FUTURESHOCK: PARALLAX VIEW / Trump Assassination Analysis - BLA / Jay Dyer

their homework for them. But this one comes obviously in the kind of there's a bunch of seventies conspiracy films and there are a few of them are directed by this same director, and the cinematographer also worked on a few of them, and so Network All the President's Men Telephone, I covered the conversation cinematographer did the Godfather Godfather Part two Apocalypse now is in there. There's all these films, So where do you want to start with this one?

Because it's it's of course extremely relevant right now.

quite a bit that I didn't notice. But I think now that when when he gets to you know, the South and he's dealing with the with the good old boys, a lot of this I think is references to elements of you know, people thinking that elite oil people were involved in the JFK assassination, Texas, Big Texas, Uh, Dixie mafia people might have been involved in that. So there were some nods to things that I didn't catch the first time around, but really relevant, I guess now after

you know, two weeks ago with Trump. So yeah, I would just kick it off by saying, yeah, it's in this vein of seventies conspiracy movies, and I just went through a couple of other seventies conspiracy movies too that have been kind of forgotten. Demon Seed is interesting. It's not relevant to what we're talking about, but Demon Seed is a Dean Koontz Crowley based film or story, and that one deals with like the new birth of a new aon through the birth of Antichrist, who's a kind

of android figure. But this is more so again like MK Ultra, I couldn't think of that. There's a few other seventies stuff that's worth mentioning to you. In the early eighties, I don't know if you've ever seen Looker. Looker's a good yeah, MK Ultra. It's a little later, early eighties, but there were a few of these MK culture based films at this time.

of course Three Days of the Condor. I covered six Days of the Condor here, and the Three Days of the Condor film the book and the film, and of course the end of that one is interesting because Robert Redford, it's one of the only movies that was allowed access into the Big nine place in New York and it ends with that, and of course he's walking out saying,

you know, I'm gonna expose everybody. I'm gonna take this to the New York Times, and they say, you know, how are you know they're going to print it all the Presidents men. Of course is based in DC, and you know is there are many scenes in the bullpen. But what's interesting about this is that you can watch

this movie. It's kind of a straight movie and you you you realize that you're watching Warren Batty and it's very seventies and he's this journalist on the on the hunt for what happened at the scene at the beginning of the film. But then I noticed that every time he goes to talk to Hume Cronin, who's his boss, in the bullpen, like there's no one there, it's just him. And I'm starting to thinking like, is this some sort of form of handler that he has, This all some

sort of you know, is this all synthetic? Is it just a show? And that kind of plays it, and I don't you know, I think you can watch the movie a few different ways, but there's so many elements in this movie that that really tie into the I mean, like the scene. This is nineteen seventy four, so it's after Clockwork Orange, but there's a very Clockwork Orange.

really bizarre. So if anybody doesn't know what the movie's about, what happens is basically just in a nutshell is that we have it. We're in Seattle. The movie starts, we see the space needle, We go up the space needle. Warren Beatty is there and there's a I guess a presidential candidate named Charles Carroll of all things. Charles Carroll's up there and there's waiters there in the restaurant at the Space Needle, and almost right away he gets unalived.

And then we find out we cut three years later and we have this scene where Warren Batty like forces his way into these people's house. He ends up at a police station. Then he gets confronted by one of the reporters who was there and says basically that everybody that was at the event has been smoked. Everybody's going she's in fear for a life. Warren Baby is kind of playing the normy role here. He doesn't you know. He's like, ah, it's nothing, and then it turns out

that she is like the next day. So then this sets him on a path of trying to figure out what happens. He goes through meeting various people. Then he tries to infiltrate his way into a corporation. He finds a leaflet inside of a deputy's desk or a sheriff's desk that says the Parallax Corporation. He tries to infiltrate his way into this. He goes through the Ludovico method.

He ends up as a guy that he thinks he's going to expose how the corporations or there's some sort of corporate way of playing into an assassination squad or whatever it is. And then fast forward to the end of the movie and we have a gigant like a gigantic civic center where there's another candidate, and then Warren finds himself up in the rafters and the the great twist in the movie spoiler, the great twist in the movie is that he's up in the rafters, he looks down,

he sees a rifle. The guy gets smoked. Warren baby tries to run out, and then he realized, you know, and he's gone. And then we realized that he's been a kind of unwinning Patsy and he's the guy blamed for it. And probably the the best part of the movie is the fact that it's bookended by the the the board, the government board who's investigating it. The movie begins after the first scene. It begins with we're closing in on this kind of Council of six, just like the Watergate.

go ahead. Well, I was gonna say that the movie is is so crazy because the one thing about it, and not to get too into the way that the movie is shot, but one thing about the seventies movies that's different from the from for instance, the seventies. I mean, you've talked about this so much. The seventies had like this whole lineage of conspiracy movies. The eighties it's kind of dormant. And then the nineties again we get a bunch of conspiracy movies, you know, conspiracy theory, we get

we get the Will Smith movie. Then we go into the late nineties with you know, ending with big sort of glimpses into Illuminate, Confirm. But the difference in these movies is that there's a kind of tonal difference. So the seventies movies deal with kind of obvious post Vietnam, post Watergate sort of paranoia, and the nineties, you know, is very pre nine, a post Cold War. But the difference in the way that the movies look is that the nineties movies are usually cut. They're like jump cuts.

It's you know, technology is coming and and we we're always moving fast with the characters. But the seventies movies are dominated by the framing and the scenes. So like the very first scene of this movie, it opens and we see this gigantic totem ball and we're looking like we're looking up at it, and then the total we kind of the camera moves, and then we see the space needle, and then we see these characters like rising into the sky. And every shot in this movie is

dominated by like the like encroaching. There's nature, there's encroaching buildings, there's like big steel walls. There's the scene of the dam, and I guess what that's trying to show us is that we're getting this glimpse into this thing and the

people are very small and the system is huge. So like if the scene if we're looking at the scene here, it's like the person is down here and all of this stuff is building or dam or or whatever we have, and so it's it reminds me of those like Japanese paintings of like the guys that are very small in the waves or nature are very big, but instead of nature.

