Kubricks Odyssey II: Secrets Hidden in Films of Stanley Kubrick; Part 2: Beyond the Infinite (2012)

➡ The article discusses the idea that Stanley Kubrick, like William Shakespeare and the architects of medieval cathedrals, was a master at embedding complex ideas and secrets into his work. It suggests that Kubrick’s films, particularly 2001 Space Odyssey, are like alchemical works, containing hidden meanings and secrets about life and death. The article also explores the theory that Kubrick may have faked the moon landings, as suggested in his film The Shining. It concludes by suggesting that Kubrick’s films are a modern form of the intricate designs found in cathedrals and Shakespeare’s plays, offering viewers a chance to uncover hidden knowledge.
➡ The text discusses the awe-inspiring nature of old cathedrals and how they suggest the work of a higher intelligence. It also explores the idea of exceptionalism and how it’s portrayed in Stanley Kubrick’s work, particularly in the movie “2001 Space Odyssey”. The text suggests that Kubrick’s work, like ancient architecture, contains hidden messages and complex themes, such as the evolution of humanity and the concept of immortality. It concludes by stating that Kubrick’s meticulous planning and attention to detail result in a movie that is as intricate and thought-provoking as a cathedral or a Shakespearean play.
➡ The discussion revolves around the symbolic representation of cinema in the movie “Space Odyssey 2001”. The movie suggests that technology, represented by a monolith, has been crucial to human evolution, but at the cost of our souls. The film also implies that celestial alignments significantly impact life on Earth. The idea that souls might abandon human bodies for more advanced ‘shells’, like AI, is also explored.
➡ The text discusses the complex themes in Stanley Kubrick’s work, suggesting that his films contain deep, alchemical symbolism and references to the philosopher’s stone, the Kabbalistic tree of life, and other esoteric concepts. It also mentions the idea that progress and transformation often involve violence and sacrifice. The author expresses frustration with the dense and abrupt presentation of these ideas in the films, wishing for more explanation or expansion. The text also touches on the influence of Kubrick’s work, particularly in relation to theories about the moon landing.
➡ The text discusses a documentary about Stanley Kubrick’s films, suggesting they contain deep, abstract meanings related to alchemy and life philosophy. The documentary’s complexity makes it difficult for some to understand, but it’s appreciated for its unique insights. The text also mentions a third installment in the series, focusing on how A Clockbook Orange represents the CIA’s MK Ultra program. Lastly, it encourages viewers to explore more of Kubrick’s work and visit related websites for further information.
➡ This text seems to be a creative expression, possibly lyrics, about the author’s life experiences and struggles. It talks about the author’s journey, the challenges faced, and the criticism received. Despite the negativity, the author continues to persevere and create, inviting others to understand and appreciate their work.

What does the Hunchback of Notre Dame, William Shakespeare and Stanley Kubrick have in common? That they were all master alchemists that were trying to teach us the great work. Under the docks, yeah under the docks Buried deeper We’re breaking the locks under the docks, yeah under the dark under the docks Paranoid American and Sean, Chris, we’re back, and we’re not letting this one drop, man. We’re gonna. We’re gonna make you understand how important this is. Kicking and screaming even. And, man, this movie is. Coming up on the end of our Kubrick month. We started out with room 237, which gives this idea that you can watch the Shining and that it means so many different things.

Then we went into one specific claim, that the Shining was Stanley Kubrick’s confession letter, that he faked the Apollo missions. And this was from Jay Widener. Today we’re going to talk about Kubrick’s odyssey. Two secrets hidden in the film of Stanley Kubrick. Part two, beyond the Infinite from 2012. This is a follow up from the one that we did last week, which kind of goes in very, very deep detail about how Kubrick might have faked the moon landings and why he revealed that through a combination of 2001 Space Odyssey and the Shining and Eyes Wide Shut.

This one actually is a little bit more abstract, man. This one is even more like my. My style. But I could see where it might lose some people. So let me just try and summarize this one as interestingly as I can, and that’s that Kubrick’s 2001 Space Odyssey is the alchemical great work in the form of cinema. That no longer is it being done. And there’s these references to, like, Falconelli and Shakespeare we’ll get into, but that essentially, if you believe a picture is worth a thousand words, then how many words is a video? Because a video is, like, thousands of pictures, right? And if that’s the case, then film, even right now in 2025, film is perhaps the most condensed form of media that you could create.

So if Stanley Kubrick is the master of film, then that makes him a master alchemist and that he understands all the secrets of life and death. It was crazy. I did not expect this to come out like, right. I just watched Part one. So you’re like, okay, it’s probably going to be an extended version of Part one where you’re getting kind of the same thing. But, you know, like, overanalyzed when he said alchemy, and I’ll. And. And. And. And all these like, names I’ve heard. Like, I was like, wait a second. What are we doing here? And it really got my attention right away because I didn’t expect that.

