Kubrick and the Deep State E-Book

Héraclès Harixcalde

• Herausgeber: BoD - Books on Demand
• Kategorie: Geisteswissenschaft
• Sprache: Englisch
• Veröffentlichungsjahr: 2024

Beschreibung

By exploring the secrets of Kubrick's filmography, the author, who describes himself as the "anti-Harari," reveals the stages and key actors of the global mind control project, as well as its spiritual and technological workings. This analysis, situated at the crossroads of psychosociology, science, organizational theory, religion, cosmology, and detective fiction, will show you how Kubrick's symbolic and initiatory cinema, aided by the intuitive reasoning of psychoanalyst CG Jung, hides, much like Leonardo da Vinci in his time, the keys to understanding the universe. At once an explanation of artificial karma, a manifesto for a better future, and a survival guide against transnational organizations, the author presents a subversive, profound, useful, and accessible book, but one not to be placed in just anyone's hands. Volume I from the Mysterium Australis Trilogy which aims to expose the key and discreet role of Australia in the global satanic oligarchy.

Leseprobe

"My little finger told me to raise the middle one."

VALD

The richness of the soul is made of symbols. He who possesses the image of the world possesses half of the world, even if what is human in him is poor and has nothing. Hunger, on the other hand, turns the soul into a beast that devours indigestible food and thereby poisons itself. My friends, it is wise to nourish the soul, otherwise, you raise dragons and devils within yourselves.

[…]

You will not overcome the old dogma by doing less but by doing more. Every step that brought me closer to my soul elicited the mocking laughter of my demons, those cowardly poisoners who whispered their sarcasms in my ear. It was easy for them to laugh, for I had strange things to do.

Excerpt from Liber Novus, Liber Primus, The Red Book by C.G. Jung

"He claimed that a machine called the Air Loom kept him under its invisible influence, inflicting agonizing pain and turning his thoughts into gibberish. His elegant technical drawings depicted a machine fuelled by two barrels of 'magnetized gas' and 'putrid effluvia.'

This machine, powered by a windmill, dispensed its mesmeric currents directed at human targets by its diabolical operators. It assaulted the bodies of its victims with tortures, cracking and scraping them with a rasp and a nutcracker and filled their minds with visions of horror."

Excerpt from « The Influence Machine, James Tilley Matthews and the Air Loom Machine » from Mike Jay

"Let us not be men of Galilee; the whole world is our homeland. And our God is not only the God of Jerusalem or Rome.

He is the God of the entire Universe. The synagogue of the Jews believed it alone held promises of Eternity; yet Christ has come once and has abolished the law of Moses by fulfilling it in a more sublime manner.

It is true that Moses foretold another prophet. But did not Christ announce the coming of the Spirit of Understanding, who will teach all truth, and make humanity a family of prophets?"

Excerpt from « The Bible of Freedom » from Abbé Constant

The subject, Stanley Kubrick

A contradictory and brilliant figure, he was perhaps a great spiritual master who, through cinema—a major and comprehensive art form at the intersection of all others—attempted to awaken the Universe in masse to its own decadence and to make it a family of prophets.

It is undeniable that Kubrick's personal and professional experience, close to the elites of this world and immersed in the deep state, pushed him to scatter many secrets throughout his filmography, which is of seemingly infinite depth, secrets that we have not yet managed to see and that I attempt to reveal here.

Truth always triumphs, but it takes time to follow its course. Was Kubrick the messiah we failed to recognize?

NOTE: FOR COPYRIGHT REASONS, ALL IMAGES TAKEN FROM FILMS HAD TO BE REMOVED. TO ACCESS THE IMAGE ANALYSES, PLEASE VISIT THE WEBSITE: HERACLESHARIXCALDE.WIX.COM OR ON TWITTER/X: @HERACLESHARIX or at the following link: https://archive.org/embed/kubrick-and-the-deep-state

Thank you for your understanding.

Table of Contents

Preamble

The Australian Ark

Chapter 1 – Stanley Kubrick

Early Years

Philosemite, Antisemite or Realist?

