because William Friedkin, who
directed The Exorcist, was good friends with Stanley Kubrick, who
directed The Shining. Kubrick was offered The Exorcist in nineteen
seventy three to direct, and he turned it down because
he thought it was too Catholic and he was an
(08:47):
atheist and Jewish. She just couldn't get into the Catholic
stuff right, And so eventually William Freakin accepted it, and
even though he was an atheist in the jew too,
which kind of makes you wonder why he would want
to make a film like this since it's so catholic,
especially the last act of the film, or it's just
(09:08):
the whole ritual exorcism.
Speaker 3 (09:12):
But what if.
Speaker 2 (09:16):
I'm not downplaying that there's a devil. I'm not downplaying
that demons can get into people and cause them to
do things. But the the sexual nature of Reagan's exposition
before in the first part of the movie tells me
(09:39):
that actually Reagan, the little girl in the Exorcist, is
a victim of sex abuse. Her obsession with sex and
then her the abuse wherever she got the abuse is
what is causing her to be telepathy, to be able
to talk in tongues, to speak in Latin because he
(10:02):
reads the priest's mind. He knows how to speak Latin,
caused the bed to shake, cause all that stuff to happen.
What if that's actually a direct result of previous sexual
abuse of Reagan.
Speaker 3 (10:17):
That is not really talked about.
Speaker 2 (10:19):
And is it possible that when the church is called
in to people in the past who had been sexually abused,
that they never even thought sexual abuse could be part
of this, so they immediately just assumed that they were
possessed by the devil. I mean, these are legitimate questions.
(10:41):
I mean, and in the movie, the movie is structured
so that every time that Reagan does something weird, the
next scene is a psychological explanation for.
Speaker 3 (10:54):
What she did.
Speaker 2 (10:55):
So you can see it's clearly structured so that even
the film makers have doubts about the devil being in Reagan, right,
and they're looking for other explanations for that. And we
also have to know that William Peter Bladdie, the guy
who wrote The Extorousist, he probably didn't know this whole
thing about psychological and psychic ability coming from abuse. Nobody
(11:22):
knew it back then. This is all a new thing.
I didn't know about it. I never heard about it.
And when you start realizing that Stephen King is now
writing books about it and inculcating it into culture, you
really have to wonder how long this idea has been known.
And so what I think is that William Friedkin sort
(11:48):
of added in the whole sexual It's in the book
and everything, but he added it in because it was
a way for him to deal with the material in
a way that an atheist could deal with it. So
the abuse came from the other part of all this
is where is Reagan's dad. Okay, Reagan's mom talks to
(12:12):
Reagan's dad on the phone, and she's not very happy
with him. It's clear she's very hostile to him. And
he never she never tells him that her daughter's having
all these problems. She never tells him that she's going
to an exorcist. She never tells him that, you know,
possibly her daughter murders someone. Right, He's like left out
(12:33):
of the picture, almost as if Reagan's mom was hostile
to him for some reason. And it is curious that
he's left out of the picture. But the real question,
the really weird part of this whole thing of requestioning
the Exorcist and what's really going on in this movie
is the murder of her mom's film director Burke. Burke
(12:59):
is throwing out of Reagan's window and he hits these
steep stairs and rolls down the stairs and breaks his
neck in such a way that it's twisted backwards, completely backwards.
And Reagan's mom in Reagan's mom's assistant see some kind
(13:20):
of commotion going on as they're arriving home. They see
some stuff going on and some sirens and stuff. They
don't know what's going on, and then they go into
the house. And then they're in the house and then
one of her assistants comes in and says, did you
get to hear the news? And he said, what Burke died?
He fell down the stairs right by your house and
(13:42):
he was thrown out of Reagan's bedroom window. And nobody
in the movie, not the police inspector, not the priest,
not Reagan's mom, no one ever asked the question, what
the hell is the film director Burke doing up in
Reagan's bedroom at home, in their house when they're not there.
(14:08):
Does he have a key? Does he have a key
to the house? Does he have free access to Reagan?
Speaker 3 (14:14):
Right? I mean you have to add what's he doing
in the house?
Speaker 2 (14:18):
And how can nobody ever questions what's he doing in
my daughter's bedroom?
Speaker 3 (14:23):
Right? But he was up there. There's a lot about it.
Speaker 1 (14:27):
And so.
Speaker 3 (14:31):
I think that.
Speaker 2 (14:34):
The authors and probably a lot of the previous exorcists,
not knowing that sexual abuse causes you to get telekinetic
and telepathic abilities, they thought that they were possessed by
the devil, right, because they're reading their mind, and which
Reagan does in the movie. Right, And so that's what
(14:57):
I think I think that that's actually the secret of
the extra is that we're dealing with sexual abuse, possibly
from more than just her father or the or Burke,
the film director. Maybe it's some kind of ritualistic sexual abuse.
We don't know, you know. And the fact that no
one actually questions what he's doing up in her bedroom,
(15:21):
including the police guy, really makes you wonder was it
all okay? I mean, is it okay for this grown man?