Yeah, this one, it almost makes the first one that’s all about moon landings and faking the Apollo missions and make. Makes that one seem so normal. Like. Like that’s back in normal world again. This. This one is so far out there. Let’s. Let’s honestly just get directly into all the major claims made on this. So here. Play the. Play the clip. All right. Plot in the course of this second, Kubrick’s Odyssey by Jay Widener. The very first claim, which I think that you really have to understand in order to get through the rest of this documentary.

He makes a. I think a really clear presentation that if you look back at medieval cathedrals, and I won’t even get into the whole, like, Freemason tangent here, but, like, basically made by the original operative freemasons. We’re talking 11th through 14th kind of century. But that these cathedrals were created by master architects that had to be proficient in so many different walks of life. They had to understand things like anatomy and geometry and, you know, maybe calculus by any other name, since it hadn’t been necessarily fully fleshed out yet. All of these different sort of paths in life, you had to be an expert on.

You had to be a true Renaissance man where that word came from. You had to be a Leonardo da Vinci where you could paint and you could do surgery and you could make helicopters. Like, there’s nothing that you couldn’t do. And that Kubrick is one of these people. And it starts out referencing this book called the Mysteries of the Cathedral by Falconelli. And what Falconelli kind of describes is that in these cathedrals created by these master architects, they baked in mathematical formulas and little motifs and sort of nods to, hey, if you have the eyes to see, you can walk into this cathedral and learn new information.

You can learn mathematical formulas just by looking at things. And that maybe there’s even this extra dimension to it to where you don’t got to be a rocket surgeon in order to, you know, go into a cathedral and. And be affected by. And get smarter from it. It’s almost like the concept of the original Duncap. But that’s the. The very first premise that I think you really have to fully acknowledged before you even go into the rest of this movie. Yeah, it sets the whole stage of an interpretation, and then you can get deeper into interpreting Kubrick’s work in general.

And I think it was great. I’m glad you started us with room 237. Even though, like, you know, Odyssey part one is really out there and, you know, it has a really big bulk of what I liked in room 231. But it really gets you into that mindset of interpretating what Kubrick was saying and how to piece it together and why this is important, how alchemy actually works and how you, like kind of quote, unquote, what everybody says now, manifestation, manifesting your reality or. Or creating the power of alchemy without, like, you actually practicing it, but it being affected.

It affecting you even though you weren’t actually doing anything with it. And this is another one of those weird, abstract things that I guess is just, like, right up my alley. But there’s another documentary series now that I’m saying it, like, we’re gonna have to watch it at some point, but it’s called Riddles in Stone, and it’s sort of the same premise that Falconelli was talking about in his Mysteries of the Cathedral. But Riddles in Stone is about the architecture of downtown Washington, D.C. in the U.S. and how all these different formulas are baked into the road layouts and the ratios and how the Washington monument is exactly 666ft above ground.

Like, all of these different sort of nods to esoteric and occult symbols, that this is the same blueprint that we’re talking about in cathedrals. How do we get from cathedrals to Kubrick? Well, the second claim, which, again, like, you’re going to slowly start building on these until you get the whole. The whole scope of it. So if you first understand and acknowledge that, yeah, maybe these master architects were baking in extra information, shout out to Holy Blood, Holy Grail, and Roslyn Chapel. And if you’ve ever gone down, like, the Da Vinci Code rabbit hole, there’s a lot of that in there.

A lot of that comes from Mysteries of the Cathedral by Falconelli. The second claim is that the next iteration of that is William Shakespeare, which. That William Shakespeare kind of fills the new role because there aren’t operative masons really anymore, not to the same degree. Now we’ve got brutalism, and we don’t build cathedrals the same way that we used to. Right. But we do have this. This sort of elevated version of literature. And that William Shakespeare, or if you’re a super conspiracy theorist, Francis Bacon, but let’s just say William Shakespeare, that William Shakespeare figured out how to master the English language.

And he, too, was a Renaissance man that understood all these different facets of reality and was able to bake it all in. And this is kind of summarized by Victor Hugo, because in Victor, in Hugo’s book, the Hunchback of Notre Dame, which is now I got to rewatch the Disney movie and like do a whole new breakdown on it. But in the Hunchback of Notre Dame is this one specific line that really gets emphasized by Jay Widener here. The line is, the book will kill the edifice. And what he’s saying is that Shakespeare is able to code all of those secrets that were in the temple.

Now he’s able to encode that into like a book or into a play and that this book or this play is infinitely easier to reprint and scale and distribute and for people to understand it. So that Shakespeare kind of replaced the need to have these stories in stone stored in cathedral. So the logical extension of this, we can kind of see where this is going, is that Stanley Kubrick is the one that comes in and replaces William Shakespeare, where now Kubrick is elevating that yet again. It’s not just about a long script or a playwright now it’s about even without words, how do I visually convey.

