Room 237 (2012) – Hidden Symbolism in Kubricks The Shining | Under the Docs 019

➡ The podcast hosts discuss “Room 237,” a documentary that explores various theories about Stanley Kubrick’s film “The Shining.” They particularly focus on two theories: one suggesting that “The Shining” is Kubrick’s confession to faking the moon landing, and the other proposing that the film is an allegory for the genocide of Native Americans. The hosts find these theories intriguing and plan to delve deeper into them in future episodes.
➡ The article discusses various theories about the hidden meanings in Stanley Kubrick’s film, “The Shining”. Some theories suggest the film is about colonial violence against Native Americans, the Holocaust, or a confession about faking the moon landing. Other theories focus on the film’s unusual details, such as the impossible architecture of the hotel or the idea that the film reveals hidden messages when played forwards and backwards simultaneously. The article questions whether these theories were intentional or if Kubrick was simply in tune with occult symbolism.
➡ The text discusses a documentary, Room 237, which explores various theories about the hidden meanings in Stanley Kubrick’s film, The Shining. The author appreciates the documentary’s ability to change the viewer’s perspective on the film, even if they don’t agree with all the theories presented. The author also discusses the controversy surrounding the documentary, with some critics arguing that the director should have provided his own commentary on the theories. Despite this, the author finds the documentary fascinating and recommends it.
➡ The text discusses a film that the author enjoyed, particularly appreciating its quality and the thought put into its creation. The author also mentions the film’s ability to introduce viewers to new theories and provoke discussion. They express skepticism about every detail in the film being intentional, but acknowledge that some elements are definitely planned to convey a message. The text ends with a mention of an upcoming series and a comic about Stanley Kubrick directing the Apollo space missions.

Kubrick’s Fu to Stephen King. Under the docks. Yeah, under the docks. Once again, under the docks. This is Paranoid American. Here we got Sean Chris from Kill the Mockingbirds podcast. And we’re going to be reviewing what I think is going to be well worth your time for room 237. A movie that breaks down a whole bunch of different theories about Stanley Kubrick’s the Shining. So welcome back, man. What do you think about this one? Well, this is my first time getting introduced this to this film. And you brought it out like, hey, let’s check out this.

You know, let’s. I did not expect what, what I got. And it was great though. Like, it was something that like, but it’s really good going to something you’re like, have no expectations. And then I’m like, wow, man, this is. This fits right in with the theme of the show, like, of how we started out. You know what I mean? What I wanted to get right into some ones that were actually a little bit deeper than this one. But this one is like being able to dip your toe into the pool a little bit. You get to get like a nice little sampling.

It’s another one of those mixtape style documentaries, which I think I’m realizing. I really like those. I really like a documentary that says here’s this concept and here’s, you know, five or 10 or 20 different thoughts about that one concept. I’m realizing that as we go through a lot of these. Well, I think also you as a researcher, like, you know, you do that anyway. So you like that? Oh, I can go down this way. You know what I mean? It gives you instead of two forks in the road, like two ways to go. Yeah, don’t tell me how to think.

Don’t tell me what Kubrick means. I’ll figure that out. Just give me enough options. So this one is called Room 237. It came out in 2012. What a fun number. For years. And it was by a guy named Rodney Asher. And Rodney Asher’s actually got another one that came out recently called Oz. Or it’s about David lynch and Oz. I think it’s called like Oz lynch or something. So there’s kind of like a theme going with some of his documentaries. The one that came out before this one, I think this was the first big one that came out with his name attached to it.

It was one called like the Evil Ass or something. And it was basically about this Scream Gems logo that would come on before movies and certain TV shows. Anyways, this is kind of this guy’s thing is to dissect pop culture and symbolism. And if you’re unfamiliar with. With one of the terms, it’ll probably come up. It’s synchro mysticism, in which you start to assign meaning to things that match up. Like, you. You notice a pattern and you start ascribing meaning to that pattern. Once you start doing that enough and start coming up with your own crazy theories, then you just call that synchro mysticism.