And by the way, he's clearly shown earlier in the
film as being a pervert. He remarks about finding a
hair hair from down below it is Martinia or something
whatever he's drinking, right, so he's clearly shown as being
(15:44):
kind of a leccherous dude. And then you know, he
dies and is thrown out the window. And so you know,
did he go up into the room and Reagane just
finally had enough, you know, and that was it, you know,
she threw him out the window. And so how can
a little girl throw you out the winter? Well, we
know that ninety pound women can lift up two ton
(16:07):
trucks to get their kid out from under retire, right,
So it's been done in moments of.
Speaker 3 (16:13):
Fury and.
Speaker 2 (16:16):
Danger, frail human can pack a punch, so it's not
all of the Ordner. And besides the Reagan does have
increased physical ability. I mean she's thrown people around and everything.
And again, is this a result of some kind of
(16:36):
sexual abuse? And the real, the real killer of all
this is that the way that she expresses her herself
in such an overtly sexual manner, not just with the
cross and that scene, the famous scene that you know,
she also throws herself into her mom's face and blood
(16:59):
all over her mom's face, I mean freaking is like
no holds bar back, showing you that this girl is
acting as if she was sexually abused. Now here's a killer.
You brought this out. I had not even thought about it.
So Reagan's mom, Ellen Burston, she goes out to all
(17:21):
these psychiatrists and nobody can tell her what's wrong with Reagan,
and she getting all these tests which are torture. Follow
the medical scenes of Reagan. They are torturing, completely torturing her.
It's harder to watch those scenes than any other scenes
in the movie. It really is, and you feel so
sorry for Reagan during those scenes. But then she finally
(17:45):
reaches her wits end and she goes to the Catholic
priests and asks him for help, and he's really skeptical
and great actor. All the actors are great in the movie.
But what do the two Catholic priests do the last
last act of the movie. They tie Reagan to a
bed and they torture her. So the answer to a
(18:10):
person who's been tortured and abused is to torture and
abuse her. And that is really the story of humanity,
where we have people abusing young people and then turning
them into abusers as a NonStop chain of command.
Speaker 1 (18:31):
And to try and cover up the abuse that happened before.
I mean, this always kind of struck me as odd.
Why is it only Abrahamic religions that deal with possessions
and demons? Why are their only Catholic exorcists? Right, You'd
think that if the Abrahamic religions were correct and true,
(18:53):
why would supposed demons only mess with the only group
of people that can cast them out. It really doesn't
make any sense. Have you ever heard of a Hindu
having a demonically possessed person that required the conflict churches
blessing for an extorcism?
Speaker 2 (19:12):
No, but the Hinds do have rituals where they enact
where they become the God or goddess. Right, I've seen him,
I've been there, I've seen it. It's pretty dramatic. But
they are possessed by the God, but it's just a
short lived possession during the ritual that it's over and
(19:33):
they're they're back to themselves and they know that they
were acting it out and all that, and you know,
because they studied the god that they were impersonating.
Speaker 3 (19:42):
So no, and I.
Speaker 1 (19:45):
About what about Buddhism. I've never heard of a Buddhists
requiring the assistance of a conflict church in regards to
someone exercising demons.
Speaker 3 (19:54):
Kind of laughable.
Speaker 2 (19:55):
Actually, yeah, So my theory is is that the rituals
of the Abrahamic religions open up the person doing the
rituals to demonic attack.
Speaker 3 (20:13):
I do believe that is true.
Speaker 2 (20:15):
But also all three of these religions, I hate to
say it.
Speaker 3 (20:20):
But they're well well known for sexual abuse of young people.
Speaker 1 (20:27):
And that's my point, right, Okay, So when's the last
time you heard a Catholic priest walk into a monastery
and exercise the possessed freaking shinto monk. Never so you
would think by the logic of the Church that the
people that aren't involved with or believe in the Abrahamic
religions would be the weakest. Okay, in the furthest away
(20:47):
from God. I mean, that's pretty much what all of
Christianity is like. Anybody that doesn't believe in Christianity isn't
of gotten? Is the furthest away of from God. That's
why there's all these people trying to convince others to
go to church and go to the Bible. You know,
why isn't anyone else being possessed besides the believers in
the fundamentalist Abrahamic religions? And is it just a coincidence
(21:09):
that most sexual abuse scandals out of any religious institution
ever is the Catholic Church.
Speaker 3 (21:16):
Yeah.
Speaker 2 (21:16):
The other two are pretty good too, man, don't don't
don't underestimate them. Uh, you know remember the the the
video of the synagogue in New York, the underground tunnels
and all that.
Speaker 1 (21:33):
So I think Judaism as a as an offset of Christianity,
it's very similar.
Speaker 2 (21:40):
Yeah, Christianity probably doesn't worship the Yello him as much,
but yeah, I would say it is instilled from from
the rituals and the beliefs of those religions stemming down
from the Elohim. I mean, because if you read the
Old Testament, the Elohim who made us, supposedly they're fornicators,
(22:05):
they're alcoholics, they're I mean, I don't know, they're murderers,
they go out with young women, and so.
Speaker 3 (22:14):
I don't know.
