Oops, I did it again. (Sorry, Britney). And used unrelated title cards from Lost for a post about Eyes Wide Shut. Or is there a connection? I’ll let you decide:

Anyways, some people might be getting concerned this analysis will never end because so far we’ve only looked at the first 2 minutes of EWS and we’re already into part 4 now.

I think the pace is going to pick up a lot though since most of the necessary groundwork detailing the complexity involved has been examined or given a superficial explanation if possible.

That last statement, if possible, is another reason I feel things are going to move much faster. While it may seem we’ve scrutinized the smallest of details in every frame – there is still a ton that will be missed – that hopefully others will pick up on since I believe this is an extremely important endeavor.

And I think Kubrick might even allude to this himself. Since I’ll be vain for a moment and entertain the idea he’s referring to me in this scene as I did with the turquoise symbolism in Part 1. Knowledgeable, good looking doctor, surrounded by beautiful women, possibly with a “background” in Christianity you see with the Christmas tree (as I’ve explored a bit with my St. Paul past life regression Kickstarter).

Well, in any case one of those statements is true as I’m currently in Thailand if you’ve been following my travels, and there’s no shortage of beautiful women here. Getting back on track though…

While I do want to point out a few more smaller details in these opening frames, I also wanted to draw attention to the overall dramatic structure. This was also talked about in my last Videocast #6. There we got into the 3 Act structure a little bit and inciting incidents. I also mentioned before the inciting incident there’s usually an introduction to the protagonist.

So, in the last article we pretty much finished what I interpreted to be symbolic introductions to the players or protagonists in this drama. And of course, if this film is indeed about 9/11 then that will be the incident or problem encountered by the characters we’ve met.

And I feel that’s what starts being discussed in the next sequence with the conversation about/with the babysitter. In fact, I believe the entire first 10 minutes deals with the specifics of the 9/11 attacks if you stick through this article and the next.

Visually again we have yet another building towering in the background seen through the bathroom window. We had the exterior street level view of buildings in NY. Now, views of buildings through 3 of the windows in the Hartford’s residence along with their apartment becoming a character of its own.

There’s just no denying the building symbolism. And as I mentioned how some of the dialogue earlier, “Have you seen my wallet?”, was going to be important again later marking interaction with military/government, the dialogue now starts getting into “numbers”.

So, we have buildings and numbers. And what numbers are we given? First, we have 9 when Helena asks if she can stay up and watch The Nutcracker (which I believe is meant to symbolize how people’s jaws will be on the floor at the “show” that’s about to unfold). And the next number is 1 when the Hartford’s say, “We shouldn’t be later than 1:00”.

Buildings, the numbers 9, 1, and more dialogue about, “The phone number is on the fridge”, which is where emergency numbers are usually found – 911 Emergency. Just like we heard with the emergency sirens on the street level shot.

Not my find, but here’s another reference to 9/11 from much later on at the costume shop which is hidden a little more, but also reveals a scene of mourning when the film is run backwards and forwards simultaneously.

Now, numbers on fridges is brought up twice in the dialogue in a very short amount of time. And as we talked about with Kubrick’s attention to detail, in my opinion this is no coincidence. He seems to be nudging us to literally examine scenes with fridges. Not just in this film I think, but in others as you can see in this frame from The Shining.

This use of sideways encoded symbolism seems to also appear in other movies. In Kill Bill Vol 1 the frying pan on the ground draws our attention to the painting on the wall which might suggest the rabbit from Wonderland as Wendy’s outfit in The Shining resembles Alice’s dress.

I will add a small collage of white rabbits from other films at the end of this post, but focusing on Eyes Wide Shut I think the reason fridges are an important symbol in Kubrick’s films has to do with the Pizzagate/Pedogate conspiracy.

While I am aware of the overall story, my knowledge of details is minimal at best. However, my feeling is Kubrick may be using refrigerators to signal when pedophilia is being discussed since they are used for food storage and many of the code words for sex with children seem to involve food.

So, this is also one of the areas I could use help with potentially missing important things. There is more fridge symbolism in The Shining we will get to in a second, but in EWS there are two sequences that prominently feature refrigerators.

If you remember back to Part 3 when we talked about packages, this picture seemed to suggest one of the packages concerned an actress that resembled Hilary Clinton.

Well, if fridges are one of the symbols Kubrick uses to signal pedophilia, the following frame may indicate what the above package contained, as actors that resemble both Hilary and Bill Clinton appear superimposed on a refrigerator.

Again, I want to reiterate. I have no insider information and my knowledge of the details of this conspiracy are minimal. I am not making any accusations here as that would be impossible with how little I know. I’m just a guy with above average intuition who watches too many movies.

It’s possible Kubrick may even just be using Hilary and Bill lookalikes to suggest the Democratic party in general and not anyone specific. Or even perhaps political leadership at the time of filming and this problem could span both parties.