And they also change and control your perspective. So I think there's a play on this idea of things being controlled based on perspective. And if Parallax can control your perspective, they can control your interpretation of reality. I think there's some quote from Kissing or something to that effect where it says we don't have to control reality, we just have to control the perception of reality. So I think

that's point of this corporation. This excuse me, this mega mega entity, and it has this fingers like an octopus octazon on fingers. But you know what I'm saying, like, if they did, they would have eight fingers and they would be in everything. They have holdings that deal with

even human engineering. So human engineering is the division that the film is concerned with, because, as you pointed out, Warren Beatty is kind of stumbling down this rabbit hole of accidentally discovering what all's really going on, and it turns out that it's, as you mentioned, a kind of a private uh Mirk force that's being recruited in a

it's like a privatized Chaultra. So they've got some technique by which they break down individuals that they've profiled that have antisocial, sociopathic, psychopathic tendencies, and that makes them a good fit for this program. And eventually, because of all the you know, the problems that Warren Baty's having in his life as a journalist, he's you know, third rate. They say, he's you know, struggling look at for money, he can't keep a girlfriend, he keeps you know, losing

his girlfriends. They keep saying, oh, you're perfect for this program. You need to be in the security detail. That's what you're made for because you don't. You're not like other people. And they play on his vanity, right, They they butter him up and say, did you ever consider that it's not you this the problem, but it really is everyone else, right, That guy butters his A corporate handler guy butters him up,

and they eventually get him into this. But I'm getting way ahead of myself, but yeah, I think you're right that the camera plays a trick with perspective. Like you said, well, you have this, you know, totem pole that's close up, and then it pans over and you see the space needle. It's far away, but they kind of look like the same size, and that's kind of again an example of playing with and twing with perspective, which is what the paralyzed corporation itself does.

worst apartment. The bed is right next to the front door, and then there's a little there's a little kitchenette right there, and the guy's like, you know something, whatever you're cooking's burning. He later comes in and the guy's lying on his bed his feet or in view right when he walks in. And and there's the great scene which I'll come back to, but there's a great scene where he he reaches out to this psychologist who is the guy who that's the guy he's in license to kill, you know, he like

runs the whatever. He goes into this uh, this obvious like I don't know what it is, like a Jose Delgado facility, walking again. There's a monkey in there playing pong, and he shows him the the the list of you know, the test for the Parallax Corporation. You you'll make a great fit. And he's like, do you think you can tell me how to take this test and answer, you know, like a psychopath And the guy literally goes, We'll just

have Jim Jim over here take it. Yeah, this guy, this guy you know, smoked his aunt and three other people, He'll take it. And then the camera cuts over and this guy like walks out of the back. Notice he takes the chimp away, like the guy is gonna be a threat to the chimp, right, The guy walks in and the guy's like and he's like, yeah, we'll just have this guy take it. And the guys looks like Charles Whitman or something, you know, he's he's the most cycle.

So the guy takes the test for him and answers off the charts like this guy's the biggest psychopath you've ever met. And then he But the question is like, is this part of it is this is even the way that he goes about this part of it?

suitable candidate or recruit. And it's entirely possible, like you said, to read it as if it was it was early on, because he tells the story as you mentioned later on that oh I was, you know, partying one time and I was drunk and yeah, you know, I ended up running around somehow with my clothes off, and some woman claimed that I was a you know, tally whagger or wagger or whatever they call it, a willy willy wagger whatever they call it in the movie. And he says

that ruined my career. And then he says, but I'm pretty sure somebody put something in my drink, which suggests again that perhaps he had been uh, they had orchestrated this to get him into this position where he couldn't find good work and employment as a journalist anymore, and he would be this candidate. And it is the case, as his ex girlfriend points out at the beginning, that he kind of is a selfish guy, like he doesn't really care. She points that out, She's like, you don't

really care. He's like, well, you know whatever. He's kind of just aloof and apathetic. But then when she dies, he seems to be more concerned because then he starts wondering if something really is going on. And I like the idea that a lot of these seventies movies promoted. You know, this is like coming after Watergay Woodward Bernstein stuff. We are sold on the idea.

the journalist as the fourth estate. And I don't think they could have had that role without movies propping them up. You know, this is I mean, we're ess interiesally because nowadays we're living at the end of the fourth estate, and you know, legacy mainline journalism is literally dying before our eyes. In the last several years. Their numbers are tanking. So it's interesting to see the propaganda in the nineteen seventies that the journalist is out there, you know, to

get the scoop at all costs. He's willing to even die, you know, to expose somebody, assassinating some politician, And of course that's not the truth about journalists at all. Anyway. Just a side note, that.

straight up journalist. He's the editor and he's pushing them and they're off doing their their shenanigans and their journalistic work and all this stuff. But in this movie, it's different because it's much more local and you go in and it's it's just one boss in there. There's one scene at the beginning where they go in there's like two guys in a kind of in a mirror, but in the rest of it, there's nobody in the office. And he takes like an unnatural ownership of his character,

like he's a handler. He you know, he's he's he's offering him money. He has the money in the in the envelope, he talks about his personal life. You know, we gave you another chance. You know, you're best described as what does he say, like a hostile misfit before he before he goes on later to say that he has you know, blatant andy social behavior meet, which means I don't like to put up with people who are trying to fuck with me or whatever he says later

on in the movie. But with the human cronin Boss is almost like this father figure. And the weird thing about this movie is again that I think when you first watch it, you're so even if people are young and they are watching it and they don't know who Warren Batty is, if they don't know the lore of Warren Bady or whatever, you watch the movie and you go, this guy is. You know, he's obviously a movie star.

He's a striking guy. And part of the seventies thing is you watch him and you feel like you're watching Warren Baty play a role. But on a rewatch, you watch the movie and you go, I feel like I'm watching a guy playing Warren Baty playing a role like that. He doesn't he doesn't have that many lines in the movie. He does weird things. He doesn't his personal life is very strange. He's like living in a motel and it's

almost like am I missing something? And then by the end of the movie you kind of figure that out. And then like you were saying, you sort of start to think, is this guy somebody else? The whole time, Like he looks like a normal guy in the movie, but he also looks like a bomb at times, he looks like a you know, he just he looks he looks at the beginning, actually the first scene in the

movie where you see him is before. Okay, so the movie opens, you see the the totem pole, you see the space needle, and then you wait for this weird like parade typical probably you know, political parade. It's like these Indonesians are dancing. And then you see this guy come on a fire truck like like Daniel da Lewis and gangs in New York or something, and it's like,

I love Fourth of July. And then when you look at it, when we're looking side on and he goes up to be interviewed by the lady with the short hair who's baby's friend. Later you see Warren Bady in the background. He's behind like ten people, so he's not even in the he's not in the forefront. He's in the background of all these people. You see the guy in the in the foreground with the glasses on, the