Speaker 2 (22:15):
They appear to me to be not very nice. Whatever
they are gods or people or whatever. And I think
that the three Abrahamic religions which were created by them
have the same predilections that they have, and they're passing
it down to their children. And it would be interesting
to see statistics on you know, the number of sexually
(22:39):
abused people around the world and see what religions that
they come from. And I'm gonna bet you they all
come from this religion.
Speaker 1 (22:48):
I'm going to bet that they all come from the
Abrahamic the three main Abrahamic religions. I mean, that's a
that's a given. I mean, I'm sure that we could
probably look it up really quickly and find that information. Well,
it's just incident that the religion that has the most
sexual abuse is also has the most demons possessing people.
(23:10):
There you go cause the only intressist in any religion,
like give me a break.
Speaker 2 (23:17):
And back when I was young, which was about the
time the Extorcist got made, I'm very I learned a
long time ago that when I was around adults when
I was a kid, to just be quiet and listen
to him. I could learn a lot more just by
listening to him and not saying anything. And so I
(23:39):
would kind of disappear, becoming visible in the room of adults,
and so I would hear them say stuff. At the time,
I was six or seven and quite understand what I
was listening to. But as I got older, you know,
like ten or twelve, I started realizing that my parents' generation,
the males in my parents generation, they made jokes about
(24:03):
having sex and children all the time.
Speaker 3 (24:06):
I mean all the time. It was. It was an
ongoing joke.
Speaker 2 (24:11):
And I remember talking to a member of my parents'
generation and he told me that it was his right,
he said, right now. He was like he was a businessman, salesman,
lived down the street from me, and I was talking
to her, like ten or eleven years old. He said,
it's my right. I said, what's your right? I said,
she's my daughter.
Speaker 3 (24:28):
It's my right. And you know, it really shook me up.
Speaker 2 (24:31):
At the time, and I thought, wow, So I think
it's actually more prevalent than we can imagine. And maybe
not so much now because it's become taboo, thankfully, But
in the old days, I think it was maybe like
higher than fifty percent maybe of the of that generation,
(24:53):
and it was taken for granted. And I also remember
again when I was maybe fourteen year years old, I
was watching TV. It was a congressional hearing for something.
My mom was watching it because she was really into politics.
Speaker 3 (25:08):
And I heard.
Speaker 2 (25:09):
Remember all of Congress were all men in those days,
all the senators were all men.
Speaker 3 (25:13):
Right, there weren't any women maybe one.
Speaker 2 (25:16):
And a guy got up and made a joke about
you know, old enough to I don't want to say
it knocked out old.
Speaker 3 (25:25):
Enough to, you know what, old enough to? You know what?
Speaker 2 (25:27):
Right, and it was and everybody laughed, it really laughed.
The whole Congress thought it was the funniest joke of all.
And he was making a joke about having sex with
you know, prepubescent teams essentially, and it was it was
so so what I'm saying, it was in the light
of the Exorcist coming out. We had an underground in
(25:48):
our society going already, right, and I'll even go one
step further. I want to disturb everybody, but I think
this thing have to be said. The Boomers. My generations
the biggest generations ever lived on earth. Okay, we I
think it was eighty five million of us in America
(26:10):
born between nineteen forty six and nineteen sixty four and
or forty five to sixty four. And the generation had
just our parents' generation. The men had just come back
from a two front war of absolute horror, especially the
Japanese part where my dad was at absolute horror, I
(26:33):
mean really horror. And so they were coming back from horror.
Speaker 3 (26:39):
They were.
Speaker 2 (26:39):
And when they came back, they came back to wealth.
Because America started growing really rapidly.
Speaker 3 (26:44):
And millions and millions.
Speaker 2 (26:47):
Of young people everywhere everywhere, they had to change. Daylight
saving time was created right here in there for us,
so we could go to school in the daylight my generation.
So all sorts of societal things happened because there were
such a gigantic generation. Schools were being built like everywhere
because there was too many kids being born, and everything
(27:08):
was just flooding over and in the middle of all this.
So let's say the baby boomer started in nineteen forty five.
In nineteen sixty six, a song came out and it
was written by John Phillips, the lead singer of the
Laurel Canyon band Mama's and the Papas, and he was
(27:29):
sung by his best friend Scott mackenzie. And it was
a gigantic, huge hit in America at the time, and
it was a very melodic song, and it was called
San Francisco, and it was basically saying to all the
kids in America that you all come to San Francisco
because you're going to meet a gentle people there that
(27:52):
are waiting for you. Well, it's a given kind of
in in certain circles where an adult will tell a child,
don't worry.
Speaker 3 (28:04):
I'll be gentle with you.
Speaker 2 (28:06):
And this song was completely blatant and nobody saw it.
And so what happened is all the runaways, all the
kids without any parents, all the kids that were mad
at their moms and dads, everybody swept into San Francisco,
swept into that hate Ashbury neighborhood of San Francisco. Literally
(28:28):
one hundred thousand people between fifteen and nineteen right flooding
in because of this song. I just wanted to say
it on the side. John Phillips was later accused by
his daughter Mackenzie Phillips of having sex with her when
she was a little girl. Okay, and that's on record,
(28:49):
so I'm not making that up.
Speaker 3 (28:50):
Anyway.