So it’s kind of going back to the basics, going back to that, like walking into a cathedral. And Jay Widener makes, I think a pretty, a pretty valid claim here. That was like, that’s a good one. It doesn’t prove God exists or anything, but he says that even the, the most skeptic atheist will walk into one of these old cathedrals and stand in awe. Just like how, how could anyone be capable of making something like this? It’s so intricate and so unheard of that, you know, there had to be some kind of higher intelligence. Again, I’m not talking about gods or aliens, but that something that is, if not supernatural, it is, you know, like ubermensch realm.

Like, like something that is far beyond what you would expect, that makes you consider exceptionalism in a new way and that Stanley Kubrick is the most modern version of all this. And that’s a great argument. And also it kind of blends in with controlling of the masses and leaking out information from Shakespeare to Kubrick of how it’s done and the process of how things are implanted and what modern day propaganda is and with within movies. And we’ve seen it throughout the years. I like that they brought up the William Shakespeare stuff because that’s giving people an idea that this is not a new concept.

Yeah, I know Edward Bernays talked about propaganda, but before he turned it just like you said earlier, before they termed it calculus or what that was exactly the math of was something. There was some way of it being implemented onto the people. He just. Cause we didn’t have a word for it doesn’t mean that the, the dynamic wasn’t recognized by people and that they knew how to work with it. There just wasn’t a common term that everyone understood yet. So this is, it’s all, it’s all part of like the building stone by stone on this, the.

The next major claim here. And it kind of jumps around because you have to watch this movie as a whole. I would even recommend like watching this documentary maybe twice because you learn things towards the end that would have been good to know when it first goes through because of how abstract it is. One of those is he talks about the ending of 2001 Space Odyssey and that a lot of viewers and even critics, even over time, even, you know, since it came out till now, consider the ending to be confusing. Or maybe Kubrick didn’t know what he was doing or that he lost his way.

And Jay Widener says it’s the exact opposite of that. That Kubrick knew exactly what he was doing and that anyone that doesn’t understand it doesn’t get that. This was Kubrick describing how far advanced he was and understanding what the philosopher’s stone was and what true alchemy represents. Huge claims to make in an hour long documentary that’s comparing a mo. Like two movies to, you know, like ancient architecture. But some of the things that he brings up is that a. Again these, this might sound a little bit wild. They all kind of connect in an interesting way that the Arthur C.

Clarke, the guy that was working with Stanley Kubrick on 2001 Space Odyssey, he was a science fiction writer, he was an advisor in some capacities I think to NASA at various points. That he wrote this book called the Sentinel and that. That’s apparently about this monolith that these astronauts find. It’s kind of the premise of 2001 Space Odyssey, except Jay Widener makes the case that that’s just the exoteric part that you’re meant to see. And those are the, the dots you’re supposed to connect on the outside. But that really. It’s a retelling of Arthur C. Clarke’s older story called Childhood End in which humans make contact with this extraterrestrial intelligence that ends up kind of controlling their evolution.

And, and very. It’s not like a good guy versus bad guy sort of Hollywood movie way. It is very ethereal and Abstract and science fictiony. So I highly recommend looking into that. But. But that this is part of that premise of how Stanley Kubrick brought Arthur C. Clarke on because of childhood end. And they both knew that they were really making a movie about childhood and not the Sentinel. But to all the studio execs and all the marketing, that it was more about the Sentinel. This is an important point because of some other things that come up.

One of those is that the main character in 2001 Space Odyssey is called Bowman. And that Bowman goes through these three different transformations, which aligns with alchemical theory. There’s also the number four that comes up in the actual stages of the movie. And that in traditional alchemy, the very first phase, you go through these. These four different phases. And in the movie 2001 Space Odyssey, those four different phases are apes. It’s. It’s us seeing these, like, ape creatures before humans existed, and how they go through these individual transformations and then make contact with this huge monolith that emits these weird tones.

And that once they make contact with this monolith, they understand how to use tools and technology. In the case of a bone. So that’s. That’s one of these big transformations. But Bowman himself goes through three towards the end. One of them is that he’s on his deathbed and the monolith shows up at the foot of his bed. I think that’s one of these kind of transformations, like him entering death. Then he turns into a light baby or a Starseed. And you’re like, what do you mean he turns into a light baby? Like, literally, you got this old guy in deathbed, and he points out this monolith, and then you see the monolith, and then it cuts back to Bowman.