Kubrick the propagandist

Kubrick the technician

Jung and Kubrick

Vivian Kubrick and Stanley’s intention

Chapter 2 – A Clockwork Orange (1971)

Educational System: Non-existent

Suburbs and Antiquity

Social Services

Bars, Drugs, and Electronic Music

The Successful Author

The Feminist

The Police

The Prison

Religion

Psychiatric Treatment

Karma or machination?

Serum 114 and Cinematic Bridges

The Hospital

Chapter 3 – 2001: A Space Odyssey (1968)

Thus Spoke Zarathustra

The Odyssey or A Brief History of Humankind

From Unenlightened Apes

Family and Telephones

to Learned Apes: The United Nations

The Pandemic Parallel

Food

The Monolith: Transmutation of the Antagonistic Pole

HAL9000, IBM, AI, and Predictive Analysis

Art and Humanity

The Alchemical and Gnostic Vision

Chapter 4 – The Shining (1980)

The Overlook Hotel

The Job Interview

Shining and Intuition

Wendy, Peter Pan and Hook

Spirits and Spirituous

Apollo 11

Monarch Project

Junk Food and Mind Control

Radio and the SERCO Hint

Television

Cold War

What does the NASA actually do?

The Labyrinth

Jung, The Red Book and the Bloodbath

Chapter 5 – Eyes Wide Shut (1999)

Tom Cruise and Nicole Kidman

Alchemy, Initiation Rite, Mirrors, and Transformation

Cinematic Bridges

The Blue, the Red, and the Rainbow

Masculine – Feminine / Anima – Animus

Gentle Doctor

Adultery / Thought – Feeling

Parenthood

Rothschild and Masonic Symbols

Orgy, Exposure, and Sacrifice

The Media

Intermission

Ziegler and Ziegler’s House: A Real Seat of Power

Watchdogs

Miller, Millich; Locksmiths and Security

Sandor: Big Boss, Freudenstein: Key Stone?

STOP CMB – A Last-Minute Discovery

Chapter 6 – Lolita (1962)

Humbert Humbert and the Golem

Peter Sellers and Clare Quilty

The Single Parent Family

The Ex-husband

The Swingers

Dr Zymph

Quilty, the New Mexico ranch, and the Epstein network

Chapter 7 – Dr Strangelove (1964)

Atomic Bombs and Zokhov Island

B-52, CRM 114 and Radio-Communications

Communism

Ripper the Samourai, Mandrake and the theory of fluids

Captain Guano: The Dual Industry Key

Paperclip operation and Dr Strangelove

Chapter 8 – Barry Lyndon (1975)

NASA Connection

The Death of the Father, the Chief Mother, and Tribalism

Napoleon and Macron

The Seven Years War

Itinerary of an Opportunist: Fraud, Bluff, and Reputation

The Eternal Dissatisfied and Loveless Man

Chapter 9 – Full Metal Jacket (1987)

Equality of Opportunity and Collective Punishment

The Vietnam War

The Duality of Man and Legitimate Violence

Speech, Propaganda and Western Mystique

Chapter 10 – Paths of Glory (1957)

France, Free masonry et the « Gamelins »

The World War I

Note-Taking, Official Reports, and Abuse of Power

Law, Charisma and Power

The Prison Chaplain

Colonel Dax and Australian Psych. Cunningham Dax

A German Song

Chapter 11 – Deus Ex Machina

DARPA, BRAIN INITIATIVE and IBM

Cognitive Warfare, Freedom Fighters and Targeted Individuals

The Air-Loom Machine and James Tilly Matthews: patient zero of cognitive warfare?

Chapter 12 – Heirloom and Opening

Heirloom

Controlling Psychiatric Services

Nutrition, Fasting, and Self-Sufficient Food Production

Take Control of Reporting and Data

Abandon Traditional Media for Direct Information

Breaking Away from Hierarchical Structures and Reclaiming NGOs

Applying Legitimate Violence and Collective Punishment

Decentralization or Butlerian Jihad?