Speaker 2 (28:50):
We all know the Laurel Canyon scene, right, and everything
went on there, and they were a big part of it,
including Michelle Phillips who was good friends with Sue Lyon
who was in Lolita. So anyway, what I'm saying is
is that right under the nose of everybody, my generation
(29:13):
got sucked into some pretty horrific stuff. And the people
that were sucking us into it were all in my
parents' generation. John Phillips, Timothy Leary, Hugh Hefner, they were.
None of the guys are boomers, just like none of
the Stones and none of the Beatles are boomers. Bob
Byllan is not a boomer. Those guys are all from
my parents' generation. They're from an older generation. They're masquerading
(29:36):
as boomers, but they weren't.
Speaker 3 (29:38):
And so.
Speaker 2 (29:41):
I probably the only one actually ever said is but
I think my generation got royally screwed by my parents' generation,
the greatest generation, you know, and they won World War Two?
Speaker 3 (29:52):
Jay, What's wrong with you?
Speaker 2 (29:54):
And and you know, and I see it everywhere, and
I think most of my generation never saw it at all,
ever happening still to this day.
Speaker 3 (30:02):
They never saw it.
Speaker 2 (30:03):
I never saw the manipulation, faking of the music, the
weird movies that they put out to influence us, and.
Speaker 1 (30:14):
The drugs being pushed by the CIO.
Speaker 2 (30:17):
The Beatles pushing LSD, you know, and all the casualties
of that happened that occurred there. And the fact that
you know, Lennon started figuring it out in nineteen eighty.
Speaker 3 (30:30):
And he didn't make it to the end of the year.
Speaker 1 (30:33):
And you know, so so I did a little I
did a little investigation into the true story of the Extorsis,
which are you familiar with the true story of what
the novel is written about, which was by William Peter
Blantly Bladdie Sorry, William Peter Blandie was a student at
(30:54):
Georgetown University in Washington, d C. Took a parapsychology class
and heard that heard the first mention of the story
by a Jesuit priests and professor named Eugene Gallagher, and
then he got in contact with other priests that were involved,
and he then wrote his book based upon a boy
who was possessed in nineteen forty nine in Cottage City, Maryland. Now,
(31:17):
the interesting part of this is that the identity of
this child was to remain anonymous. They called him Ronald
Doe or Ronnie. Now you're gonna find this really interesting.
Speaker 3 (31:30):
Jake.
Speaker 1 (31:31):
A man by the name of Thomas b. Allen. He
wrote a book called Possessed in nineteen ninety one which
was a non hollywoodified version of the true story of
the extorcism of Ronald Doe, which was the event that
The Exorcist was based on. And here in this Wikipedia
(31:56):
article by Thomas B. Allen, which is the author of
the Unhollywood if I had version of it. His most famous
book to date was Possessed. It is a retelling of
the true story of a teenage boy whom Allen identified
by the pseudonym Robbie Manahan from Mount Rainier, Maryland, who
went through the right of extricism in nineteen forty nine.
(32:18):
Allen track down the sole survivor of the team that
performed the ectorcism Walter hollering, that's an interesting name.
Speaker 3 (32:25):
Wow.
Speaker 1 (32:27):
Okay, so but if you go down here, so Alan,
this gentleman Thomas Minton Allen. He was speaking in twenty
and thirteen. Alan emphasized that definitive proof that the boy
known only as Robbie was possessed by a benevolent spirits
is unattainable. Maybe he instead suffered from mental illness or
(32:53):
sexual abuse, whoa or fabricated the entire experience, according to Alan.
Hollarn also expressed his skepticism about the potential paranormal events
before his death. So there it is right here from
the guy that wrote the unhollywood ified version of what
(33:16):
was based on the true life story of the extressist.
Speaker 3 (33:21):
Yeah.
Speaker 2 (33:23):
I remember reading about that story and I wondered if
that kid had been abused somehow, again emphasizing that the
abuse was a lot more prevalent than we're letting on
so at the time, now it's become taboo thinkingness. So
but then it was everywhere, and yeah, I think that
(33:45):
that's a really good find.
Speaker 1 (33:46):
Actually, yeah, I was looking around through researching into the
true story because I was like, okay, well this is
based On, you know, a true story. So I was like,
all right, well that's that would I mean, if our
analysis is correct, that William Freaking was trying to encode
within the ector sistem the actressism that you know, the
(34:08):
people that wrote the true story, not the you know,
the super Hollywood version by William Blattie for sure, but
the Thomas Allen version, who actually interviewed the last living
priest who was involved with the ectrecism of Ronald Doe
that he believed that it was sexual abuse, not the
money possession.
Speaker 2 (34:29):
Yeah, so that's that's what I'm saying. And then William
Freakin and Stanley Kubrick are really good friends. Stanley Kubrick
was supposed to make The Exorcist. He turned it down. Instead,
he made Barry Lindon, which was his biggest flop of
his whole career. And you know that nineteen seventy six
(34:49):
or so, he's nursing his wounds here, you know, licking
his paw, and he probably calls up William Freakin to
find out, you know, how did I make such a
mass failure?
Speaker 3 (35:00):
And you may effect a massive hit.