All right. Plotting for the course for this one is actually going to be pretty straightforward. It’s going to be fun to talk about. The whole entire movie is about reinterpreting the Shining, and not the book by Stephen King, but the movie by Stanley Kubrick, which actually changes a lot of very specific details. And because of those changes and because of just the nature of Stanley Kubrick himself, which a lot of people consider a master of cinematography and movies that a lot of people have been reading really deep into this film about little symbols that pop up, and there.

There’s so many. But this movie breaks apart five of them really specifically. And I think that if you want to get mom and dad or like Grandma and Grandpa even into synchro mysticism and breaking down Kubrick movies is probably the best place to start. Like I said, it’s like you dip your toe in just the tiniest little bit. So I’m gonna start with my favorite of all these, and that’s that the Shining was Stanley Kubrick’s moon landing confession. That Stanley Kubrick directed the Apollo moon missions, including the, you know, the big walk, the big moonwalk that he was part of all of it including.

And he’s knows all the secrets. And he got this unlimited budget check from the government in order to be privy to this and that. He reveals his confession to the audience through this movie. So what did you think about this claim? They had me hook, line, sinker, man. I. I thought, say no more. We’re done. I’m good. Sold. Yeah. Yeah. Because at first I’m like, okay, you know, you’re trying to get symbolism. They. They talk about the. The book subliminal seduction and into the whole art of subliminal messaging and getting involved with different commercial entities to kind of show them, like, hey, how did you guys put this little advertisement together to trick people into, like, you know, telling a story or getting them to buy something? But it does.

Like, one that got me is when. And it also got the narrator or the guy talking at the time when he’s like, yeah, you know, Danny’s wearing Apollo 11 specifically sweater. And I think to me then I’m like, all right, man, that’s. That’s tough to like, talk out of, right? Because that’s intentional. Everything he does is intentional. But for sure you’re like, okay. And it’s Apollo 11, right? So that’s. This theory is Jay Widener’s. And he’s got a whole series of movies based on this. And we just get a tiny little sampling of his. His like, overarching theory, which is that this is Stanley Kubrick’s confession letter.

And among the different examples that we see presented in this movie, the biggest one is that Danny is wearing this Apollo 11 sweater. And that when he stands up, he’s playing with little trucks. And that that famous Overlook hotel pattern that you see associated with the Shining constantly is actually a representation of an aerial view of the launchpad. And he’s playing with these little trucks. And as he stands up, the rocket looks like it’s lifting directly off of this, you know, launchpad surrounded by traffic. That one is. Is. Yeah, that’s probably like the big cherry on top.

Big reveal of this entire documentary. They also mentioned that room 237, which was changed from the Stephen King book, was because at the time the moon had been calculated to an average of 237,000 miles. And that Jack dealing with all of the different mirrors inside the Overlook Hotel and being buried under like this weird Kafka esque sort of hierarchy was Stanley going through this exact same experience trying to deal with the government and that the Overlooks manager, Stuart Omen in the movie that he’s basically the stand in for Stanley Kubrick’s handler. So that’s. I mean, there’s a lot of big claims in there.

And honestly, Jay Widener’s movies that go even deeper into this would take extra episodes just to talk about. So in fact, I think we’re gonna do those ones next. After room 237, we’ll go even deeper to Jay Widener’s stuff. But that overall, that’s the moon confession theory sort of in a nutshell. And that’s probably the one that most people have heard of when it comes to the Shining. I don’t know. Had. Have you heard of other ones outside that one before watching 237? No, I did not. I’ve only heard like the Moonlight. Like I already. That’s the only thing that I kind of knew about, but I didn’t know how they were going to present it.

Yeah, they said they didn’t want to use a 217 room, as it was in the book, because the hotel had expressed that, oh, we don’t want people to be scared to stay in that room. But in fact, that turned out not to be true. And then the whole room number with 237, when Danny’s going by it, like, that’s where I would. If they were just saying that as the moon, like, oh, you know, spelled backwards and the N is capital, like, I would have been like, I don’t know, man. That they wouldn’t really have got me.