To me, the symbolism is interesting and I enjoy analyzing it. So, with that said, continuing to the next frame in this sequence. (We will get back to a linear analysis after refrigerators because there are many more things to cover like the gentlemen in the bed referred to as “daddy” and the very obvious 2001: A Space Odyssey reference – notice the Nazi arm gestures).

And that may well be the case the entire political establishment is involved and one of the reasons for the use of purple in the movie poster and garments you see below. Red + Blue = Purple. And why he felt the need to seek help outside the US. (Interesting to speculate too with the “outsider” presidency with ties to Russia, and possibly a campaign fueled by more than money and blackmail as well).

A very concerned Hilary Clinton. Probably realizing the implications to her political career of her husband failing to “play ball” with Kubrick’s demands to do something about 9/11. And hey, look my initials on the fridge! I couldn’t find any numbers on this fridge as Kubrick encouraged, hence why I starting looking in his other films, but maybe someone has a better eye than me. There is more stuff there though we’ll get into later.

Now, with the refrigerator door all the way open I think even more of what’s inside the “package” is revealed. I will do a full report of the symbolism on this street when we get back to a linear analysis, but the pedophilia markers should be fairly obvious. Cruise’s attire takes on the appearance of a Catholic priest with their well known scandals.

Obviously, you have the food establishments/code words hence the fridge use by Kubrick. The far store appears to be selling diamonds. I know there is much controversy surrounding the African diamond trade, and it’s possible I have heard De Beers associated with Rothschild, Pizzagate and other conspiracies (there is some interesting beer symbolism in the Sonata bar we’ll look at and also the window of the convenience store farther along this walk).

The store between the Mexican Cafe and the Dry Cleaners is still a bit of a mystery to me. It has an address of “6” or even two 6’s on display. This could indicate MI-6 British Intelligence or may have to do with banking since it’s next to a “cleaners” or money laundering. JP Morgan Chase is the 6th largest bank in the world, also with ties to Rothschild. The frames following this one seem to suggest government drug cartels, but like I said I will save full analysis and speculation on these symbols for later.

So, it’s possible the package not having to do with aliens and the moon included all the nefarious things Kubrick knew Western governments were up to (Possibly also how they fund a trillion-dollar secret space program). But the next frame in the sequence I think clearly deals with a global pedophilia ring.

Roses are universally used to symbolize love. You have what appears to be young woman with an older man. The address I think is significant because 280 is a penal code for child abduction. The global reach of this network may be hinted at with the numerous “delivery service” stickers on the door (more on this in a second) and pedophilia “rings” with the wreaths and large circular logo on the door with a slogan, “Nipped in the Bud”, suggesting things taken at a young age.

You could also argue the “9” in the right window plus the two columns on either side of the door spell out 9/11 backwards. An argument could also be made the color green is significant possibly referring to the well known adult movie Behind the Green Door produced in 1972 (which may be another nudge from Kubrick to look at older movies like The Shining and this being a long-standing problem).

Before moving onto the next sequence in EWS featuring a refrigerator I want to point out a couple things. First, again there is much I am probably missing for whatever reason so any help is appreciated. Second, if this was just one random scene people could claim I’m reaching here trying to make connections. However, as we will see this symbolism repeats over and over, both within various Kubrick movies and other directors as well. Pizza, Beer, and Eyes Wide Shut from Snake Eyes (1998):

So, this next frame starts the second sequence featuring a refrigerator in EWS. Now, if we take Kubrick literally again when he says “The numbers are on the fridge”, as we did with The Shining, there appears to be 5 small potted plants that show up superimposed on the door (there’s also 5 cookies in the tray).

Unfortunately, I have no idea what this means. But I’m going to try to give an interpretation or least a temporary one like I said I would with the painting that had been switched out in the Harford’s residence after the “party”. (I’m sure the imagery also has multiple meanings like Kubrick’s other symbolism so maybe I’ll get one of them right.)

What I do know for sure is what’s playing on the TV is going to lead us back to The Shining in a second. As far as the plants on the fridge and the painting that’s been switched out for what also appears to be 5 or so plants or vegetables I guess we could try to reason this out.

People usually hang art on the fridge that maybe their children have done. So, maybe Kubrick is telling us about his art here. And what he’s saying by switching a painting that was featured very prominently has to due with his art or the Apollo films where he substituted “fakes” (or what people call “plants”) for the real footage. And possibly he was involved in doing this 5 times for the government.

You also have Dr. Bill wearing his “doctor’s coat” in front of a TV implying what you’ve seen on TV, newspaper & radio/telephone about the Apollo films (and 9/11), has been “doctored”. There’s also 2 packages again, one next to the fridge about pedophilia, and another near the TV about space travel.

What I also find interesting is the substituted painting is much larger in size than the original. Suggesting while we haven’t “officially” been back to the Moon perhaps it’s because of the enormity of what was discovered.