Speaker 2 (35:02):
I know, William Freak can say he talked a law
on the phone with Stanley, and I think William Freakin
told Stanley that the secret to the success of the
movie was equating her erratic behavior with sexual abuse. Secret
behind the scenes sexual abuse, right, And that's when Kubrick,
you know, he started working on The Shining soon after,
(35:26):
and injected that into it, that that's how Danny got
his psychic powers, was through that, And I don't think
there's any doubt about it, and it's quite brilliant.
Speaker 3 (35:37):
King. Here's where it gets really interesting.
Speaker 2 (35:40):
King made his own version of The Shining in nineteen
ninety seven or ninety eight.
Speaker 3 (35:44):
Something like that, and it was terrible and it failed.
Speaker 2 (35:49):
And so then I was thinking, well, what if King
started looking at his version of The Shining and Stanley
Kubrick's version of The Shining and try to figure out
why Kubrick's version worked and why.
Speaker 3 (36:03):
His version didn't work, and.
Speaker 2 (36:07):
Realized that The Shining was about mind control and that
Cubric's revelation about Danny getting psychic abilities from being abused
by his father made a lot of sense. Suddenly the King,
and then he wrote The Institute in twenty nineteen kind
(36:27):
of with enough clues pointing towards the shining kubricks shining,
not his shining in the Institute, that you have to
begin to wonder if he's not paying an homage back
to Stanley for Stanley having enough wisdom to slip all
that in to his mediocre ghost story.
Speaker 1 (36:50):
Well, I mean that makes one sent because the Institute
is filmed like the Shining, like the whole way scenes
of the and there's so many references to the Shining
in there. The I mean, the logo of it is
the well C and I and the freaking Monolith from
two thousand and one A Space Odyssey.
Speaker 2 (37:08):
And the good cop is named Wendy, same as Wendy
in the movie. And there's two twins, two twin girls,
it's like in the movie. And it's just odd, and
things in there are in there like only you and
I would have gotten. So that was really strange anyway.
Speaker 3 (37:30):
You know. So, I don't know.
Speaker 2 (37:31):
I'm sure that King saw our movie A Clockwork Shining,
because I know he's familiar with all of my Cubrick
work and has told people between us that that he
thinks I'm right about the moon Landing, and I think
he thinks for right about A Clockwork Shining after watching
the Institute.
Speaker 3 (37:49):
So I think we're seeing.
Speaker 2 (37:51):
Like this kind of feedback mechanism where Kubrick's work is
having a feedback mechanism on King and then that having
a feedback mechanism on us. And it's really amazing. And
by the way, King admitted that he got into riding
(38:11):
horror after he read the exercise. I mean, it's not
just it's not just that these guy things are all related.
You know, it's even more related than that.
Speaker 1 (38:24):
And it is even more related because I got something
that's shocking. Okay, Remember how I was telling you that
the Ronald dough his real name was never disclosed. They
kept his name a secret this entire time, from the
(38:44):
time that he was born I believe was nineteen thirty five.
They kept his real name and secret up until his
death in twenty twenty. Okay, his name, his real name
was Ronald Edwin Buckler. Ok Ronald Reagan, Ronald Edwin so
(39:05):
ed wn And after doing a little bit of digging, okay,
I think that this is going to blow your mind,
because it blew my mind last night at like three
am when I was looking into all this stuff. Are
you ready? Boy whose story was inspired by the extorcism,
grew up to play a key role in the first moonlanding,
(39:35):
what protecting his identity for decades using pseudonyms, The boy
went on to become a NASA engineer, contributing to the
Apollo eleven moon landing. Okay, Huckler was a crucial resource
who contributed significantly to the Apollo missions during the nineteen sixties.
(39:57):
Without his patent did tech anology that made Space Shuttle
panels resistant to extreme heat, our glorious astronauts wouldn't have
stepped foot on the Moon in nineteen sixty nine.
Speaker 2 (40:13):
Yeah, okay, Well that tells me definitely that he was
faking his exorcism.
Speaker 1 (40:20):
Well, I think that I'm Holy shipd.
Speaker 2 (40:24):
That is just weird. And what's his name again?
Speaker 1 (40:28):
His name is Robert Edwin Huckler h U K E
L E R.
Speaker 2 (40:35):
Interesting. And he went on to become a NASA engineer.
Speaker 1 (40:40):
The nasty engineer.
Speaker 2 (40:42):
And and don't forget the Exorcist. There's a at the party.
The astronaut is there and Reagan comes down the steps
at peas on the floor and says, you're going to
die up there?
Speaker 3 (40:55):
Remember, yep, yep.
Speaker 2 (41:00):
So the movie that's based on the real life incident
features an Apollo astronaut and the incident that it's based on.
The guy later works for Apollo.
Speaker 1 (41:16):
Yep was a NASA engineer.
Speaker 3 (41:20):
Yeah. Uh, those kind of things that really bother me.