But instead of Bowman being there, it’s just a big ball of light. And then slowly, you notice that that ball of light is this baby, like a fetus all curled up inside this bubble. And then it shows the baby going into the monolith. And then when the camera cuts again, it shows the baby going to Earth. So what this is saying is that Bowman, he sees the monolith for what it is. He has this, I guess, like, moment of enlightenment where he has transcended normal human thought and, like a Rosicrucian aspect almost, that he. He has become an ascended master.

And by doing that, he’s immediately converted into a baby, and that baby gets to go back to Earth, kind of implying that now Bowman has this ability to take all the secrets and knowledge that he learned in this lifetime. And. And he gets to start a new lifetime with all that information, which is sort of the closest to a rational version of immortality that we’ve got. I think you piece it together perfectly like that because I liked how like they even go where the. The ape. The ape creatures before they’re humans, like, kind of like hinting at this evolution of that.

That’s our start. And when they touch the monolith, it makes that noise. And then they start to figure out tools and they even like go. Go as far to. Jay goes as far as to say not only did they figure out a tool, and now they’re all eating like real meat. Not like, you know, whatever they can rummage, gather and find, like fruits or whatever. And then that they’re even use the tool to kill one of the other apes. And that the other apes become brutal and. And start beating down on this already dead ape. And even though they’re not doing anything, it was like this sign of humanity, of kind of the violence of humanity in the beginning of that.

There’s another thing about Bowman, too, that was really interesting to me, and that’s. He starts linking it to the astrological that a man with a bow, a Bowman, would be Sagittarius, and that the actual Sagittarius constellation, that. That Bowman is shooting his arrow directly into the Milky Way galaxy. So there’s. There’s all this extra layer. And if you take one of those premises that nothing Stanley Kubrick does is spontaneous and it’s all planned. And even the fact that this guy’s name was Bowman, that these links to constellations in the Milky Way, like those really would have played in to Stanley Kubrick’s thinking.

So that leads me into the next major claim, which I’m gonna have to go light on because this could turn into like a four hour sort of discussion here. But basically that from opening sequence to the last frame, as I just said a second ago, Stanley Kubrick leaves nothing to chance and nothing is spontaneous. That the entire movie is about the monolith. And in fact, the monolith is the movie and the movie is the monolith. This is. This is like the most abstract claim my. Made by the movie. That takes a little bit of thinking and you have to.

Maybe I didn’t get this the very first time. Maybe I did. But what he explains is that the aspect ratio of the screen when 2001 Space Odyssey was released was the exact same aspect ratio as the monolith inside the movie. And that if you go back and you consider that it started with Falconelli and hidden messages in cathedrals, and that turned into Shakespeare’s hidden messages and manuscripts. And now we’ve got that same level of information encoded into movies that Kubrick himself realizes that he’s got the ultimate technology that can store the ultimate amount of symbolic representation in the form of cinema, and that the cinema itself is the monolith.

Like, this is him contributing to the monolith, which is going to help humanity get out of these different sort of ebbs and flows of progress. Again, this. This one’s a little bit of a thinker, man, but I. I found this claim to probably be the most fascinating. And I think what he was building up to throughout the entire course of this documentary was this claim. Yeah, I thought so too, because he. He really emphasized of how the monolith represents the philosopher stone as. Through the whole thing, this. And it really connects. Like you said in the beginning, they’re talking about alchemy, and you’re like, kind of like, well, where are we going with this? Right? Like.

And then he connects the monolith to be. This is throughout from the beginning of the movie In Space Odyssey 2001 to the end, even when Bowman is in, like. Like you said, like, when he turns into the Starseed and he’s having. On his deathbed, even at. To a point when. When how the. The AI Robot. Not AI, but you know what I mean? Yeah, definitely. He goes crazy, right? Like, because they’re. They’re kind of like, hey, humans are not good, or whatever. Kind of like I’m paraphrasing and. And mashing it together. And Bowman’s left by himself.

Remember, he sees the. The footage where it’s like talking. The government official talking about the monolith. And it was from an ancient civil space civilization. And that’s actually what they were looking for. The way that he pieces it together and you see it through the movie. I haven’t seen Space Odyssey 2001 ever. I’ve never seen it, and now I have to see it. Like, you definitely have to see it now. No way. I can’t. I’m going to watch it, and then I’m going to re. Watch this, because I think I’ll get a better understanding. So some of the other things that come up in.

In that connection is that in 2001 Space Odyssey, we mentioned that the apes go through those four different scenes. And each of those scenes represents the first steps of an alchemical transformation. And in those scenes, we also see that every single time there is a. Some Sort of a celestial alignment. In the case of this movie, it’s usually an eclipse. Every time there’s an eclipse, something happens on Earth that changes everything. And that the information being encoded here is that humans and all other animals, all life on Earth is kind of just subject to the whims of these celestial alignments.