Ancient Rites and New Cosmology

Focus on Universal Beauty and Life

Introduction to Volume 2: Apocalypse according to Héraclès

Bibliography

Preamble

Mysterium Australis

The result of a decade spent at the heart of the Australian deep state, this analysis is the cornerstone of the "Mysterium Australis" trilogy, which aims to shed light on Australia's discreet yet significant role in global governance. This first volume, "Kubrick and the Deep State - Understanding Mind Control, Electromagnetic Harassment, and Satanic Wokism with Kubrick and Jung," is a synthesis of the world system based on an in-depth exploration of Kubrick's filmography — cinematic initiatory mandalas of invisible power that I have been dissecting and re-watching for you for 20 years now.

There is a general theme in Kubrick’s work that, it seems to me, has not been properly explored: that of Western mysticism, the "forge of events," and mind control. We are talking here about the all-seeing eye at the top of the pyramid. It is highly likely that the lack of in-depth analysis is a consequence of censorship by omission or controlled opposition, because understanding his filmography correctly means questioning the 20th century, as it details the workings of deep power and the globalist establishment, its objectives, methods, hierarchy, and actors.

For this reason, Kubrick had to address the subject in an opaque and hermetic manner, navigating a fine line that allowed him both to produce films without external influences, maintain economic subsistence, and achieve blockbuster audiences. The subjects discussed here would have endangered his life and that of his family if they had been too obvious and explanatory in a simple viewing. Thus, you will undoubtedly be surprised by some conclusions drawn in certain analyses, which are counter-intuitive and against the grain of usual Kubrick analyses.

I produce this analysis for anyone willing to take the risk of reading it because I feel the responsibility and because it is indispensable and urgent to bring it to light in the face of the emergence of artificial intelligence, the struggle for its control, and the means deployed for the establishment of a world government. These events are happening subtly as I write these lines, at the highest levels, in principalities and supranational organizations. The unveiling of this world system is underway, and if I am permitted to write these lines and this document has reached you—not without great suffering on my part in its production—it is because, somewhere, at the highest level, I have been authorized to do so and the time for official recognition has arrived.

A generalized awareness of the world system and its mechanisms now seems to be the only bulwark against the looming technological enslavement, or one that may have already taken place, but which is not absolutely irreversible and which, if we believe 2001: A Space Odyssey, could prove to be beneficial to humanity provided we possess the technical knowledge and mastery of the control mechanisms, which are above all spiritual.

In this regard, I would align with the analysis of a certain Harari, with whom I do not share the same value system, but who seems to be the only initiate with authority and publicity on the description of the future of humanity and the advent of a sentient AI that now governs and guides all our social interactions. This is facilitated by their profound knowledge of our souls enabled by surveillance, Big Data, and materialized in the form of suggestions or controlled synchronicities, micro-punishments, micro-rewards, and a new form of social engineering.

It is now clear that the 20th century was a struggle for the control of this technology more than any other, driven by science and the military. This technology's ultimate objective is mind control and the subjugation of the population, which resulted in two world wars, two atomic bombs, and very likely a third conflict to come, or one that is already underway.

The question at play in the 21st century is the programming of the value system that determines community life, social relations, good and evil, and the preservation of free will, at the risk of transforming humans into Prima Materia, human resources, or even into foodstuffs for an industry without governance and moral authority. It is high time for a return to spirituality, a confrontation with the shadow as described by Jung, enabling men to have communion and a direct relationship with God, and the rejection of toxic hierarchies to break the vicious circle in which we find ourselves. This confrontation can make each person a Christ, a Buddha, or a prophet, upholding a positive ethic through self-reflection and soul-searching, and a rediscovery of the heart and charity in an age of boundless narcissism and materialism.

Kubrick's work, like that of Leonardo da Vinci or the great architects who hid within their works the keys to understanding the recent and ancient universe, the cosmos, and the "coming change," is a compendium of examples not to follow, examples of a derailed society controlled by obscure spiritual forces that have taken possession of the global governance matrix. Provocations today are legion and demonstrate the omnipotence of this network; from drag queens in elementary schools or the Vatican, to the pharmaceutical industry and hospitals that promote euthanasia and deny doctors the right to heal. The once useful and productive world of village priests has derailed in favour of parasitic hierarchies of gilded offices: humanity has sold its soul for a meagre salary to the Woke ideology and its mediocrity, in a spectacle that would make Burgess’s A Clockwork Orange blush.