Speaker 1 (41:25):
That blew my mind last night. I wanted to call
you at like four in the morning and tell you
about this, but I thought I would just save it
for the show. But I was like, oh my god,
I got to tell somebody because I was just like
trying to figure this out because I was like, there's
no way they kept this kid's identity a secret for
all the way because he had to be dead by
now you know that event happened in nineteen forty nine,
(41:45):
he had to have been dead, So it's like someone
had to figure out this person's real identity because I
was trying to figure out if it wasn't like the
whole thing was a huge hoax, like if it was
just like a made up story. And I was like,
do we know the real name of this kid that
the extressist is based on? And it's Ronald Edwin Buckler, Hey.
Speaker 3 (42:07):
Robert Robert or Ronald Ronald.
Speaker 2 (42:11):
Well, well, you do realize that the character in the
book's name is Reagan, right, Yes, Ronald Reagan was not
a famous person outside of being an actor in nineteen
seventy or nineteen seventy one seventy two. He hadn't become
a governor or anything. And how would Peter Blady wouldn't
(42:33):
know the kid's real name anyway, would he?
Speaker 1 (42:37):
It depends. I think that the information was is that
the I'm pretty sure that the priests knew his real
name because he hadn't know his real name, but how
they got a lot of the how he got a
lot of the information to write the book. The actressist
was like a priest's diary. So it could have been
that one of the Jesuit priests didn't even write his
(43:00):
real name down in in the diary, or they could
have done a fake suiting in name and called him
Robbie or Ronald Ronald Doe. I mean, dough is synonymous
with someone that you're trying to cover up their real name,
so you just you know, she's a dough, he's a Doe,
you know. Yeah, Yeah, I thought that was incredible. I
was like, oh my.
Speaker 2 (43:20):
God, I really kind of I wonder if NASA knew it.
Speaker 3 (43:27):
Do you think they did No, they probably didn't.
Speaker 1 (43:31):
Well, he they had to. I don't know. They had
to have known. They have to do extensive background checks
on people that work in those kinds. They had to
have known it. They had to have known.
Speaker 3 (43:43):
Huh.
Speaker 1 (43:44):
And the guy that where where he grew up to
where he grew up was a cottage city, which is
only sixteen miles from Fort Meade, Maryland, which is the
army base that is the most prevalent army base in
the United States. Maryland is also where all the psychic
spy stuff went down, and it is also where the
(44:04):
NSA headquarters.
Speaker 2 (44:05):
Is and Langley is right there. And so wait a minute,
then that was in nineteen forty nine, so CIA had
been in operation for two years at that point.
Speaker 1 (44:18):
They had to know that that was him.
Speaker 3 (44:20):
He was some kind of early ok ultra experiment.
Speaker 1 (44:26):
I mean, it could have been, but I'm just still
shocked that the so he was born in nineteen forty nine,
he was supposedly possessed by demons in nineteen forty nine,
he would have been fourteen. That would have made him
fourteen years old whenever he was possessed possessed by these demons.
And then twenty years later, in nineteen sixty nine, he's
(44:46):
working on the Apollo eleven mission as an engineer. That
would have made him what twenty thirty thirty two fourteen
plus thirty four. He would have been thirty four years
old working on the Apollo Love mission. And then he retired,
and he retired in two thousand and one.
Speaker 2 (45:21):
That is very, very odd. I don't know what to
say about that. Cosmic coincidence proceeded way over time. But yeah,
So another weird thing about all this is that when
I first met my wife, she was living in a
town called Nayak, New York, just north of New York City,
(45:43):
and so I go to New York. I was living
in the West Coast. I go to New York, you know,
every couple of months this year, and we're just girlfriend
boyfriend at the time. And then one time she goes, oh,
we really have a lot of fun tonight. I oh, yeah,
what do we do? She said, Oh, I'm not going
to tell you. It's a surprise. So I was Okay,
(46:04):
We get in her car. We drive to this really
fancy neighborhood in Nayak, New York, big mansions and everything,
and I'm like, WHOA, I got pulled up to this big,
huge mansion and we get out and we walk in,
walk up to the front door, knock on the front door,
and Ellen burst it answers and we're at her house.
(46:25):
And Exorcist was her breakout film. By the way, she
became one of the greatest actresses of her generation, but
her breakout film was The Exorcist. And we had dinner
with Ellen Bursley with good friends with my wife, and
I actually got her to talk about the Exorcists, because,
you know, to tell me about it. And she told
(46:45):
me that in that scene in the bedroom where Reagan
does all her stuff, throws all the record albums around
and everything, she said that Friedkin had a rope on
a polly attached to her back and the technician was
supposed to give a little hug and jerk her back
onto the ground, but freaking, being the mad man that
(47:06):
he is, told the the guy pulling the rope to
get another guy. I have two guys pull the rope
as hard as you can. And so they pulled the
rope as hard as they could and injure her back
for the rest of her life. So anyway, it's just
really interesting. I don't beat many celebrities, and I just
happened to know the star The Exorcist, who was.
Speaker 3 (47:27):
A nobody too. By the way, at the time, No,
there's no stars in that movie.
Speaker 2 (47:31):
Everybody was a nobody, and they were really surprised when
the film made almost two hundred million dollars, which was
unheard of in the early seventies.