And when a celestial alignment happens, we’re all going to be affected by it, regardless of how smart we think we are or how far, you know, we are into certain types of evolution or thinking that all that matters, almost nothing at all. In fact, it’s emphasized because the first time the monolith comes down, it teaches these apes how to use a bone. That bone becomes a tool. And that bone begins to represent all of technology all the way to the point where you see him, the. The ape, whose name is a moon watcher, by the way.

This moon watcher ape throws the bone into the sky. The camera pans up and it looks at the bone, and then it fades directly into a spaceship. And what it’s saying here that Kubrick is making this claim that all of civilization doesn’t matter at all. Like from. From before monkey, if you go with evolution, before the first monkey even turned into a human, that the use of technology was all that mattered. And now we’re in space. And once it cuts to space, he. Jay Wagner points out a really interesting note is that you don’t see nature again for the rest of the movie.

The other two hours of the movie, you don’t see a tree or dirt or any, like a cliff. Nothing. Everything from this point forward is all artificial, the food and everything. And that. This. This major kind of transition. And I’m going to read into this a little bit, it goes into the HAL 9000 connection and that. The HAL 9000 connection. And this is kind of like the final claim that he really gets into is that the cost of tool making was our souls. So as soon as the first ape finds that bone and realizes he can use it to kill, the same way that he can use that bone or technology to create a.

A spacecraft and go and travel the stars, right? It’s the same thing. Like, it’s. It’s just this external tool that humans or apes learn how to use. But the more you use it, the less soul that you have over time. And that the HAL 9000, in an ironic way, computers are what. Or technology in general is what’s killing our souls. But then the Soul jumps into HAL 9000. HAL 9000 is this AI kind of computer program on board one of the spacecrafts and it gains kind of consciousness. It becomes self aware and starts making decisions and thinking for itself, which is now.

It’s kind of a trope that’s been played out in sci fi movies, but this was kind of ahead of its time in Space odyssey and the how 9000. And the how 9000, it gets the soul that humans are otherwise going to let just evaporate. Like, if it weren’t for technology hosting the soul, that there’s this claim being made that the soul dies out and humans could potentially live on without souls because we just stop venerating as much and it goes away. So the soul maybe realizes this and it’s like, oh, well, if you guys aren’t gonna use me or help me out, I’ll just hop into this how9000 thing.

I’ll just hop in to this chat GPT thing because I’ve got a better chance as a soul of surviving longer. Which is. It’s a wild concept to think about. Like, because then I started wondering and maybe this isn’t where Jay Widener was going, but it’s where I was going. Was that, do souls belong to? Because I always think of like the souls attached to this body that I’m in, and it’s kind of using it as a meat suit. But I always assume that like a soul matches to a body. But this movie and this interpretation, it’s almost like, well, maybe the soul’s just using this meat suit because it’s the best thing at the moment.

And the second there’s like a robot body that’s better than this meat suit, the soul jumps into that thing. And now humankind as a whole has no reason to exist anymore because we were just meat suits for souls. And now souls found something better. Oh, it makes sense, right? Crabs go to a larger shell. Different, more durable shell. I could see that. And to your point that at this time, again, I haven’t seen the movie A Space Odyssey yet. I’m going to see it. It was made in 1968. You know what I mean? Computers weren’t prevalent.

Like, I mean, I know there was a computers and there was Internet technically, but most of that stuff was military. It wasn’t. We weren’t like now where we have a computer in our pocket or even a home computer at our house, in our office. Maybe if you were like, you know, a rich person. This is before even people playing pong. You know what I mean? This is before video games. So it is pretty crazy that he was either tapped in, he. He was Tapped into more than just military stuff, let’s say. Because he was way out there.

Because when I’m looking at what they’re presenting, I’m like, man, you have an AI and we haven’t even, like, you don’t have a home computer yet. You know what I mean? That’s. That’s such a stretch that that’s why this movie probably holds up. That’s why I’m like, dang, I gotta see this. Well, and. And in my mind, it was so masterfully done because he really, like, I’m convince that was the message Kubrick was showing us was that the bone and a freaking spacecraft out in the middle of, you know, the galaxy is essentially just technology by any fancy other name.

And that even when humans, you know, quote unquote, advance all the way to making intergalactic space travel normal, it’s not that much more advanced than a monkey finding a freaking bone on the ground and bashing, you know, some other animal over the head with it. That we convince ourselves that it’s very far and technologically sophisticated and all this, but we’re still just monkeys beating things with bones, even though it seems like it’s more, you know, convoluted than that. Yeah, I think that’s the point that I got from the film as well, is that no matter how far technology goes, like, we’re still that primitive ape deep down.