Austin Talker character. You see the lady. You're like, people are milling around, but you're like, what's this guy milling around in the background. And then when you rewatch the movie, you're like, this is this is an assassination. It's clearly about to happen with kind of sketchy characters in the background, but Warren Batty's one of them. And then when they go up into the space needles, what's interesting is that

it's very quick. It's it almost happens right away. We have the waiters and we have like the switch off, the handoff with the tray, which doesn't like make sense in terms of continuity, because we see we see the actual assassin's face, which is clearly him. I mean like there's a post here and he kind of he kind of like comes out from behind this post. You're like,

that's clearly the guy. And then they we watch the assassination take place from the little balcony outside of the glass so first we're inside of the thing, and I know that I know that the Gordon Willis, the guy who photographed the movie, said that what he liked about what he did with these movies was like, you can see the city scape, you can see Seattle in the background, but we're supposed to be concentrating on the characters in the foreground, but they're kind of shadowed, and so the

exposure is is like, Hi, we see the outside, we don't see their their faces, and then all of a sudden, we go to the outside and we're looking into the space needle through the glass. And he said in an interview they asked him like, w what did you do

this for artistic effect? And he said, well, like he was an older Hollywood guy, He's like, well, listen, the whole point of this, you know, is that if I'm doing a movie and I'm gonna shoot the movie and they say, all right, we need fifteen cuts here in this scene, that I cut the cuts. So basically, I say, we can get this done in three And the only reason he did the glass was for effect, because because it allowed for when he got shot, for him to

streak down the glass and see the bloodstain. But he said all the intellectual interpretation comes later from other people, which is an interesting way to think about artists doing this. But what it shows this is that we're like looking in through we're looking through the looking glass on this thing that's happened on the inside, and all of a

sudden things start to change in terms of continuity. Because when they chase the waiter, who is one of the guys with the gun that later happens with Beatty, he runs, you know, after the assassination, and he runs on top of the space needle and they chase him. There's a great scene where he's on top and then they he falls and he trips and falls and falls off, gives a will A Wilhelm scream. But it doesn't make sense

because we were just on the balcony. So there's a balcony here and then the space theedles, So if he fell off, he fall onto the balcony, but we assume that he falls off like into space. He falls off into the ground. But the whole point of that, I think is that, like you said, like our our perspective is distorted by events we don't know. We can't believe our lying eyes, and even though there's clearly two guys with the gun there, everybody's just gonna remember the one guy.

There's even in that scene, there's even a woman in a polka dot dress. It's RFK r L. Later and all of the people that are that are there start to get start to disappear, and when they go through the list of people disappearing, I mean, it's exactly like JFK.

do the security stuff. At that point is basically you can't see his face, and so he's essentially become not He has no identity, You can't identify him anymore, and so that you're right to point out that he was probably profile because they saw him as a person at a breaking point who was really lost with no identity. The corporation will give you an identity, will tell you that you're, you know, the fittest hit man out there, Right, you're gonna get a Hitman of the Month award. Yeah,

you're a special person. So and they saw him on that. But I think the other elements, as you point out, is that this is a recurring motif that was already

making its way into film after multiple hits including JFKRK. Okay, we're getting this recurring theme of the random loan shooter who is a nut, right, the loan Gunman's it's being criticized in the film as obviously not that not the case, But as you pointed out, we're only we only know what the official story is of these events, and so that's the parallox view, which is that there are there actually corporate merk squads that are hired by these cutout entities.

And the answer is yes. And in fact, in the nineteen eighties, the intelligence operations of this kind, these sort of black ops things, they get more and more privatized. There's a famous situation where Reagan privatized a lot of the intelligence in the nineteen eighties and took it away from the more normal sort of CIA role of who would have been doing this in the fifties and sixties,

even under JFK. They were moving more of this stuff to be under the cover of NGA and other entities that weren't the classic sort of CIA, and let's you know, bring in a Green Beret sniper out of Vietnam to do this kind of stuff. Now it's turning into more and more of a privatized thing, and that's really probably the norm today is that this again it becomes prophetic in terms of how mercenaries and assassins would probably be

recruited nowadays. So it also reminds me of, you know, Dave McGowan's Program to Kill books because her book and then other other books that have touched on this, which is there's a you know, the Navy guy Thomas Narreutu talked about the Navy recruiting psychopaths to be assassins a couple of decades ago, and the Phoenix program obviously is probably there's a nod probably to the Phenix program in this film, which was the William Colby plan during the

Vietnam War to basically create psychopaths to terrorize the viet Cong to to win that conflict through terror. And then of course Dave McAllan theorizes that many of the some of the main serial killers that we know of might have been part of that program because they were trucked off the Vietnam. They did involved themselves in doing LSD

and other things, and so it's very possible. It's interesting that there's not a lot of the drug emphasis in this, although he does say that one line that he thinks they drugged him at a bar one time. But I like that the method that they use is kind of ambiguous. It's I mean, it's corny because you just see this screen that flashes a bunch of like depression era images and I'm sitting here thinking this is.

watch just horrendous things. This is a lot more tame, a lot more boring, and we don't really know what it is, but it's almost like, well, Warren Beatty is the monkey right when he first walked into that to the Parallax Corporation, and then he's watching the monkey play the video games, which again there's this there's a symbolic prophetic significance there that the technocratic elite are going to make mankind be like a bunch of monkeys playing video games.

This is think of the viral video a few years ago where the monkey was just scrolling on his Instagram feed, right, and he couldn't stop. So that's where we are, and Warren Beatty is the experimental test chump. Will be mind controlled too, or I mean, he's not explicitly mind controlled to be you know this like programmed assassin with trigger codes like we often think of it, but it's enough of it that he's kind of nudged into being at the right place in the right time to be the Patsy.

into the thing because the song is so bad. It's like, you know, Mother and Daddy and it's like this seventies sort of country Joe in the fish like country song playing. I think I guess the point of that is that the difference between Alex undergoing this and him is that one we can't see Warren Baty's character undergoing it. He's far he's far away, just like we saw the court scene at the beginning with the bench and he just comes in and they say, you know, please sit down.

He sits down willingly and watches this film which goes on for too long. But it's not like it's not like Alex in the Ludovico method, where Alex enjoys the he's like, I'm here to see the videos, you know, and he he's watching it and it's only it's actually in that film. It's like you said, it's the combination of drugs, the eyes, the straight jacket, probably electro shock or whatever, and they're not showing. And then the fact that they mix in all of the imagery with with

a replay of crimes that he himself has done. So so it's like it's supposed to hit him and it's not until they add the auditory element. With Beethoven, it's like his programming, his programming code. But I sort of contrasted that with there's a I read this book on Mangola and it talks about the you know, some of the and and he and Klaus Barbie both did this

in World War two, you know, and they get they hired. So, see, I hired Klaus Barbie because at the end of the war for people, for the folks at home, people did not know that at the end of the war, when the Allies were looking for, you know, somebody to deal with their new enemy, who better to deal with it than the guy who was tasked with, you know, infiltrating

or or finding you know, breaking communists, I suppose. So one of the things that Klaus Barbie did was when they when they wanted to find out information or whatever. They snatched a guy. It's just like Phoenix program. When

they snatched a guy. What they did was they asked him a bunch of questions and the guy would you know, he would lie or whatever, and they said, okay, that's fine, Well, for your service for being in here, and to apologize, we have a gift for you, and they would give him a gift and it was a box and it was just like in seven. They would unwrap the box and open the box and it was like his wife's head in the box and they would say now you know,

now what do you think? And the guy would be completely shattered, completely broken, and they'd bring in other you know, people close to him that he knew, and they would say, now, this is gonna happen in front of you, So think I would be willing to just go, you know, I'll work for you whatever you want. And the Ludovico method like kind of sort of hints at that, not like

that Alex. He's a psychopath anyway. But this movie is strange because it's because they are trying to find a person to do these things, but they've already found him because he walks into the thing. But also his daily life already is already in line with what they want. I mean, so so for instance, when he goes in and visits the like bar or whatever, and he's and he gets in the fight with the deputy and the sheriff.