Speaker 1 (47:42):
So the little boy that the movie that The Exorcist
is based on grew up to be a Nazi engineer
that helped Apollo eleven spacecraft get to the moon. So
Qbriic Stanley Kubrick was supposed to direct the movie. Not
the extor system is based on in real life by
a boy who was possessed in nineteen forty nine by demons,
(48:06):
which we've discussed was more than likely mental illness or
sexual abuse, who grew up to be a NASA engineer
for the Apollo eleven space shuttle. If you break turned
it down, and then made a movie about abuse, possession,
psychic abilities, mind controled assassins, government cover them up, and
(48:29):
the faking of the moonlanding.
Speaker 3 (48:32):
That is I don't even know what just happen. That is.
Speaker 2 (48:40):
It would always say that's proof that we're living in
a simulation because I have no idea how that so
many coincidences, and then he retires in two thousand and one, right, yeah,
so yeah, so that's pretty wild. The Exercist is much
more we think it is. And you know, I like
(49:04):
to get into maybe later other shows, a couple of
other films that kind of go into some of this
this kind of dark stuff that a lot of people
don't see in the film, but what you open it
up and look at it, you see it. And I
don't think anyone's ever connected The Exorcist to you know,
(49:24):
sexual abuse and child abuse and acquiring psychokinetic and telepathic
abilities as a result of that abuse, which you now
know is the truth.
Speaker 1 (49:39):
Unbelievable. When I was looking in all this stuff last night,
I was like, oh my god, Jay's going to flip out.
He's not going to know what to say about this
because I still don't even really know what to say
about it because it's so unbelievable. It's almost like a
movie in and of itself. And you know, also with
the sexual abuse stuff, I mean that was what was
going on in Lolita behind the scenes, so Cubric had
(50:01):
to have been privy to what was happening there. So
then you.
Speaker 3 (50:07):
They had to he had to have known all of this.
Speaker 2 (50:10):
And you know, frankly, the the ending scene in Eyes
White Shot is Tom and Nicole handing off their daughter
to the two creeps that were at the party earlier, right,
And that's the very last scene in the movie, is
her heading down that hallway at Macy's with those two
guys that are in the movie all through the movie,
(50:30):
the same two guys, right, And it's clear that you know,
this is this is the reason why Kubrick probably didn't
last too much longer after he showed the film to
the Warner Brothers executives in nineteen ninety nine.
Speaker 3 (50:47):
And you know, so I don't know. It's like.
Speaker 1 (50:53):
There's some revelations there too. You send me a video
the other day. Then Cee I a aging basically revealed
that he's the one that gave over Stanley Kubrick to the.
Speaker 3 (51:07):
Secret Society. Yep.
Speaker 2 (51:10):
Yeah, And because Kubrick broke the rules, and I'm the
guy that broke out the story, by the way, or
the original story of people in the lobby of the
theater carrying a huge argument going on after the movie
played to the Warner Brothers executive. I was told that
by an assistant to Stanley Kubrick's. He was an American
(51:30):
and I only talked to him on the phone, but
he was there. He said he heard it. He heard
Stanley yelling out, this is my movie and you're not
going to cut it, and you know, yeah, we are
going to cut it, and we're going to cut you too.
Speaker 1 (51:45):
Yeah that, I mean, who would who would have seen
the original cut of the film. It would have been
the actors and the executives right there would have been
the only people that would have seen the original cut.
Speaker 3 (51:58):
Yeah.
Speaker 2 (51:59):
And there's there's just there's continuitiors that are unexplained. Only
filmmakers we'll see them. So they're kind of hard to explain.
Even what a continuity air is. It's difficult to explain.
But Kubrick was not we know from the shining and
the clockwork shining. He planned his continuity airs. They were
a part of his storytelling. So he would take a chair,
(52:20):
move it and put it back and stuff like that.
Oh it was a continuityor no.
Speaker 3 (52:24):
No it wasn't. He's doing He's messing with your head.
Speaker 2 (52:28):
But the continuityars in eyes white shot don't make any sense.
They don't tell you anything. It just feels like there's
something left out right that they've had to put these
two pieces of film together with a giant chunk in
the middle, all gone right, and you can't figure it out.
Speaker 3 (52:46):
What's going on?
Speaker 2 (52:47):
Why is this here? Why is there a gap year?
Why isn't anything being explained? And it's because they cut
the living crap out of it. There's no doubt about
they admitted it that they did.
Speaker 1 (53:00):
So the only people would be like Tom Cruise, Nicole Kidman.
Speaker 2 (53:08):
Well, I mean I just watched the last episode of
Mission Impossible last night, and let's tell you what. After
Eyes White Shut, Tom Cruise turned into a conspiracy theorist.
The entire Mission Impossible series is one long conspiracy. I
mean by these driving forces that are secretive and you
(53:29):
don't know who they are and you find out the
end it's all an AI called the Entity, which is
very similar to how by the way, And so I
think that working with Stanley made Tom a much more
interesting person.
Speaker 1 (53:47):
I think so too. All the things that I've heard
about Tom Cruise, he seems like a down the earth guy.
Speaker 2 (53:55):
Yeah, you know, he's probably hated by a lot of
guys because he's so handsome, and so he probably gets
a lot of jealousy. But I know people that know him,
they say he's a great guy. He was certainly patient
with Stanley.