And you can’t change that. Right? Like, the violence and the destruction. You can have this vast utopia of paradise of what you think, like, oh, technology, everything’s easier, more convenient, but you still have that brutal being of like, hey, I’ll kill you. And. And for no reason. Well, and I think he kind of points out that part of the reason might be that any alchemical transformation does involve some sort of a violent reaction. That just because you’re advancing to the next level of consciousness does not mean that violence and war goes away or that any of the vices of humanity go away.

If anything, they probably become more emphasized and at a higher scale. And that all that’s combined. There’s not like a clean, easy, family friendly path to creating the philosopher’s stone. That in order to get there, like, large sacrifices have to be made. And in some of those sacrifices, it’s. You might need to beat your. Your monkey brother to death with a bone so that you can survive and they don’t. For hidden treasures and overboard moments. I mean, once again, for the hidden treasures, I’m, like, way too close to the source material here. I feel like part of it was kind of written directly for me when they mentioned the Falconelli’s Mysteries of the Cathedrals.

I remember when I was in art school and one of. I can’t remember what class it was. It was like it was some kind of like, hippie, dippy geometry architecture stuff where it was like, for the visual, like, investigation architecture. But she had us watch an entire documentary on Falconelli and the secrets of the cathedrals, and it blew my mind. They were talking about cymatics, you know, like all, like, all the conspiracy type stuff. But it was being taught to us by this art teacher I just thought was the coolest thing. And when it came up again in this movie, I thought, what a perfect analogy that he’s drawn here.

But again, it almost felt custom tailored to me. So I don’t know how other people went into this. I just. The. The way that Jay Widener presents this very abstract concept of. Stanley Kubrick is a master alchemist and this is his master work, and that the. The entire premise is all about the philosopher’s stone, and that’s what the monolith is. It is a one stone monolith, meaning, like the ultimate philosopher’s stone. None of that would really click into place if it weren’t for that great analogy that started with the cathedral and then it turned into Shakespeare and then it turned into Kubrick.

By connecting those three dots, it made way more sense. Even though it probably took me a few times of watching this movie over the years for any of that to kind of click for me, it’s HAL 9000, man. Like the. The rebirth and the. The rebirth and growth. And also like that innovation can lead to your destruction, right? Your own demise. While you’re thinking you’re creating this utopia or something that’s like you said, higher. The higher elevated consciousness that you’re still building maybe your own design because the next step may not need you there. And I thought that was like, to me, the little hidden gem.

Another quick little fun fact is that HAL 9000 was a reference to IBM that if you just shift each letter by one, H becomes I, A becomes B and L becomes m. So really, HAL 9000 was meant to be IBM. And that’s what the analogy was, is that, like this use of IBM computers, which was starting to. To become a thing in the late 60s on these huge mainframes that would be in these buildings. So there. There’s like some. Some like, modern references here that a lot of people may not pick up on. Paranormal American fun fact.

We need to get one of those get a little like a. Like a VH1 pop up video. Yeah. And then this one does have some overboard moments. I think that they all kind of do in some capacities. This one, this one, it’s. It’s weird, man, because Jay Widener could have easily. This movie was an hour. The one before it, the part one was an hour. Almost. Almost to the minute. I think it was like an hour and one minute long or something. He could have made this an hour and a half and it wouldn’t have been crazy, because at the very end, after, you’re like, okay, I got it.

Philosopher’s stone and secret mysteries and cathedrals and wailing. Shakespeare and the four different phases and all this and technology. Okay, I understand. And. And then he’s like, oh, and by the way, also, this movie represents the Kabbalistic tree of life and the Sephiroth, and here’s these three different steps. And oh, by the way, the entire tree of life fits into this thing called dot. And dot supersedes all of those. And isn’t that cool? Credits roll and you’re like, wait a minute. Like, I thought I understood everything you were getting at. And then in the last 15 minutes, it’s like, and here’s a whole nother movie’s worth of information.

And I think that it’s fascinating what he’s. What he’s explaining in that, but he does it absolutely no service to go into detail. And I, I just wonder, was there like a esoteric reason that he had to have this documentary be an hour long and it couldn’t be an hour 20 where he let this particular content at the end breathe a little bit more? I have the same overboard, because he’s starting to get into it. And you’re like, okay, dang, this is. And then he’s like, well, they just remember. And you’re like, wait, wait, wait, wait.

Like, hold up, man. I can’t. And it just ends. And then I kept thinking, because then I had seen that there’s a. A Clockwork shining, Kubrick’s Odyssey 3. And I’m like, if you’re wondering, does he expand on that? He doesn’t. We’ll get into it. But know it. That one turns into a different theory. This is the only time. And. And Jay Widener has gone another podcast and he’s got interviews and he’s written, you know, articles and this stuff so you can sort of piece together what Jay was talking about. Also a shameless, quick little plug here too, that I’ve got a live show.