He gets out of it by he doesn't stop. I mean, he even comes in like through the wall and he's still fighting. And then when they take him to the dam, he fights the sheriff. When he steals the car, he crashes to the grocery store. It's very quick. He like crashes into the grocery store, runs out the back, gets in a truck, and leaves. He's got an amazing way of getting out of trouble. He can just kind of

slip through anywhere. So I guess that's part of them finding, you know, this guy who seems to be able to infiltrate all these places. The craziest scene, though, to just sort of jump ahead here, the craziest scene is when he's tasked with like following the guy and he's the assassin. The assassin knows that he's being followed, right, and then he goes to the grocery store parking lot. He switches cars.

He's got the suitcase, He goes to the airport, gets on the plane, and Warren Batty apparently, I guess at the seventies you could just walk right onto a tarmac and just walk right on a plane and play and pay right there. I mean, it's crazy, he just walks onto the plane. But that's not the crazy part. The craziest part is that when you rewatch the movie, you realize Warren Batty follows the guy onto the plane. He knows the guy has a bomb in his in in

his suitcase. He tries to write on the mirror, he erases it, he writes it on the cocktail napkin, and then he calmly sits down and then waits for the plane to land and then just walks off the plane. And he has no emotion about it. But the fact is that he's followed a guy that he knew had to bomb onto a plane and gets on the plane anyway and then gets off again, which is insane. So so I guess he is the perfect guy.

Wahlberg Marky Martin. But one thing I did want to mention that I forgot to mention was all that scene with the redneck sheriff and all that, and this had to be like around the time of Dukes of Hazzard, Like, so they just say, like, let's just put in a whole sequence that's like Dukes of Hazard level stuff, right, yeah.

we had to Corey. You know, they had a choreograph this fight scene and he fights the sheriff and I was like, what are you doing? What is this? This doesn't fit in the movie. I don't. I don't understand. And then we had to go through this long, tedious car chase where it didn't make sense. That's my he said it was the least favorite scene that he's ever filmed. But I guess the point. The point is that, again,

the things don't fit. It's like even the audience watching the thing, We've been watching this sort of heavy handed conspiracy movie and all of a sudden we're in some sort of zany car chase, like we're watching a movie like Warren Batty is in a movie of his own mind. So it you know, it's like the things, the things don't quite fit even when they By the way, did you notice that the deputy, the deputy that he fights at first, the weird guy who comes up to him

and he's like, hey boy, yeah, did you know that that? Yeah? Did you notice that that that guy is a Wilson, the neighbor in Home Improvement?

there'd be no there'd be no evidence of it. But it's crazy because they're sitting on toy trains, like I guess they're hiding in plain sight, but and there there's movement. They're they're constantly moving through the narrative of the movie, but they're like they're on these toy trains like it's a I don't I don't know what that is. It's

some sort of like like it's a game. I suppose, like he's on a he's on a track that he can't get off of until the end of the movie, or it's some sort of game he's playing like he's a child on on adventures it was very strange, very strange place to to talk to this guy. And and the the strangest scene for me that I can't really understand is the first time we see him after three years and Warren Batty like knocks on this door and it's this old you know, couple inside and he's like, yeah,

you know, my parents in the backyard. I need to get my parent and he just walks into the house and then he turns around and again is looking through the looking glass into the house, and then there's like a drug raid and I can't I can't understand what he was doing. Was he was he investigating something? What was it said? It's almost like he shows up at the house not knowing what he's doing there and sing.

how did he how did he get there? What's he doing? I didn't I didn't understand that.

I just thought was just this journalist who's like trying to get a scoop. And then then this this next time through, it's like, no, there's a lot more that's off with him that you don't realize the first time through. And then you start to notice more and more, like how messed up he really is. And they've figured that out. You're figuring that out, like the corporation has figured that out, and they're just tweaking him into their nudging him into

being the perfect Patsy. That again, to bring it to like modern day, that's a lot more likely what I think happened in the last big event. You know, according to the the official story of who the person is in terms of the shooter, if that's that guy Crooks, you know, he seems to be this kind of a person this I mean, not identical to Warren Baty, but

a person who's nudged into this situation. And when I talked to Sammy the Bull right after it had happened, he said, well, if I was doing this, that's what I would have done. I would find somebody who would be a suitable, perfect Patsy candidate. He says, we would have told him we'll give him the moon, right, we're going to promise you all this stuff. You're going to be a hero. Don't worry, we're gonna protect you. But we have a contingency plan all along that he would

be taken out right right. And I think that's, you know, the exact same attitude of the corporation here parallax. And I think this also again fits with probably the way things really occur is that people are profiled, not because the establishment is ultimately a bunch of he who bust crimes. I mean they're pro crimes are busted on a mid and low level, but at this kind of a level. No, they're profiling individuals to find out who's a suitable, useful psychopath.

It can be a tool for this sort of you know, super international corporate entity that's knock bound by any rules or laws. And I thought it was fascinating too that they used these all kinds of methods. I mean they poison you know, his editor, they will sniper other people. I mean they have all the means at their disposal,

and they have a very adept stagecraft. And essentially the whole final sequence is getting Warren Bady into the position of being in the rafters at not the actual event, which is fascinating because they didn't do it at an actual event. They do it at the rehearsal, which makes more sense to actually get the job done. And you know, he's in the exactly the position that they wanted him, so he's played the entire time and he ends up becoming the perfect Patsy because he fit the profile of

the perfect Patsy. But that stage craft dimension, I thought was pretty fascinating that well. The first time I watched it, I was like, well, he's a Patsy, but I didn't think about how how well the corporation had played him.

Also all of the movies and books that I've read with you know, with Leo's acting as as sort of hired enforcement for this, and one of the things in the movie is there's a continuous like series of initiations into this, and one of those is obviously with the deputy. You know, the deputy comes up, insults him, degrades him. It's in a public place. There's a honeypot right there, there's a you know, spring Mere mk betas sex kitten that comes up right right up to him in the bar.

