The Shining

All of Stanley Kubrick's later movies relate to elite shadowy groups that persecuted him till the end of his life. What they did, what he saw, what they blackmailed him with, how they intimidated him and the ritualism they perform through occult worship and human sacrifice fill his movies. Most people are unaware that the molestation and sacrifice of prepubescent children pumps their bodies up with powerful natural chemical-cocktails and energies that the dark ones feed off. Adrenalin, endorphins, Chi energy and so on and so forth.

That might be somewhat difficult to comprehend for many so I'll lay it out a bit simpler. Everything is energy. Humans are a special type of energy. You will know this from the felt presence of experience during sexual activity, violence or a particularly riveting football match. There are many other examples but the chi energy released from prepubescent children is as intense as it gets. It wasn't fun for me to learn this and so I don't see why it should be fun for you either. It's not a fun subject.

This is why the institutionalised child sex abuse issue that David Icke campaigns against is all about an insiders club at the very top of society cutting through elite layers of law, politics, academia and science to mention just a few. Kids are groomed or abducted to feed the tight emotional bond that that groups experience during occult worship with human sacrifice. More of that will be coming out in the future but there's plenty of testimony on the internet and books written about it, though the best interview is the Franklin Case that I posted over here.

Many people complain that The Shining's script by Kubrick went too far off the book's narrative, but that's ignoring the real story that was being told. After filming the moon landing's for NASA because of his impressive expertise in 2001 Space Odyssey, Kubrick realised that instead of being seduced by the beautiful woman they portrayed themselves as, it was instead a diseased and aged whore.

Kubrick got lost in a maze of venality during this time in his career and left us many clues in his film as to who pulls the strings of power and what specific kinds of low vibrational occult worship they are into. Google "bears and paedophiles" for example.

The emphasis of Saturnalia hexagons is hard to ignore.

 

Towards the end of the movie the bathroom scene is evidently a rendezvous with the top of the pyramid in terms of Faustian bargains. It's clear he's trying to say he had no idea of the full context that he had embroiled himself in, and so Kubrick drops a lot of clues as to who that person is and what they are about.

Kubrick frames Jack Nicholson head perfectly with the diamond/cuboid pattern behind him, as by this time in the movie the character is Clockwork Oranged. That's a reference to the mind control techniques that the Saturnalia worshippers exploit through MKULTRA and Monarch Programming.

Every single detail is worked out to communicate, including colour and black silhouette shapes. Kubrick was a genius for stylish attention and Stephen King aficionados have raged at the reversal of endless details in the script which are not about the signified,  but rather the signifier's importance. He's telling us the reversal itself is the primary point.

However in the final analysis it's the bathroom scene where most of the clues are laid bare with its intensely red emphasis on ablutions, pacts with the devil and exclusion to females. If there's one scene where the dialogue needs extra attention from the viewer, it's between these two men.

For more information on the Archons that kept Kubrick in fear of his life, you could do no better than read up on Jay Weidner's work and/or listen to this latest interview where he spills the beans very liberally. Kubrick was certainly one of the greatest film-makers ever but also one where life and art became inseparable, culminating in his final attack on our blindness to "hidden in plain sight" evil through Eyes Wide Shut. 

Stanley Kubrick died unexpectedly shortly after completing that movie and just days after its private pre-screening with the studios who subsequently edited out the dangerous revelations they could no longer endure, and which Kubrick's death prevented him from fighting. Nobody knows where those missing scenes are but we know enough to point our fingers in the right direction.


Stanley Kubrick died 66 days into the year 1999, and 666 days before 1 January 2001 a date punctuated with question marks given his direction of the movie 2001 Space Odyssey. 


A classic illuminati symbolism loaded hit.