That’s why the rocket, I think, was so important. Well, we’re gonna get way deeper into that when we start getting into Jay Wagner’s documentaries in particular. So the. The next theory was that the Shining, again, the Stanley Kubrick’s version, the Shining was all about Native American genocide. It was like an allegory for the, you know, expansion into the rest of the United States and killing off all the Indians. And that, in fact, in the background, we actually see all sorts of posters and paintings of these different Native Americans. We even get, like, a little monologue version of it.

They reference these cans of Calmet that have, like, a little Indian chief’s head on it. That all of these specifically, it’s a baking powder. That all those were placed directly to kind of keep reinforcing this entire motif. And that there’s this river of blood that comes out of the elevators and, like, one of the most famous scenes in the Shining, and this is supposed to be seen as the spilling of this innocent blood from the Native Americans and this constant presence of axes that are on the background, too, that kind of represent, like, colonial violence against Native Americans.

I mean, he. He goes equally hard about this particular motif, the same way that Jay Widener does about a moon confession. Yeah. They even go as far as to show the clip of, like, when the hotel was made and talking about, like, it was on a Indian burial ground and that they were even attacked at some point by some of the natives around there. And that the elevators going down was squishing the bodies of the Native Americans and the blood was squirting out everywhere. I mean, I would. I would actually love to see a version of the Shining where that was more in the center.

Like, that was actually what the movie was about, that it was a hotel built on an ancient Native American burial ground that was haunted and squishing bodies. I don’t know. I feel like be more overt about some of these themes could work like, any. Any five of these Honestly. But. Well, the third one, a little bit darker, was that the Shining’s all about the Holocaust and that the number 42 in particular keeps coming up. There’s one scene where Danny’s got it on his shirt. They mentioned the 1942 Volkswagen, and 1942 being the year that the Nazis implement their.

Their Final solution. And that everything else that kind of flows out of this is all about Jack being a Nazi. His typewriter is this. This old German made Adler typewriter. And Adler translates to an eagle. And. And the eagle was the symbol of the Nazi part. So you, again, you can see that every single little detail in this entire movie is being interpreted as, oh, he’s 100% like this guy. And this is Jeffrey Cox that comes up with this theory, by the way. He’s. He talks about it again the same way, like, this dude is convinced that the Shining by Stanley Kubrick was all about the Holocaust.

Yeah. And they even talk about them watching the movie summer of 42. I mean, the number does come up a lot. Like, it’s not a coincidence. And. And all these things aren’t coincidences in general. We don’t know why filmmakers do what they do, but it’s good points to bring up that also they even have, like, a part where they’re talking about that towards the end of the film when they show the black and white picture with Jack Nicholson and it’s fading away, that, like, it fades away to him having a Hitler mustache. Right, like that. Right, right.

There’s so many, too. There’s some other examples of that final shot that apparently was taken from a meeting of people from 1913 that have to do with the Federal Reserve. There’s some interpretations outside this movie, by the way, that the movie’s all about sort of green box and the using gold is like a standard for monetary systems. And it just kind of like goes full money masters and certain interpretations of this one. So those first three. Moon confession, Native Americans, Holocaust. Those ones are sort of these themes that those three people are suggesting that this movie was all about.

And then we’ve got two other ones in room 237. That it’s less about the theme and it’s more about, like, interesting things that Kubrick’s doing that are completely breaking away from the norm. And like you were mentioning, there’s kind of this common conception that every little detail in a background of a Kubrick movie is all intentional and that he. And a lot of that is because he would spend so many different takes. He would do, like a Hundred takes, just trying to get, like, the perfect one. So that makes people think, like, oh, if this dude’s doing 100 takes here and there, then he’s gotta, you know, have his kind of, like, finger on the pulse of exactly what he’s trying to get done here.

So based on that assumption, and I’m not. I don’t know if I’m even sold on every single detail. Was always meant. You don’t think he made, like, a single mistake? I don’t know. Maybe a final release. And he’s like, oops, I didn’t realize we moved that chair. Yeah, I’m sure. And then you don’t know the order of what they shot it in. Right. Like, they even make a reference towards the dopey on the. The door of Danny’s door, you know, and that it’s there, then it’s gone. We don’t know when they shot that. Right. They could have added it after, like, not taking it away.