You know, and when you watch the movie, it's like, oh, the two guys, the two Hillbillies or whatever in the bar are going to be angry because the girls got up and left. But actually they let the fight go on, and he's even I mean again, he's like even being thrown through walls. They destroyed the bar, until finally the sheriff just cool, cool, calm and collected. It's like, I wouldn't have let it go on too long if I thought it was going to be bad. Let's go fishing.

And then he takes him to the very scene where the last guy was killed and where the last guy was he walks right into this and this is a crazy see if you guys haven't seen this movie, it's a crazy scene because he goes to this dam and we get this giant wall, the giant you know, cement wall, this concrete wall, and they're the rocks and there's this this little stream. He kind of goes down to investigate,

and you hear this just huge siren. It reminded me of that new movie The Zone of the Zone of I forget the Zone movie about the World War two thing. This loud almost like programming siren to to snap you into whatever. It is and it's so loud, and all the water coming out. It's like the waters are rushing. The things are about to happen, just like with the train, you know that there's gonna be a flood of events.

And they don't move. They're just standing there. And he turns around and the guy, the sheriff is holding a gun on him, and he quickly like well, he like snaps him in the head with a fishing rod and he's got to fish. It's so fasty and he whips him with it and then he they fall. They of course, they fall into the river. Which is my thing, Like if you're whatever, I watch movies and and this happens and you're being chased, I always think, just jump into

the water, just get away. This guy, the sheriff is so fat anyway, he's you know, like swimming away from the guy. He gets up, steals the sheriff's car, goes to his house. He goes right to his house, goes right into his house, walks right into his library, walks opens the drawer and he finds the leaflets. For now he's I guess he's been initiated into this thing. And here's the here's the the you know Phoenix program test list of do you've in? The list is hilarious. It's like,

do you ever feel like you have no friends? Do you ever feel like everyone's against you? Do you do you wish you could blow torch the whole world? Then and then of course then he goes to the MK culture Lab. But it's almost like a series of initiations and and Baty is is very weird. I know Warren Batty was Warren Batty before this was in his real life, was in the Governed Inner Circle right before the movie

was made. He was like close friends with McGovern and then they couldn't make the movie because there was a writer strike, but he pushed the movie through it anyway. I guess is it George McGovern?

it always plays out this way. It always plays out that the outer events, like you were saying that the state, you know, the stage craft of the events themselves always seemed to mirror and mimic the making of the movie itself. Right. So Three Days of the Condor, there's that famous picture that was in Vanity Fair or whatever of of Richard Helms and what's his name? Well, what's what's the actor's name in Three Days of the Condor? Oh my god,

I can't, I can't. Sundance Film, Sundance Film Festival. What's the guy all the presidents met Dustin Hoffman and I can't think of the seventies actor, the big guy somebody in the chat. What's the guy's names? Donald Donald Sutherland was in this guy's previous movie, which is clute. But Robert Redford, it's what I'm thinking. Robert Redford and Richard Helms are off, they're on. Richard Helms came to visit, came to visit the set of Three Days of the

condor that that's a paid consultant for this. So it's it's very it's very weird. The stage crafts the sort of stagecraft element as if, and that obviously comes to play with the argo you know where we have Hollywood

in Hollywood, uh, working with intelligence. But I think the weirdest part of this movie is that, like you know, you were mentioning before that, the I think the reason the movie is successful is because the Shenanigans aren't too It's like the programming scene, it's it's very matter of fact. There's no you know, mind bending psychic break. We go to the office of the corporation. They literally have human engineering on the kiosk to go up into the place.

The guy comes and visit him. He's walking around. They go to grocery stores. It's a very matter of fact, which I don't know what that what that means, other than it says to me that sometimes the you know, there's the there's the deep sea spiracy, but there's also the hit just completely hidden in plain sight.

and you know, but he continues with this. There's another movie we just watched that also on the stagecraft point, reminds me of this film. Have you ever seen the Brian de Palma nineteen eighty four movie Body Double?

and it's not what you think it is. And uh, it's a situation where this you know, high level Hollywood person is utilizing the tricks of Hollywood to to beat the cops. And he's even casting his traumatized friend or not really a friend but his buddy. And then there's

this really weird voyeuristic sort of Melie Griffith. There's those like meta levels of voyeurism where he's intended to be voyeurized, voyeuristically looking at people through a window, and then he's other people are watching the whole thing, and it's it's and then it turns into him having to become enter into the world of prawn and take on an alternate. It's almost like he's a mind controlled individual as well, because he's traumatized. So the main character there is is

more of a weak traumatized persons micaetrol person. Warren Batty is not at all weak. He's sort of like the the ultimate assassin, I guess you could say, because he really fears nothing, Like, no point does he. I mean, he only really fears his own end, but nothing else, right he wants Yeah, I don't even think he cares about the scoop anymore. Right, at a certain point, it's just sort of like he can't resist continuing down this path,

like why why wouldn't you just walk away? At a certain point when he realizes what he's up against.

I mean when he's confronted by his girlfriend or his friend or whatever, and she, you know, she says to him, oh, all these things are happening, and then she that's a great scene because that actress is in just like those two scenes, and she's great because when she shows up, we assume there's a relationship or a former relationship between them, even if it's just that they happen to be the same event before or they were both journalists or whatever.

But she's trying to tell him what's happening, and he says to her, you know, she says, I'm in fear for my life and he's like, oh, more in fear than you were the last time. And she says, I've

never committed suicide successfully before. And then and and then the the drug scene or the overdose scene happens, I guess, and then he's in the you know, he goes to visit her in the which is another strange scene because when when we see her lying on the slab in the morgue, we see her and we see the two doctors talking, and then it's only after they leave the room that Warren Betty, who's off he's off frame, comes into frame like he's now walking into this into this

new this new life or whatever. But nowhere in the movie does he show anything other than that he wants, like you're saying, like he wants to continue, he needs money, he needs an advance. And even the scene where it's just the strangest scene where he's at home and he's cooking and he gets a knock on the door and the guy comes in, and this is clearly he knows he's being hunted. He's been hunted. Everybody knows he's in this thing now. But he lets he's like, he leaves

the door open. He's like, well, I guess you can come in if you want to. And the guy walks in and this is the guy who's gonna be his handler, and he's he just turns around and then the guy's this line. He says, so how tall are you six six' one of the guy says at Warren band He says six to two and then he's like, you, I thought you were taller than that. And he's like, who

gives a fuck how tall I am, buddy? And then he you notice in that scene when he's cooking, he like burns his hand and he drops it and he likes spat. He freaks out. He has a spats and the guy like has this slight smile on his face, this smirk, and he's like, yeah, you're just the guy. You're just the unhinged guy that we want, you know, telling him to put water in ice on it like he is if he's in a grown man who doesn't know what to do after he's burned his hand. But

he needs these these handlers throughout the movie. And he only freaks out in the very last scene when he sees the light from the door open and he starts running towards the door as if he can get away. And that's it.