Speaker 1 (54:12):
Yeah, they filmed as Why Chuck for that went over
only two years.
Speaker 3 (54:18):
Over a year. I know that.
Speaker 2 (54:19):
I can't even imagine, you know, shooting a movie that long.
I would go crazy, go out of my mind.
Speaker 3 (54:25):
So I don't know.
Speaker 2 (54:26):
But Satta Hubrick was great and William Freakin is a
great director. William Peter Bladdie also did another film, by
the Way that he wrote and directed after the Extrecist,
called The Ninth Configuration. And what's interesting about it is
it's a mental military mental institutions where it takes place
(54:48):
supposedly in Oregon, and the whole point of this mental
institution is to find out if the people acting like
they're crazy that are in the institution are faking it
or are they really crazy.
Speaker 3 (55:06):
That's the whole point of the whole movie.
Speaker 2 (55:08):
And that's the whole and they find out that most
of them are faking it, that there aren't really crazy.
Speaker 3 (55:13):
The just faking it.
Speaker 2 (55:14):
So I think it's interesting that Glad he would make
a film about that. And then and he goes to
such extensive links in The Exorcist to try to explain
with psychological methods how she's doing what she's doing. So
even he doesn't seem quite sure about if she really
(55:34):
possessed or not, is what I'm saying. And priest, Yeah,
and if you had telepathic abilities because of abuse, and
a Catholic priest too, you don't even know what that is.
You're twelve years old, comes to visit you and talk
to you. You read his mind and realize he thinks
to everybody's full of demons.
Speaker 3 (55:55):
And all of this.
Speaker 2 (55:57):
Well, then maybe you might start acting like that, I mean,
just to get scared of him, because you don't have
that dude in your room anyway.
Speaker 1 (56:06):
Yeah, it seems like the demonic possession and the actressism
is a way to cover up real abuse. And that
seems like is the undertone of what the Actressist is
really about. And that's what William freaking is trying to
expose within the Actressist. Is that cover up? Is that
(56:26):
the sexual abuse cover up by the church?
Speaker 2 (56:30):
Yep, that's exactly what I think. And he put up
with the last third of the movie and the Exorcism,
because and he made it look as torturous on that
poor girl as he could, didn't He he was showing
them abusing that poor little girl. And and and Peter
Blade's writing up the script and tell her we got
to do this. They do this, and he's like, oh, yeah,
(56:50):
we're going to show how you guys really treat people.
Speaker 3 (56:53):
I mean, that's what I think is going on here.
Speaker 1 (56:56):
Well, then when you look at the institute as well,
it's essentially the same thing too. They kidnapped these kids,
they torture them, they psychologically torture them, They give them drugs,
they shoot them up with some sort of substance in
the arm, like a green liquid with a gun, and
then they put these like a screens around them and
(57:16):
show them images to essentially break their psyche and activate
their psychic abilities.
Speaker 3 (57:22):
Yep.
Speaker 2 (57:23):
Using all the stuff that Kubrick talked about in Clockwork
Orangine The Shining, only now it's in a Stephen King
mini series.
Speaker 3 (57:31):
It's like, what with all the.
Speaker 2 (57:35):
References to the Shining, So clearly either Stephen or the
guy that wrote and directed the movie or the series
is understands the relationship between the Institute and what Kubrick
is saying in the Shining and which we prove it
in a clockwork Shining.
Speaker 1 (57:53):
I think we do. I think we were spot on,
and Stephen King had to recognize that and done and
wrote this book. I mean, you also have Room Too
fourteen oh eight as well, and that was like a
quase weird mk ultra book and movie, which I also
(58:16):
think was in relation to Stephen King's portrayal of the
Shining as well. So you know, Stephen King was like, Okay,
well you you took my movie and kind of did
whatever you wanted to do with it. Then I'll make
an entire movie that surrounds one hotel room like Room
(58:38):
two thirty seven, not the documentary, but like the actual
room within the Shiny two three seven, and I'll make
an entire novel about a guy inside of one singular
hotel room.
Speaker 3 (58:53):
Very very interesting.
Speaker 2 (58:55):
Yeah and yeah, so anyway, everyone up watch The Exorcist.
Watch it with new eyes.
Speaker 3 (59:03):
The devil may not be there.
Speaker 1 (59:06):
I don't think that he is. Jay, thanks so much
for coming on, really appreciate it. Could you let people
know where they can find you online and where they
can watch both of our documentaries.
Speaker 2 (59:18):
They're both up on Amazon to b Apple, just type
in JKX or a clockwork Shining. They've hugely influential films.
I'm even surprised by it. And yeah, I have a
show on a YouTube called reality Check. You check out
my free stuff at Jaywidner dot com and all of
(59:38):
my movies and documentaries are up on either Amazon or Gaya.
Speaker 1 (59:44):
Thanks so much, Ja Easter upper in Amazon, Amazon Baby,
Amazon prim in too be things for coming on. Really
appreciate it. Appreciate everyone in the chat. Please be sure
to hit the thumbs up button out the channel on
the algorithm, sure subscribe, hit the bell like on as
well for notifications, and we'll see you guys next time.
Bye bye
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