We don’t know if they shot the first scene because movies aren’t shot just in order of the movie. I think sometimes people don’t realize that too. The. The dopey one’s another crazy rabbit hole, basically, that when you look at it through the lens of the moon confession by Jay Widener that when Danny goes into the room originally, it has a dopey sticker, basically symbolizing Kubrick when he first goes into this, you know, moonlight, that he gets hired to do that. He’s an idiot. He doesn’t have all the background details. He’s dopey. And then when he comes back out of the room, the dopey sticker’s missing, which is then taken to implied.

Now he’s got the knowledge he’s no longer ignorant of what’s going on behind the shadow. That’s a whole lot of meaning to be inferred from whether or not a sticker was on a door between two different shots. But again, this. This is kind of like quintessential Kubrick that people that watch Kubrick are like, nah, bro. Like, he get. I guarantee you that dopey sticker was there by design. He’s got it in the script. So. So anyways, the other two things that come up in this room 237. One is a theory by a lady named Julie Kearns, and she states that if you were to actually try.

And it’s kind of awesome how she does this. If you were to track the movements of all the characters in this movie on a blueprint of the Overlook Hotel, Representing the Shining. That the rooms that they go into can’t exist. That they’ll go into a room that’s got, like, three windows pointing outside, but in the actual architecture of the building, that that would be an interior room. And the same thing is that we see people going in and out of, like, a big freezer. And. And that sometimes the freezer exits to one hallway. Another time it exits to a different hallway.

And that instead of these being oversights or things that were overlooked, that it was actually intended by Kubrick to make the audience disassociate. That somewhere in the back of your brain, your brain realizes this doesn’t. Like, this is a fantasy world, but you, in your conscious state, don’t recognize that, and you don’t understand why it has this ethereal quality to it. Yeah, I think the window is where they talk about that. It also kind of, like, plays into. With the moon stuff because it’s like you’re faking sunlight, this whole background of, like, a different existence, and that you’re playing with people’s minds.

Yeah. I mean, starting to blend all the different theories together is where this movie gets fun. The. The very last one that they really focus on is by a guy named John Fell Ryan. And John Fell Ryan, he actually takes, like, a much closer to what I would consider, like, synchro mysticism. And he’s basically stating that if you take the Shining and you play one version of it forwards, and then you take another copy of it and you play it backwards at the exact same time that they converge at these different points, and that even in this game.

And this is where I have questions, we don’t have John Fell Ryan on the show yet. Maybe we’ll get him for a future episode and ask him directly. But is this mean that Kubrick himself knew that if you were to play the movie forwards and backwards at the same time, that these different points would converge and mean certain things. Or in the synchro mystic community, which I’ve. I’ve grown to understand, I think, is that they’re almost saying that Kubrick was just sort of, like, in tune. He was on the same wavelength as this, like, a cult symbolism.

And. And that he didn’t have to inherently intend to make this stuff work. It just worked because he was so accepting and so understanding of the material itself that these patterns just kind of get emphasized by the things that he’s doing to him. It’s. It’s a weird, abstract concept, but that’s one that I. I come around to more than everything’s. Planned because. Because I don’t even know how many hours in the day this dude must have had. Did he find like a 40 hour day somehow where he’s able to get all this stuff done and all these symbols packed in? Yeah.

And then have all the people and his researcher, research team and other people on part of his team. It’s not just him doing these things. Like, just like, yeah, we’re intentionally doing this. I like it, the idea, what you said, like, whether that be the case or not. I think, yeah, you’re. You’re in sync with that feeling and that thought process. Not that you’re dictating and knowing and have a notebook of like, first we’re going to put the dopey here. Then I’m going to put like. I think that, like, now it’s just happening and kind of like being part of it.

His brain is in that realm of thought. Yeah. But as far as intending each and everything, especially syncing up, like, that’s like when people talk about music and they play it backwards and they’re like, it’s saying this. And I’m like, is it saying that? Or are you suggesting that it’s saying something? And they’re like, no, they did on purpose. And I’m like, well, they definitely couldn’t have done it on purpose because I’ve made music and I played it backwards and I’m like, I didn’t write anything to, like, be like, well, that’s because Satan is talking through you, my friend.