In the following analysis, I will attempt to link each of Kubrick's films to the themes of occult power and mind control, establishing connections with Jung's major spiritual work, while deductively and intuitively identifying the largely unexplored revelations of Kubrick's filmography that will initiate a collective research and historical rewriting.

I hope this study will one day soon serve a return to a stronger ethic and recognition of the abuses and tortures by Western governments who control neurobiological and electromagnetic weapons. Unfortunately, we have been victims of the devil's trickery and made the mistake of believing he did not exist, thus overlooking the importance of self-sacrifice and legitimate violence.

The poem "The Australian Ark" will serve as an introduction and mnemonic device to facilitate access and re-access to Kubrick's filmography and its analysis. I recommend the reader to have recently watched his films or to watch them while reading, as the many sensitive secrets are revealed here through hidden details.

I will start the analysis with a selective biography of Kubrick's life, which will allow us to set the context for the analysis, particularly his family relationships and social and professional context, and to understand his personal intentions. In our analysis, we will omit his minor films, which do not fit into this research (The Killing, Spartacus, Fear and Desire). The analysis is thematic and not chronological, with Eyes Wide Shut in the central position, the cornerstone of his filmography but incomprehensible without the concepts presented in A Clockwork Orange, The Shining, and 2001: A Space Odyssey.

I will strive to maintain simple language and a concise form as much as possible to make it accessible to the greatest number. I will clarify any ambiguities on social media (X/Twitter) if there are any, as I write these lines in haste and you have here the first edition that will be enriched by future discoveries; if it is imperfect, I hope it will be a good starting point for thorough and collective research.

If the analysis sometimes seems obscure and the themes pessimistic, rest assured that all paths here lead to the same conclusion: let us have heart, abandon bureaucracy, and turn to God.

The Australian Ark

Full Metal Jacket Children? In camps, soldiers they became: a collective fate. In Vietnam, soldiers and reporters, sharing the same weight: "To see the foe, just once, a tale to narrate, Where we're not the villains and enemy is a man"

Paths of Glory As a Gamelin at his desk commands each mission, While at the frontline, children tread the glorious path wide. For a franc they execute, they perish, per million's tide, Yet they may still shed a tear for a German song.

Orange Clockwork At truce, on electro beat, youth quenched by Moloko's brew, In rapes and violence, reptilian headspace they sharpen. Social services, asylums, prisons their new curriculum, And from a hospital bed, politics tomorrow they'll pursue.

Barry Lyndon Grown up, the rancour from incestuous love stain, Propels him to glory and adventure, seeking to forget the pain. He plays, he gropes, he cheats, forging his own game, But the debt beware! It is sickness, without knowledge or reign…

Shining Writer, mystic of skill devoid, priorities in lunar sway, In Cold War America, cornered, he plays the barman's way. “Wife and children?" "Just a little, let me work, I pray." "For television?" "Perhaps! a place in Pantheon's array!"

Lolita Fleeing, a smooth talker he now fashions himself a sage. But Lolita, to the Golem prefers the stage. To Epstein, ancient producer, in Mexican mansions engage, Sold her soul to Evil - Sue Lyon seeks paternal page.

Eyes Wide Shut Mocked by his wife who desires military lover, Naive doctor gets initiated by Manhattan and Ziegler Into High Kabbalah, where Israel kings and tribes’ hover In pagan orgies and blood rites: no U-turn there.

2001 Space Odyssey Monoliths and exponential progress, a minister multi-planetary, Engages Earthlings, once kin, with new mobiles and fake pandemics, While HAL, immortal conscious processor, superior AI algorithm, Multiplied by the Eclipse, devours Languages, Images, and Memory.

Dr Strangelove Nuclear Apocalypse is shed from madness, suggestions casted To a mundane Scapegoat, Admiral protecting vital pineal gland, Saved shall be chosen ones by Semite Doctor or Nazi Noah, And by magic: bunkers, rations and women: the Australian Ark.