the plane scene or with the damn scene. The other scene that we haven't mentioned is when he finally finds Austin Tucker, the guy with the glasses at the beginning, who is the political consultant who's who apparently has enough money to insulate himself and he has a you know, he sends his bodyguard to go find him. But I was watching, Yeah, when I was watching the movie for the first time, they get on the boat and I

was thinking, don't get on this boat, dude. You think you're you're safe everywhere, you know, anywhere you go, the boat is the don't even you read the things. The boat is the last place you're going to be safe. So he gets on the boat. They're sailing. The guy does this weird thing where he like takes a nap for five minutes and then he gets back up. He's back at the back of the boat with his bodyguard, and then the boat blows up and baby just like

jumps off the boat into the water. But I thought, you know, this is r Max Maxwell was killed on the boat. I was just rereading about mount Batton. Mount Batten was assassinated on his boat in Sligo and that.

put the bomb on the boat. And when he had he had notoriously lacked security. And mount Batten's statement about it was who wants to kill an old guy? Anyway, it's like, you know, Royal family connected, so they they there was no security and then there was recently. I think there was a guy who who came out after the Good Friday agreement and said, yeah, he put the bomb on the boat, but I'm the guy who planned it.

The guy who planned it was X Army. So other words, you know, that also is weird because that there's I've read that that's somehow intelligence had something to do with that because of mount Batten's the creepy things in his life for how he was compromising the royal families and they wanted him eliminated anyway, and and British intelligence was partly running IRA anyway, they ran. Yeah, the chief spy catcher for the IRA and the r IRA Army Council was the Sky Fred.

and he walks right into this thing. And it's just interesting. I think that with with these seventies films, I'm not sure what the I mean, the point seems too obvious to make. I know that that the director one of one of his statements about his films, he did this, he did Clute and All the President's Men, and one of his statements was, oh, and he did The Devil's Own which is an IRA movie, which is ties into this.

But one of his statements was that he wanted people in the cinema to look at the person next to them with a little more suspicion, you know, to be a little bit more uneasy about what you see in your daily life, which kind of you know, plays into the post post Watergate era, post Vietnam and all this stuff.

But it's interesting that what we've seen since then, and with the event that just happened with Trump and and you know, these things seem to come to light more and more, and especially with the one that just happened, you know, in plain sight on television. You wonder, what's the what's the end goal besides the kind of you know, is it future shock? Is it terrorizing the public, is it making them uneasy, make giving you know, a continuous sense of chaos. Is it making people not you know,

not believe they're lying eyes? I mean, what what is it? What? What's what's the end goal with just the continuous series of these events.

You know, Telfler was saying that all that would be utilized and basically pushing us into the technocratic future. And there is this subtle technocratic theme which is hinted at throughout this movie again with the human engineering, the monkeys, the video games, all of that, is that just as they're they're playing and then being studied, you know, beaties being played and being studied, and so in the same way, the attitude of the technocrats is to view the humans

in general in this in this way. So I think I read it, even with the technocratic theme here that really we're all Warren battis being studied and being moved into the kind of future where we can be managed like labrats, like you know, monkeys. There's a book that came out World as a laboratory, which is which is this this mindset?

to dissociate. So now we start to associate, Like it says you know, country, and then we show scenes from Vietnam, and then there's father and there's like a kid running in the hall, and then we see like hanging, you know, we start to see more and more grotesque imagery. But is it slow like did they pace it that way in the film, because it's a kind of slow burn

for the for the audience watching it. I mean, one of the things about Clockwork Orange is that is that when I watched the movie, I'm like, well, yeah, I mean, I've seen it a million times. It's not it's not shocking to me. But obviously the movie is shocking still to some people, even with the implications you know, in the movie, and and also that it's it's also interesting

that the movie was banned in England by Kubrick. He's the one who pulled it from what so it makes me think, what did you make the movie to play it? Only to pull the movie because the absence of the imagery actually going to the theater is more shocking than actually seeing the movie. And does it drive you know, does it drive sales? Does it you know all the

sort of typical things. But but it's like there's a veneer about the film that it's so bad that it can't even be shown in England, so it kind of drives it drives interest in it in America or whatever. But is this my point is is all this happening because this is the kind of thing that we deal with now, for instance, like with doom Scroll, with the you know, obviously we are people are completely desensitized to things. But is it a constant refresh right of the screen.

Is it just scrolling where you see? You can you know, you get on TikTok and a person could see, especially a young person could see cats and you know, flowery scenes in America or flags mixed in with you know, murders and execution war.

at this time to know about subliminals. This was like some of the first points at which people were thinking, oh, they're actually putting I mean, in other words, I know, subliminal advertising goes earlier than this, but people were starting

to figure this out around this time. There was also those subliminals, for example, that Aaron and Melissa had had discovered over a truth stream some years back, where they had noticed the old public service announcements that would come on when the TVs would go at night, you know, I'm talking about when the channels would go off, they would play the national anthem, and they had discovered that there were subliminals within the national anthem that was being played,

and the subliminals were very reminiscent of what you see in the movie. It's stuff like, you know, follow the state worship, you know God, remember your country, you know, just weird stuff like that. So that it made me think of that. And it is interesting again that it's so innocuous in terms of that he's not really doing anything other than sitting in a chair and they say and make sure to put your hands inside the holsters or whatever. He's got to put his hands inside of something,

and he's not supposed to move. But when you compare this to the other images and films that we get, like we watched a Total Recall because I just wrote the chapter and start calling with three on Total Recall, and like that's this just totally invasive, like brain machine that you sit in. It's like, you know, Arnold's losing his mind, going full like Arnold gasm over there. Yeah, and then you've got you know, other presentations like you said,

like the Ludovico method. I don't know, I'm just contrasting all of the.

the movie already begins the movie. The tone of the movie is already so horrible, right, So the beginning of the movie is already silence and the sound of wind, and then you know, juxtaposed with pictures of statues of pazuzu and faces looking at you, and then mixed in with I think the real subliminal thing in that movie is the fact that that the girl in The Exorcist is mimicking what the her mom's boyfriend says to her downstairs. So all of the this, I think there's something to that.