That’s all that means. Yeah, that would make more sense. Right? Like, instead of like, oh, they intended. So I’m with you. That it’s not necessarily everything’s intended. But he’s on that brave that wavelength. All right. Hidden treasures overboard moments. I mean, in this one, honestly, I think the whole entire movie, it’s kind of a hidden treasure. I really do think that someone that maybe doesn’t understand the weird mystique behind Kubrick films. You watch this as one documentary, Room 237, and you kind of get a taste for it. And it might even convince you that, yeah, like, Kubrick definitely meant to.

To put in some extra symbolism. All three. None of them, like, one of them. Who. I don’t really know where I land on any of that, but I. This is really, really a type of documentary that I really like. So, I mean, the whole thing is a hidden treasure for me here. Hearing someone else watch it for the first time and been like, man, I never heard this theory about the Native American. Even if you don’t believe it. I still think that it’s, like, beyond fascinating. And it’s put together very well, like, in actually putting shots and putting shots of other movies.

They even bring in, like, some of his other movies that he has done that we. People have concepts and thoughts on as well, like, reference points. And, like, even when they talk about some of this moon landing stuff, I thought it was interesting how they go, look, there was Tang. Like, you know what I mean? They’re thorough. Whether you believe it or not, they. They present a compelling case for a lot of these theories. Some more than others, I will say. But I think that it opens your mind to, like, man, who is Kubrick? And it kind of paints him in a great picture and a.

A dark and great picture like this man. They even talk. Well, I think they said, the man with the 200 IQ, you know what I mean? Like, that he’s out thinking of us. It’s almost that 3D chest thing. 60. He’s on 60. 237D chess he’s playing at. And for me, really overboard moments was hard. I had to go and I looked around for the biggest criticisms of this documentary, all of those one stars out there. And, man, I didn’t realize how controversial this documentary was, especially for, like, Kubrick aficionados. And I guess the main criticism that usually comes up with this movie is that Asher doesn’t necessarily step in and provide his own commentary on whether or not some of these other people’s interpretations are valid or not or which one’s right.

And honestly, I think that kind of criticism is completely missing the mark of all this. This will be like opening up a Whitman sampler again, One of my. My favorite analogies here. Open up the Whitman sampler. Trying out five and being like, numbers one through four were wrong. Like, that’s not. That’s not how a Whitman sampler works. Right. You might find the ones that you most prefer, but it’s not like one of them is wrong. Unless it’s one of those weird, like, jelly bean tricks where, like, one of them tastes like vomit or something, if you know what I’m talking about.

But, like, this mo. It’s. It’s not like a. A trick question. It really just. It will open your mind up to next time you watch the Shining. You’ll probably never be able to watch it the same way again. So I. And, oh, I think that’s, like, the biggest hidden treasure. Any documentary that changes the way that you see something the next time you see it. I think that It’s. It’s almost impossible to plan to do that. It only happens when it’s legitimately good. I didn’t really have any overboard moments because I know they had thoughts of, like.

Like, the dopey thing I keep referencing. Like. But I could see they have a compelling case. Like, I don’t agree with all their theories, but I’m like, well, that it’s logical to me, right? Like, okay, I could see where you came. It’s not something just thrown out the dark. You know what I mean? Like, of. Oh, you’re like, I could see something because a lot of this stuff is planned, right? Like, as far as. We don’t know what he meant. Dopey could be just a sign, like, hey, it’s for my kid. Or it’s like, you know, we don’t know what it means, but it means something.

These different things, like, the chair coming, the chair gone. Like, they even talk about when she walks into the room and kind of, like, with the skeletons in the blue room with the skeletons and the spiderwebs kind of, like, poking fun out of, like, how horrors were really, like, comical back in the days and. And then go into one of the more horrific scenes, right? That’s, like, kind of intense for people. I think this film, overall, I can’t find a lot of things to, like, pull at it. Like, yeah, I could be critical and be like, hey, you should have, you know, came out this way more.