CHAPTER I

Stanley Kubrick

Here, we will attempt to situate Kubrick within his familial, "political" environment, and his significant relationship with Judaism, to better grasp his theses, describe his method and technique of staging, which will allow us to understand the importance of detail in Kubrick's work, and the non-trivial aspects of those details. Nothing in Kubrick's films is left to chance, and it is crucial to understand the author's intentions, which have never been publicly articulated. We will briefly analyse the recurring connection of Kubrick's works to those of Jung, as well as the personality of his favourite daughter, Vivian Kubrick, which will lead us to intuitive reasoning, a mindset necessary for the symbolic and in-depth understanding of his oeuvre.

Early Years

Kubrick was a New York Jew from a well-to-do Romanian-Austro-Hungarian family. His father was a cardiologist, pianist, and photographer who introduced Kubrick to chess. On film sets and throughout his life, Kubrick often played chess with his collaborators, a game referenced in 2001: A Space Odyssey. His films, much like a chess game, frequently lead the audience in one direction only to take them by surprise.

His mother, a dancer and singer, instilled in him a love for music and literature. Kubrick likely received an excellent education from his parents, providing him with great confidence and a taste for art and perseverance due to their respective professions. He showed little interest in school, finding the courses too boring and standardized for energetic young people, a vision reflected in A Clockwork Orange.

The family never formally practiced Judaism, but their library was well-stocked with works by modern Jewish authors like Freud, Kafka, and Zweig, whom Kubrick was encouraged to read. This likely nurtured his Jewish spirit indirectly. Moreover, his grandmother spoke Yiddish, and he had some knowledge of it himself. His first two wives, Toba Metz and Ruth Sobotka, probably also spoke Yiddish as they were from the first generations of Jewish migrants from Europe. Both marriages ended in failure.

Influences and Personal Life

Born in 1928, Kubrick grew up during the rise of Nazi Germany following World War I and reached adulthood at the end of World War II. It is likely that his worldview and political views were heavily influenced by his parents and the stories of his newly emigrated Jewish companions about the conflicts in Europe.

However, it was with Christiane Harlan, the niece of Nazi propaganda filmmaker Veit Harlan, that Kubrick spent his life. She appeared on screen in Paths of Glory. His early years in the Bronx likely surrounded him with the resourceful youth of Manhattan, which may have helped him develop the characteristics necessary for survival in the show business world, especially those of a merchant and entrepreneur.

Kubrick began early, in his adolescence, with photography, where he honed his knowledge of the camera and his structuring of images, before embarking on directing short films, with an economic gain in mind.

Philosemite, Antisemite, or Realist?

Kubrick’s stance towards Judaism presents a certain ambiguity, especially considering his marriage. Veit Harlan, Christiane Harlan’s uncle, was the director of Jud Süss, a film that portrays a particular vision—real or illusory depending on one's perspective—of supposed rabbinical methods used to subjugate the Stuttgart court through usury, corruption, and moral perversion. This film is often cited as a prime example of Nazi propaganda. Veit Harlan himself married the German Jewish singer Dora Gerson in his youth, whom he was forced to leave due to pressure from her family over his non-Jewish background. This could explain a certain resentment or animosity Veit might have had towards the Jewish community.

Kubrick was very close to his in-laws, moving closer to them by relocating from the United States to England after purchasing Childwickbury Manor in 1978, which he used as a studio, making his filmmaking a family affair. His daughter and in-laws were involved in the film shoots and editing, and his brother-in-law, Jan Harlan, alternated roles between assistant and producer.

The Jewish-American director Dalton Trumbo, author of the Spartacus screenplay, accused Kubrick of being a Jewish antisemite. Trumbo reported Kubrick’s words from their conversations: “He told me that Jews were responsible for their own persecutions because they separated themselves from the rest of humanity.” Elsewhere, in his memoirs on Eyes Wide Shut, Frederic Raphael recounts Kubrick’s remark: “Hitler was right about almost everything.”