I do on Tuesdays, usually called Synctank with Andre Zertis and David Charles Plate and Andrew K. Of Crypto Kuberology. But that Jamie Charles Plate is, like, really hip to this line of thinking. So I’ve heard. I’ve heard the extensions of where this stuff goes, just to give a sampling, because I don’t want to do the same thing that Jay Widener does here. Like, oh, by the way, now that we’ve got five minutes left, let me dump this other stuff. But he gets in and he. And he makes these three claims and then a lot more after that.

But the three that he starts getting into that are worth repeating here is that the very beginning of the movie takes place on Earth. It’s where we see the monkeys and we see the monolith, and it lands on Earth. So that’s the very first step. Then we see them in space. And because of the proximity of 2001 Space Odyssey and the moon landings, you can kind of correlate, even if they’re not going to the moon specifically in the movie, that it represents moon, because that’s what on everyone’s minds when this movie is coming out, right? So it goes from the Earth, then it goes to the Moon, and then it goes to this transcendent space.

Where Bowman is, is like, at the farthest distance away from Earth that he possibly could be, as far away from home as you could get. It’s the ultimate hero’s journey, right? He’s at his own apogee, which is the farthest point that you can get from something that you’re evolving around. So once Bowman gets to this apogee, then he represents this other concept. So the very first step on the Sephardic Tree of Life in Kabbalah is known as as Keter. And it’s the very first step. And that first step symbolizes a divine will and an impulse to go in a certain direction, so that it kind of does represent the monolith and setting these monkeys up on this path towards technology.

Then the next step on the Tree of Life is. Is Yesod, which represents the moon. So here you go from Earth, then you’re going into space, and. And then we jump a whole bunch of other steps here and get to Da. And Da is where the entire tree exists. And this represents Bowman in those final scenes. I can’t do it justice because even Widener couldn’t necessarily do it justice. You get the sense that he knows what he’s talking about. But I don’t think even someone that’s. Well versed in what he’s describing can fully get, like, the way that he’s presenting it here because again, it’s just like, oh, by the way, blah, blah, blah, blah, blah, blah.

And it’s like, man, I. I really wish that he had either left that out or was like. And go watch version 2.5 that goes into this angle. Like, I. I feel like I’m missing that now. The ripples and waves for this movie, I think, are way more subtle and less pronounced. If we’re talking about tying Stanley Kubrick to the Shining and the moon landing, as we mentioned in that previous episode, yeah, that one’s got some serious ripples in ways because there’s people that are putting it in movies and video games and talking about it. It might not even be giving Jay credit.

This one is so abstract that, I mean, even if someone wanted to steal some of this, there’s not a huge audience. And Jay Widener himself acknowledges this because he said when he first started writing this premise and he was trying to explain it to people that no one was really getting it. Even people that were trying to decode this movie were just not clicking with this material. And I think it’s because it is so heavy and abstract that this might not be the way that you get mom and dad or like your work friends into Kubrick.

Which I think is why we intentionally started with room 237 and then we did Kubrick’s Odyssey 1. Then we did. Because at the end of Kubrick’s Odyssey one, hopefully you’re are engaged and impressed enough to be like, all right, let’s. Let’s see what else this guy has to say. Because you use up all of that goodwill and credit getting through this documentary to where by the time it’s over, it’s almost like, what the hell did I just watch? I don’t know what to think anymore. And it changes the way that you maybe interpret Kubrick, but it does it in such an abstract way that I can see why this movie might not sink in for as many people.

Yeah, well, a lot of people don’t understand alchemy in general. And alchemy is such a far fetched concept to people that it’s like, woo, woo. Almost. You know, they’re like, oh, well, we got science. And you’re like, well, it’s kind of the same thing. But, you know, it is like for somebody that’s not aware of or alchemy, it just like seems too fan. Fantastical for some people, I think. All right, you show me Yours, and then I’ll show you mine. So what do you think on this one? Sink or swim? Mine’s a swimming of Michael Phelps, man.

I’m Phelps in it today. Because for me, it’s. Because it threw me through a loop. Because it’s almost like I was like, did he do this on purpose? Like, you know what I mean? For me, it felt like, oh, man, this was great because I did not expect to be going deep into alchemy me and deep into, like, human, like, nature and. And the whole philosophy of life. Like, it’s. It’s way deeper than I expected. One thing to be talking about, you know, moon landing, faking the moon landing confession. But to actually go through the tree of life and, like, this is like, maybe everything we do has.

Like, once it’s done, everything’s affected. The rip, the ripple effect. Right. Like, after that, it really threw me for a loop. And I. I’m definitely gonna re. Watch it again because I have to watch it a couple more times because I felt like I didn’t get everything. You know what I mean? It’s like something that we’re like, oh, wait, I gotta watch that again. That’s why I’m gonna watch A Space Odyssey and then watch it again. So that way I can have a way better understanding to me to swim all the way. Yeah. We’re gonna have to do a live stream and talk about you watching Space Odyssey and how all of it matched up when we get into that.