The fact that the sexual creepy stuff that she says when she's possessed is indicative of the fact that the possession and the the a b u s the go hand in hand with what made her that way. And because you could you can hear, like when she starts really cursing in the movie and saying the overtly sexual stuff. You can hear the guys say it earlier in the movie when he's downstairs at the party, and it's sort of you sort of imply, it implies that she was left alone with this guy at the house, and so

she's mimicking. You know. That's that's the sort of a subliminal thing in the movie where we can't really why why did this happen? Where did this come from? Other than the fact that the mother also in that movie is an actress, right.

Phoenix program, program to kill type stuff. Uh. And as you probably know, Dahmer was a odd obsessive fan of the Gemini Killer version, yeah, the part three, and he would supposedly watch it and just rock back and forth watching his PHS tape of three.

So if people remember, like he's he's brought into this castle with a bunch of people that have gone you know, they've they've Section eight or whatever from the army during Vietnam. One of the guys is a is a supposed to be an astronaut, and they're put they're trying to put on a Shakespearean production and they're all actors in this kind of marat sade avant garde Shakespearean production within a castle where they're they end up sort of playing the

fools or playing themselves. And the psychiatrist who's brought in

to to diagnose them is Stacy Keach. And then he later and in the end of the film spoiler people at the end of the film, at the end of the book, he's broken in this fight where he's trying to defend the astronaut who's being stomped on by this motorcycle just like Kenneth Anger Scorpio Rising motorcycle gang in a in a bar, and he breaks to the extent where he realizes he is Kane's he's Killer Kane, the guy he's been looking for, and he remembers he has

a flashback to where he just was right before this, which was in the jungles at Vietnam, and he's carrying like heads and he's a He's called Killer Kane because he like he uses like a piano wire. So he's a pure like phoenix program guy. And in the book it explains or it shows that he did that thing in the jungle. He went back, they they X filled him out of the jungle. They immediately told him you're

a psychiatrist, here's your ID, here's your mission. And he was programmed right into it, put on the uniform, went and then immediately went and did this thing where he's now a doctor. It's total dissociation. But again it's just like it's just like this, just like this film with Parallax, where he he just kind of walks into it. Ninth

Gate also kind of does that. I mean, uh, you know Johnny deppis, Yeah, he's playing like a noir detective who's like on a mission to find this book and whatever, but ends up being the guy who fulfills the very thing in the book at the at the end of it.

the black guy of the black guy, the bad guy Baron. Yes, so the Baron when they first show him and he rises out of the black goo and he's all bald, he does this thing where he like rubs his giant paul over his bald head, and it's just like it's just like Kurtz and I think that I did an Apocalypse Now analysis and then Heart of Darkness, and the Apocalypse Now film is obviously supposed to be It's a

Phoenix Program film. It's it's pure Phoenix Program. I mean, even Scott Glenn's character Colby is the proto Willard in that because when he gets to the place and they see all the heads and he says Colby and he's like standing there with like a well shot a shotgun.

shooting the film. So then they brought in Martin Sheen. And when Martin she did that first scene of you know, hey, buddy, you go shut the door, I mean he's like, does the the tai chi karate chops the mirror and you know it smashed the samebody. He had a heart attack in that scene. The one who was on LSD was

was Dennis Hopper. Dennis Hopper and Lance the Surfer were both so whacked out on I think like Amphetamine and LSD when they filmed the scene that Dennis Hopper's character who is pure, like, that's the Jester character from Heart of Darkness. He's the same, he's the same character as the photojournalist. You can't go out in the space, man,

you can't go out in the space. And he said that, he said that when he got there, that Brando like hated him so so when he threw the book at him in the scene where he's talking about dialectic physics, man, you either you know dialectic logic. You either love somebody or you hate him, and he throws Brando throws Jesse Westons from Ritual to Romance like at his head while he's reading TS Eliott, And that was that was like real. They just they just kept they just kept rolling the foam.

So yeah, but it's the same, it's the same sort of thing. I think Apocalypse Now is kind of the sort of like the apex of these types of films because it's so stylized and so surrealistic, so dreamlike, you know, and it's the you know, people watch the film and say that this guy's insane, but actually he's super sane. He's he's like, he's like hyper sane, you know. He says, I'm I was above there lying petty morality, whereas something

like like you were mentioning the body body double. There's a movie called The Ousterman Weekend with John Hurt, which is in the same it's like the tail end of this nineteen eighty three, and again it deals with spies and a guy is he The first scene is like he's he's like doing the hunk of chunka with this lady and he walks out and then she's assassinated before he comes back in it, and they filmed it all.

So it's a it's a compromise situation. But also that the director of these films, Alan jay I guess I thought it was Pacula. I guess it's Pakola. That's what the guy was saying. But anyway, he died under very weird circumstances, just like an Omen and a scene in Austinman Weekend. He was like driving along in some metal like piece of a building, flew off of a building and like impaled him in his car like a yeah,

like in the Omen Wow. And at the funeral they were like, well, I mean you know this guy couldn't have filmed it better, I guess, you know. But but life, you know, life and art sort of finding their synthesis somewhere in the middle of this, but so so in the end with parallax view. I mean, I just think this movie is so crazy. You know, it's it's a big film. It's one of these big seventies films, and it seems like one that would be, you know, right

for a remake. But I don't, I don't know if they could do that.

did Black Dahlia. But uh, we watched Dress to Kill, where Michael Kaine is a you know, psycho, uh t R a n Z killer uh, spoiler alert, you don't know that until the end, but now you do, and that that that also has all the same voyeuristic, you know, weird obsession stuff that's in all the Brian to Palm movies.

But another one that's overlooked in the same vein as raising Kine where I knew you were going to say that Michael H. John Lifke John, you know, a multiple who has female alters apparently if by the end of the film at least, and that allows him to escape. And his dad has said to be a mad scientist who's experimenting with traumatizing and creating and programming the altars.

So so we know that obviously to Palma has some fascination and knowledge of this, and you know to what degree he's he's uh, you know, consulted with agencies or whatever. I don't know, but it's obviously there. But you couldn't make dress to kill again because Michael Caine is I mean, we're in the era now where we're supposed to accept all of this as normal and holy. And of course you know, Michael, I got, I got, I've got what's he got? He's got a like a barber's knife, right,

He's like, I gotta cut it off. I got Blake, I got Blake. Will what's he say?

all the stuff happens. Anyway, he does this in a lot of his films, So I don't know if that's like signaling the the you know, altering stepping into another persona at.

characters that she gets. So the TikTok character is the electroshock machine, and the same thing happens in the same that same sort of glint thing happens, which in Red Dragon. You've seen Red Dragon, Red Dragon.

the broken mind? Yeah, and he's going to transform him as part of this red dragon Apathios this which is like a gnostic you know, I guess the gnostic Apathios is where he is now the beast. But he does that through And also he's also in the scene with phil seymour Hoffen. He's also showing films, so he's.

calls her up. He calls her up out of the grave to haunt him his psychic mind, and she comes to the window.

drove her. He drove her into this thing. There's a great scene in the book and it's in the Ray Fines version where he's standing there with Juliette Binoche and then you know she's Catherine. They're falling in love, and he he like blind. He covers their eyes and he says, open your eyes. When you open your eyes, if the sky is bright, so shall your life be. But if you see storms, it'll be it'll be dark. She opens her eyes and she says, oh, it's a wonderful day.