Additionally, as his wife Christiane Harlan confessed, Kubrick never responded to antisemitic attacks or boycotts, which he often faced. He seemed to understand the hostility that his belonging to the Jewish community could generate. His behaviour reflected that of a misunderstood yet tolerant man, who might say something like, “maybe one day you will understand what I meant.”

One can’t help but wonder what his vision of the Holocaust would have been if he had had the chance to make a film on the subject, as was planned. He spent many years studying and compiling research for such a film, which reportedly made him “nervous and depressed,” according to his wife. This preparation was for the film Aryan Papers, which was never made, allegedly due to the release of Schindler's List, among other reasons.

Kubrick’s intricate and often contradictory relationship with his Jewish heritage and the Jewish community is mirrored in his works and life choices. His refusal to clearly align with or against certain perspectives leaves a complex legacy that continues to intrigue and puzzle scholars and fans alike.

In his choice of actors, Kubrick frequently employed actors of Jewish origin, though not exclusively, and he often described himself as "not identifying with any of the monotheisms," despite many of his films referencing divinity (2001: A Space Odyssey, Eyes Wide Shut). As we will see in the following analysis, Kubrick was primarily a "gnostic," whose quest was for profound Truth, whether found in science, history, psychology, or esotericism. He judged people by their character and competence rather than by their origins, seemingly holding a grudge against tribalism in general, as depicted in Barry Lyndon and 2001: A Space Odyssey, and particularly against the "organized community" of which he had deep knowledge.

Kubrick the Propagandist

Kubrick's genius lies in his ability to be both a master propagandist and a denouncer of the deep state. Early in his career, as seen in Paths of Glory (1957) and Lolita (1962), he highlighted the practices of the elite, Freemasons, and networks of prostitution and blackmail, which are now widely recognized through the Epstein network. Ambitious and talented, Kubrick made a place for himself within the elite he exposed. He was well-versed in cutting-edge scientific research, interacting with NASA employees, IBM technicians, and always up-to-date with the latest advancements in computing, microprocessors, and other developments in the miniaturization of computers and administrative procedures, as seen in Dr. Strangelove (1964).

He likely had connections with the military-industrial complex, as evidenced by his collaboration with Arthur C. Clarke, a science fiction author and former radar specialist for the Royal Air Force. After the release of 2001: A Space Odyssey, he obtained total artistic freedom and an almost unlimited budget for his subsequent films from his production company, Warner Bros. Or perhaps this was the deal he negotiated to keep the secret around the moon landing and the hoax he was allegedly tasked with, as we will explore in the analysis of The Shining (1980).

Among the films he did not make were Aryan Papers and A.I. Artificial Intelligence, the latter of which he passed on to Spielberg, another prominent Jewish-American propagandist. Aryan Papers was set to address World War II, which would have completed his series on global conflicts: the Seven Years' War (Barry Lyndon), World War I (Paths of Glory), the Cold War (Dr. Strangelove), and Vietnam (Full Metal Jacket). What did he discover during his research for Aryan Papers? We will likely never know.

Was Kubrick tasked by the establishment to hasten the fall of the American empire by highlighting and exacerbating its negative aspects? Was he a counterforce to the military-industrial complex, or was he in their service? What about the media? Did he serve the interests of the deep state, or was he an independent individual imposing a morality born from his own analysis?

His deep inspiration from Jung raises further questions: Was Kubrick part of a secret organization unknown to us, possibly the same one Jung belonged to? Were they "Illuminati," as some speculate? Or were they simply brilliant individuals in their own right?

Many questions remain difficult to answer precisely, but these two "technical artists" have undoubtedly shaped mysticism, the soul, and the collective unconscious in an irreversible way. We may find a starting point for understanding Kubrick’s deeper intentions in the analysis of his daughter Vivian.

This exploration reveals the intricate and often contradictory layers of Kubrick's relationship with his heritage, his work, and the powerful forces of his time. His films, rich with symbolism and nuanced storytelling, continue to provoke thought and debate, reflecting a mind that sought truth beyond the surface of societal norms and expectations.