I kind of just liked how he played it and let me think for myself, like, do I. Is that it? And, you know, is he trying to paint this Native American thing? Is it a bunch of different themes layered up and. Or are we. Is it just us analyzing it to death and we’re coming up with something? Well, I would point out, like, three very specific claims that usually get brought up when it comes to the Shining and whether or not Kubrick was doing something intentionally. The first one is the direction that the Indian is facing and all those damn baking powder cans.

Like, do you think that Kubrick was like, make sure they’re all pointing to the left in this scene and make sure that they’re all pointing, like, the same way. And there’s no. Do you think that that’s something that he specifically wanted to happen? I don’t know, because they want to say that everything was specifically. But if you’ve ever been on a set or know about sets and. And things of that n. There’s so many people involved. Right? Like, I could see that he wants certain shots. Like, hey, I Want this there and not like for instance, when the chair was there and not there.

Who knows when they filmed it, right? Like someone be like, hey, I need to sit down. You know what I mean? They move the chair because someone needed to use it. Like we don’t know why those things are. I think some things are intentional for sure. Like the shirt, the, the sweater. That’s why that one resonated with me. Because the sweater, you’re like, you had to specifically go get an Apollo 11 sweater. That there’s no need that you needed that. And he stands up in a very specific way so it looks like it’s launching. It’s not just a kid getting up off the ground, which they’d probably kind of push off with their hands and like obscure, like just.

Yeah, there’s so many. And I guess the other one I was going to mention were the chairs that there’s this argument made that in the background you’ll see a shot and then it’ll cut somewhere else and it’ll go back to that same shot. And now a chair that was in the background is no longer there. Or a bookcase that was in the background, it’s like a different bookcase. Or there’s all these like very tiny little changes. And one of the explanations that he again, he’s intentionally trying to mess with your subconscious mind that something in like in your, the back your head realizes like, oh, this isn’t reality because that chair’s missing even if you don’t notice it while you’re watching it.

So I, I really do think it’s fascinating. That’s, that’s the whole point of room 237 is to make you wonder how much of this stuff was intentional. All right, give, give me the sink or swim on this one. Room 237. Swim all the way, man. For a first time watcher, man, it was great. It was like I was riveted, like, you know, because it’s not. I love re watching some of them, but when you get a fresh late, it’s great. I like the film. I like them going in the quality. I actually watch it on Tubi, you know what I mean? So you can watch it for free.

And the quality is great. I like how they, you know, scene cut and kind of when they’re talking about a scene and showing you it really represents and you can get into it more and see exactly what they’re talking about. And just saying like, oh, there was this in the scene like, you know, the Native Americans on the baking soda or the Tang, if they would just say that. But actually talking about it and showing me the scenes of the film, it broke it down. Even, like, the map that they broke down when they’re showing, like, hey, she couldn’t have.

When she’s walking down this hall, it couldn’t have been a window there. Like, it’s very thorough. It’s not something that’s loosely just thrown together. People really put some thought into it. Now, me personally, do I think every single thing that Kubrick has is in the film is intended to, like, hey, here’s a secret message? No. But I do think there is a lot of. Of hidden messages in his films. And they painted it great. And I’m. I’m looking forward to the next couple. No surprise that it’s a. It’s a swim for me too. It’s one of my favorite documentaries.

I would consider this a normie documentary. This is not in the same category as Zeitgeist or Money Masters or, like, an Alex Jones. This is something that you could legitimately slip into movie night without anyone being like, all right, who’s the wise guy who put the Alex Jones movie in the movie night? That. That doesn’t happen. This is very normie friendly, and it could open a few people up to getting into, like, the more niche kind of stuff that, again, we’re going to follow this up and watch some of Jay Widener’s documentaries and really get, like, a full dose of the whole moon confession theory.