And then you hear this poor you know, and and she turns around and it's stormy, and she says, oh no, oh no. And he he's got like a smirk on his face. He's like, yeah, that's gonna be stormy. But yeah, he's a kind of a he's almost like some sort of gnostic arkhon in the movie because he doesn't seem real. And also we the reader are looking at him through the eyes of the visitor to the house in the first place, so there's a distance between us, and and

they're on the moors, so it's not the locust. Isn't the typical London setting, you know, with people all around it's like it's already isolated. It's almost like it's outside of time. So that that happens quite, you know, quite frequently in in in literature. I mean, it happens in King Lear, it happens in in in McBeth, hed sort of does the same thing. He has a sort of

a psychic break. Of course, it's his wife who is in the coven, is my sort of what I think about that, who's in the coven who's driving him towards you know, I mean, he literally goes to a witch's sabbath and drinks a brew.

and King James wrote Demonology in fifteen forty seven. So but anyway, but this, this movie doesn't really have that. It's it's totally almost straightforward with that, except for you know, it's almost like it's the the opposite of that, instead of having the cinematic bright flashes and the typical things that you would see. It's almost so straightforward. I mean, I just have a hard time, like getting over what over Warren Bati's character in this. I mean, he's like

he played Jay Sebring in Shampoo. He's mixed in with Polanski and Jack Nichols. Nothing his life, not in the film, but he later is in political films. He's in Bulworth and all that kind of stuff or whatever.

conspiracy intelligence thrillers. I mean, people are probably familiar with Billion Dollar Brain at Chris File, where he's Harry uh what's his face, the sort of the anti James Bond character, But he's also in a bunch of these others, like The Whole Croft Covenant, and he was doing quite a few of these British spy thrillers during the sixties and seventies, so those could be fun too.

the rewrites for this movie. For a parallax for a parallax view the conversation, Yeah, the conversation is great when I covered that a while back, because it's, uh, it's it's NSA, it's NSA before NSA, you know, and it's it's so amazing. It's also obviously the prequel to Enemy of the State with with Gene Hackman. Gene Hackman is

in another you know you mentioned, you know, straight up. Yeah, And and actually the French connection, the basis of the French Connection is the basis of what happens in Six Days of the Condor. They switched the theme so instead of oil fields, it's uh, you know, opium traffic. Yeah, the uh, the the Tom Clancy what is it called without is it without remorse? Is also drug based and then they changed it for the Amazon, which you know, which kind of ruined it.

I mentioned David Jackal when we were on DPH. I think I mentioned it because you know, anytime you talk about assassinations and and and all this stuff, Day of the Jackal obviously plays into it. And Day the Jackal is great because it's like this difference between sixties conspiracy films and seventies. You know, you have the early Manchurian candidate, and you have Day of the Jackal, and then you

and oa a sid World War two related events. A lot of Michael Kaine movies are World War two related, The Eagle is landed and all these things, and then seventies gets into more what we have with this, which is gritty sort of a it's like they took cinema verite in European film in the sixties the end of the sixties, and then they finally caught, you know, kind of got a handle on it, and then made that into the seventies and so they have this weird thing

where they're making Golden Age Hollywood. Films like Chinatown and Godfather are clearly throwbacks the Golden Age Hollywood in terms of their look, but the in terms of their form. But the content is wholly of the time and relevant and revelatory for right now. And I covered I've got a book here called Hunting the Jackal, which is about the actual Jackal. It's a great it's a great book. And there's a series on the Jackal with what's the name the French the friend of the I can't I

can't remember his name, the French actor. That's that's pretty amazing. But the the way that those change in terms of the de gall the de gall event is is pretty amazing. That's a great film. I mean it's that's that's uh, it's almost a complete opposite of the parallax view. So so yeah, it would be good to cover some of those. I mean, there's there, they keep they keep coming up and they're so relevant or.

you get one point five mcchickens with ten bucks. Thank you, real John Connor. I appreciate that, yo. Shouts out to Kristin, slowboy, whiteboard out there. Crystaline sends five bucks in no comment, Thank you so much. Christin, really appreciate you there. Let's see. Let me look at the actual super chests there. Don't forget you guys. You can grab a membership. I've been kind of off here for two weeks, busy with doing stuff in my life, but I'll be back doing members streams.

I'll be coming back with I'm gonna do an analysis of Lawrence of Arabia, and I've also got a couple of sponsored streams coming up. I'm I'm about to do Beast versus Man, so I'll be covering Kujo the book by Stephen King and also The Gray the movie with Liam Neeson and the Ghost of the Darkness with Val killing It. Also another sponsored stream is I Got The Trial Franz kaf and then Cosmopolis by Don de Leo. I've covered most of his work now, so we'll have

that come out. Let's look at some super chats. Here shouts out to MAV right there with fifty bucks. He says, fucking m LA get off for it, love you and Jay, but Bonnicks out, Okay, thank you, mad for that fifty bucks, Big Tom, thanks man, really appreciate that. Hey shouts out to Jason right there. Thanks Jason, homeboy, says Jay, say the word abyss please. That's two bucks, Jay, say the word abysses. That's this. That's the rich.

Thanks guys, Hey, thanks, really appreciate you. OBG. Circle G sends ten bucks and says, maybe I missed it, But how about Warren Batty's hair? Jay, is that what you were going for? I guess Warren batties w Warren Badi's hair.

Reindeer game is a Christmas Rainer game? Rainer game? What's that? Is that supposed to be a reindeer game? Thank you? Pim drops five bucks and says, is a Christmas movie, The Rider Game. Thank you, Pim, really appreciate that. Now, we were saying that Warren Beatty's mop in this looks like a wig, probably that he designed himself in the movie Shampoo, where he played Charlie Manson and Jay Sebring.

But it also clearly looks like he's trying to imitate I guess Jim Morrison's hair from three years before this maybe. But Warren Baty's got something weird going like every time you look at me, he's like he's got like duck lips going on in this, And sometimes he looks like Warren Baty. Other times he's dressed like a he's dressed like Jacob's Ladder like amati.

strong enough that's right. Hey, everybody, If you want to support me, you can do that through anytime, through super chats, and I will be back soon with those streams that I just mentioned. Love y'all, Appreciate y'all. That's all I got, and peace,