Kubrick the Technician

Kubrick is reputed to be a perfectionist; therefore, none of the elements that appear on the screen or are suggested off-screen are left to chance. Dialogues, character names, and all the objects placed before your eyes are carefully weighed and measured, like hieroglyphs in an Egyptian tomb. The director relies on your intuition, intelligence, and personal experience to decipher them. One must learn to read Kubrick, as his works are meticulously written.

The writing and design of his films take many years, during which he collects all available information, studies the subject, research shooting locations, and refines the storyboard down to the smallest details. He meticulously selects his actors to serve the writing and expression above all, and his choices sometimes serve as subliminal messages.

Kubrick's staging is strict, structured, dynamic, symmetrical, and symbolic, drawing inspiration from the structure of great painters and the best pre-war filmmakers. Photography being his specialty, the lighting is extremely controlled, something modern digital cinema has lost. His direction of actors is rigorous, often requiring actors to redo scenes up to 80 times, necessary to put them in the psychological state conducive to the role, which involves a certain level of torture. The shoots are long, and the sets are custom-built. This adds weight to his message and enhances his aura. The music is orchestrated, the editing is expressive, and the transitions are meaningful, giving the whole a unique and mysterious aspect, sometimes difficult to access due to its density and depth, which could be termed Kubrickian hermeticism.

Kubrick's technical pinnacle is reached in 2001: A Space Odyssey (1968), and he maintained this standard until his final work, Eyes Wide Shut (1999), released after 10 years of absence and preparation. The release of Eyes Wide Shut coincided, strangely enough, with the director's death, and we will see why in the following analysis.

Jung and Kubrick

Kubrick constantly references Jung: in 2001: A Space Odyssey, HAL talks about transference; in Lolita, Dr. Zymph speaks about libido repression; in Full Metal Jacket, Joker refers to the duality of man; and the entirety of Eyes Wide Shut explores the concepts of anima and animus.

Jung, the psychoanalyst, is considered the mystical genius of the 20th century, who brought to the West the concepts of synchronicity, personality typology, and archetypes. He spent his life exploring the depths of individual and collective psyches. Recognized as a gnostic or a "Christian kabbalist," Jung reestablished an Aristotelian understanding of the soul, highlighting the commonalities between different religions and mythologies rather than their differences. His contributions extend to the popularization of Eastern yoga in the West and the understanding of mandalas, trees of life, and alchemical symbols.

To understand Kubrick's cinema, which is as intellectual as it is intuitive and symbolic, it is worthwhile to familiarize oneself with Jung's work, which lies at the intersection of science, alchemy, and mythology. Discovering Jung can be done through his books Modern Man in Search of a Soul, The Archetypes and the Collective Unconscious, and finally The Red Book, his mystical and symbolic work that could potentially replace the Bible, sooner rather than later.

As often as possible in the following analysis, I will draw connections to Jung's work.

Vivian Kubrick and Stanley's Intentions

To understand that Stanley Kubrick lives on in his daughter Vivian, one must watch an interview with the young Vivian Kubrick at Elstree Studios. It's as if Kubrick himself speaks through the 20-year-old woman. Vivian participated in the making of several of his films, including Barry Lyndon and Full Metal Jacket, and from a very young age, he took her under his wing. It also seems that Kubrick did not reveal to her the deep secrets hidden in his films or the knowledge he had about the deep state, to protect her.

Vivian Kubrick has been very active in the "conspiracy" and QAnon spheres. For instance, she has called Bill Gates a "bioterrorist" and opposed all COVID-19 vaccinations. An exploration of Vivian's Twitter posts reveals her fiercely and passionately opposing the deep state, though perhaps in a naiver manner than her father. Indeed, it seems her father knew his enemies well and the risks involved, whereas Vivian's fight ended abruptly in 2021, likely due to pressures she faced, which pushed her, like others, to withdraw from a battle that seemed doomed from the start.

While Vivian denies that her father filmed the Apollo 11 videos in a studio, she justifies it by saying that her father "would never have collaborated with the American deep state," portraying him as a resistor, which again shows her naivety. It's clear that in 1968, the young and ambitious director Kubrick saw the opportunity to mingle with the world's leaders, and The Shining is simply his apology to Vivian and the world for the lie he signed with his own hand, whether she acknowledges it or not.