And, I mean, I’ll leave it on my observation, too, about the Stanley Kubrick thing. Maybe a bad analogy, but it would almost be like watching a jazz musician and. And if you’re in the audience and thinking, like, man, this guy’s going all over the place. He’s playing all these weird, different notes, but somehow they still work with this song. I bet he planned out every single note that he was gonna play. Like, it. Not really. The. The thing is that the jazz musician, especially improv jazz, understands the rules of the modes and the scales that he’s working in.

He understands a tempo, and he understands time signatures and understands chord progressions and, like, how to do diminished sevens. Like, he understands music theory. And because he understands music theory, he can kind of dance around and have everything work out. Like, it still works with the song because the song is, like, following the same theory that he is on his own little thread. So I kind of feel that way about Stanley Kubrick, that he doesn’t have to decide that chair is going to be in one scene, and then missing the next scene. But maybe it just happens because he’s not concerned with that.

And even if he does notice it, maybe he thinks, like, oh, this will add to, like, a weird subliminal feeling of unrest. And I don’t know, I. I don’t even guess to know what he was thinking. I think my IQ is closer to like 20 than 200, so he’s probably. That’s. I mean, I didn’t. Haven’t choked on my tongue yet, so that’s probably not true. But strong double digits. At least I would put myself in, but nowhere near the level of Kubrick. So I don’t feel qualified to know whether or not this meant anything. But, man, this movie definitely gives you a lot to talk about.

So next time Kubrick comes up, you’ll probably be able to introduce someone to new theories that they haven’t heard of just by watching this movie. Water cooler talk, right? And I think as artists, because you. You in the artistry and I’m in the artistry of different, different types of art, but I think we get a better understanding of how the artist’s mind works. And I think sometimes when people are getting into the artist’s mind and they’ve never delved into that, they don’t really know anything. They don’t do music or art or movies or anything in those fields.

So they kind of just go, well, he has to be. You know what I mean? And I think when you see it through the eyes of an artist, you’re like, yes, some things are definitely intentional. That’s a fact. Because you’re trying to get a message across and subliminals are in there. But for everything to be. That’s. I find it far fetched. But this film, great. It’s now on my favorite list for sure. Yeah, I’ll say. Kubrick doesn’t accidentally make good movies. I’d at least go as far to say that. So there’s definitely some design put into this.

So. And like we mentioned before, we’re going to be going into Jay Widener’s Kubrick Squared series and he’s going to talk about all the, like, weird little details that were probably too overboard for this particular Room 237 documentary. So I’m excited about those ones. Look out for that, man. This has been another episode under the docks Peace under the docks yeah under the docks Buried people were breaking the locks under the docks under the docks yeah, under the docks SA ready for a cosmic conspiracy about Stanley Kubrick Moon landings and the CIA go visit nasacomic.com nasir comic.com CIA’s biggest com Stanley Kubrick put us on that’s why we’re singing this song about NASA comic.com go visit nasacomic.com go visit NASA comic.com yeah go visit nasacomic.com nasocomic.com CIA’s biggest con Stanley Kubrick put us on that’s why we sing singing this song about NASA comic.com go visit nas.com go visit NASA comic.com yeah go visit NASA.com never a straight answer is a 40 page comic about Stanley Kubrick directing the Apollo space missions.

This is the perfect read for comic Kubrick or conspiracy fans of all ages. For more details visit NASA comic.com paranoid I scribbled my life away driven the right page will it enlight you put brain give you the flight my plane paper the highs ablaze somewhat of an amazing feel when it’s real to real you will engage it your favorite of course the lord of an arrangement I gave you the proper results to hit the pavement if they get emotional hey maybe your language a game how they playing it well without Lakers evade them whatever the cost they are to shapeshift snakes get decapitated met is the apex execution of flame you out nuclear bomb distributed at war rather gruesome for eyes to see max them out that I light my trees blow it off in the face you’re despising me for what though calculated and rather cutthroat paranoid American must be all the blood smoke for real Lord give me your day your way vacate they wait around to hate whatever they say man it’s not in the least bit we get heavy rotate when a beat hit so thank us for you well from the for real you’re welcome they ain’t never had a deal you’re welcome man they lacking appeal you’re welcome yet they doing it still you’re welcome.
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