Again, the symbolism is probably multi-purpose and he’s also saying, “What you guys have been led to believe is a barren landscape or painting is actually teeming with life (and water).” Which ties back to the Lost screenshots at the very beginning.

I believe he may also be attempting to detail exactly how these “plants” or fake Apollo films were created. I’m running out of space (pun intended) in this blog post, however I feel Kubrick has already covered this in previous films and I said we needed to get back to The Shining anyways.

So, I added an edit to the end of Part 3 in this series because we had been getting introduced to the characters in this story and I felt the audio/video equipment was one symbol Kubrick used to indicate discussion of the Apollo program, and I had kind of been lumping that in with aliens in general.

As you can see next to the AV rack there’s also a “window” Kidman appears in front of that also contains tapes and recordings that could be interpreted to resemble a “stage” with curtains and elevated performance area. (She’s also flashing the number 5 again).

The superimposed edit seems to reveal a government building where the Apollo footage was filmed similar to how superimposed images from The Shining suggest this classified location is underground somewhere. The dialogue also calls back to the Overlook Hotel with talk of luggage, bellboys, waiters and elevators.

Additionally, I feel the signs spelling out “Direct Information” is noteworthy and the blue screen on the computer is often associated with death as in the notorious BSOD. The bulletin boards filled with greeting cards could also be a reference to the CIA Memorial Wall – with Kubrick being killed for sharing this “S(c)tory” as you see in the other sign. (There’s the wallet we talked about earlier).

Ingo Swann also talks about taking elevators underground to similar bases in Penetration. (Much of this book may be in code similar to Kubrick’s movies seeing as how Swann was publicly affiliated with the CIA and his difficulty finding a publisher). Nostradamus does as well in Quatrain Century X-49 from Conversations with Nostradamus Vol 1:

Garden of the world near the New City,

In the road of the hollow mountains.

It will be seized and plunged in the tank,

Forced to drink water poisoned with sulfur.

He says that by “garden of the world” he refers to the New World since so much food grows there and we have so much surplus that we could feed the whole world. He’s showing me a picture of the United States. In the Rocky Mountains there has recently been or will be a city being built as part of a government project. It will be a complete city with all the services that are needed for the people who live there. This will be adjacent to extensive underground chambers blasted into the mountains for the storage of secret records and such…”

A couple more notes about this “stage” in EWS. You see 3 actors occupying it in the following frames featuring the AV rack and recordings – the same number of astronauts in the Apollo 11 footage. There’s also “golden spirals” reflected off the plant painting and AV rack along with “twin towers” of lighting. Finally, a mention of naked women which we see in a key sequence of The Shining featuring room 237 and what appears again to be a “lighted stage” with 3 actors. (Note how the doctors/astronauts apparel is black/white).

OK. I feel the bottom right image with door opening into room 237 is a good place to break even though we didn’t finish with fridges yet. I just wanted to get a little into the Apollo stuff if people wanted to look on their own. This intro was also a little rushed, but there will be plenty later.

Here’s a couple more references to code names for Apollo missions in past Kubrick films (Apollo 10 – “Charlie Brown” (CSM), “Snoopy” (LM) – CSM = Command and Service Module and LM = Lunar Module).

There are no cartoon symbols I have found in EWS yet. But there is an interesting placement of what appears to be a princess or Barbie doll at the very beginning and also the end.

The dialogue is intriguing as well. And this maybe Kubrick’s commentary on how and why all this happened, “You’re not even looking at it.” People are so fixated on material possessions and buying/consuming that even a laughably bad plot about terrorist hijackers barely registers concern.

Or similar to what Seth says about creating your own reality. If you see this as just a movie, that’s what it will be. If you look for genius, you will find that as well. If you look around and see idiots or problems…

Kidman takes on the body language of a Muslim praying with head to the ground as she’s doubled over in laughter.

The hysterical laughter could also be about how secrets eventually get out and the old front/rear projection technology used to create the Apollo films will be exposed like MRI/CT has done to X-Rays.

You also have another Nostradamus Quatrain that could apply here Century VII-14 with the morgue/tomb symbolism and x-rays along with Kubrick’s use of black/white talked about in Part 1:

He will come to expose the false topography,

The urns of tombs will be opened.

Sect and holy philosophy to thrive,

Black for white and the new for the old.

“He says this is another quatrain that has more than one interpretation since it refers to more than one event. One interpretation refers to the man who will rise as an antidote to the Anti-Christ. This genius that has been mentioned before. The phrase “he will expose the false topography” means he will show that the way things are looked upon, they have a false appearance. That the philosophies and sciences have been built upon mistaken premises, thereby building a mistaken picture of the universe…”

White rabbits as promised: Cabin Fever (2002), Knowing (2009), 12 Monkeys (1996) The Matrix (1999), Eyes Wide Shut (1999), Donnie Darko (2001), Contact (1997), Misery (1990), Sexy Beast (2000), Enemy of the State (1998), Bug (2006), Breaking Bad (2008)

Part 5 Continues Here