So I get me no surprise here. This one is also with Swim for Me, Michael Phelps in It all the Way. He’s, like, jumping off the237.0 high board into the water. So this one also, man, it kind of represents what I hold as, like, one of the best examples of documentaries. And that’s something that will teach you something that you’ve never heard before, hopefully. And it’ll completely change the way that you see things for the rest of your life again. Like I will because of Jay Widener in particular. I’ll never be able to watch any Kubrick movie and not be like, oh, I wonder what, you know, the reason that was there.

Oh, man, a bird flew by in the background. That has to be a reference to Project Bluebird or something, right? Like that. That minotaur in the background. That’s got to be a link to, like, Project Monarch or so, like, that type of schizophrenic viewing habit. Now I’ll never be able to turn that off because of Jay Widener. So I think that it’s made a such a huge impact of every single documentary I saw. It doesn’t even have to be perfectly edited, man. There’s plenty of examples in this and his previous movie that I’ve seen enough versions where it’s like, I know there’s certain scenes where he just cuts himself off mid sentence and you’re like, oh, was that a weird editing thing? Like, it’s just part of the movie.

And we didn’t even bring that up in any of the sort of critiques because it doesn’t matter because the rest of it is. Is so full of great information that I can’t do anything but keep recommend this to everyone. And I even remember back when I tried to get my art director, my creative director at Disney to watch this thing. They didn’t care. Especially this one, I think maybe got like a half hour into the first one about the moon landing and it’s like, oh yeah, haha, that’s kind of cool. Yeah, Kubrick did the moon landings.

This woman, you open it up and it’s like Falconelli mystery cathedrals and William Shakespeare and, and aspect ratios that represent, you know, the blackening and the whitening of the alchemical process. Unless you’re already into like seven different topics already. This one, it’s almost like, what am I watching and why do I care about it? But for me, like, I love everything that comes up in this. So I feel that this is like a masterpiece in documentaries. And I think anybody that watches any of these documentaries should definitely go on a Kubrick movie spree. Right? You should go on a marathon of all Kubrick movies and then you could come up with all kinds of different things series from that next on the horizon.

If we’ve done this correctly, and I hope we have, then it should be coming right around October. So we need to do some kind of Halloween or horror themed documentaries. The very first one is on something. I guess it’s technically a conspiracy, but it’s a little bit more modern. It’s a documentary called Beware of the Slender Man. Slender man was one of these Internet memes that turned into kind of a Freddy Krueger out in the real world. I don’t know. I mean, I was around when it was getting big, but I didn’t kind of have my thumb on the pulse of this thing.

So I’ll be learning what the hell a Slender man is. Yeah, for me, I knew about it because my daughter, you know, it was like one of those urban legend things and she was like super scared of them because they would talk about it at school and I’m like, that’s not like. So I had to investigate what this thing. So it’s pretty interesting. Well, that’s going to be it for this episode of under the Docks. Hopefully you got your fill of Kubrick Month. Hopefully you’re going to go out and rewatch some Kubrick films, go and watch some of Jay Widener’s releases.

And I guess I’ll just throw this out here too, that there is a third in that series. I believe it came out this year in 2025. Kubrick’s Odyssey 3 A Clockwork Shining. And this one is about how A Clockwork Orange represents the CIA’s MK Ultra program. And what did Stanley Kubrick know about that? That was way ahead of his time. Right. And this one was again, kind of written by Jay Widener, but directed by Ryder Lee, who has been on my show a couple times and other people’s shows might even be able to get him on to talk about that third installment.

So I don’t know we’re going to get into that one. Hopefully it’s not a whole year until we do Kubrick Month again. But if you like this and any of this was interesting, definitely give that one a watch too. I think you can go and find it on like Amazon and watch it on Prime. So Kubrick’s Odyssey 3 by Jay Widener and Ryder Lee. And don’t forget to go to killthemockingbirds.com and paranoidamerican.com go to the subscribe. Become, you know, like this video right now. Share it to everybody you can. And there’s plenty of other evidence that you can find@ paranoidamerican.com where you can see it in comic form.

That’s it for us today. Peace, Peace under the the docks. Ready for a cosmic conspiracy about Stanley Kubrick, moon landings and the CIA. Go visit nasacomic.com NASA comic.com CIA’s biggest com Stanley Kubrick put us on. That’s why we’re singing this song. Go visit NASA NASA comic.com go visit NASA comic.com nasocomic.com CIA’s biggest con Stanley Kubrick put us song that’s why we’re singing this song about NASA comic.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.

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