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Archive: Rob on Swamp Gas

Posted in Blog, Blog post, Education, Egypt, Freemasonry, Gnosticism, History, Knights Templar, Movies, Mysticism, Mythology, Philosophy, Rosicrucianism, Royal Arch of Enoch, Secret Societies, Sorcery, Symbolism, The Occult with tags A Pact with the Devil, Cinema Symbolism, Freemasonry, Mandela Effect, Robert W. Sullivan IV, Royal Arch of Enoch on November 15, 2018 by robertwsullivaniv

Rob’s November 14, 2018, appearance on Swamp Gas is now archived on their website. Listen to Rob talk all his books and the Mandela Effect. To listen click image:

Rob on Swamp Gas

Posted in Alchemy, Astrology, Back to the Future, Black Swan, Blog, Blog post, Carl Jung, Cinema Symbolism, Elizabeth Burnblack, Film, Freemasonry, Gnosticism, Hollywood, Illuminati, James Bond, Jesuits, Joseph Campbell, Knights Templar, Movies, Philosophy, Rosicrucianism, Royal Arch of Enoch, Secret Societies, Star Trek, Star Wars, Symbolism, Tarot Cards, The Occult, Witchcraft, Wizard of Oz with tags A Pact with the Devil, Cinema Symbolism, Deadwood Publishing, Freemasonry, Illuminati, Kubrick, Mandela Effect, Movies, Religion, Robert W. Sullivan IV, Royal Arch of Enoch on November 12, 2018 by robertwsullivaniv

The smooth stylings of Rob this Wednesday night, November 14, 2018, when he will be live on Swamp Gas airing on Black Swamp Digital Radio (Unknown Spirit). Program debuts at 10:00 pm EST; to listen to this show click image:

Archive: Rob on Beyond the Veil

Posted in Alchemy, Astrology, Blog, Blog post, Cinema Symbolism, Esoterica, Film, Freemasonry, Gnosticism, Jesuits, Kabbalah, Knights Templar, Movies, Mysticism, Mythology, Royal Arch of Enoch, Symbolism, Uncategorized with tags A Pact with the Devil, Beyond the Veil, Cinema Symbolism, Devil Lamp, Freemasonry, Gnosticism, Luckner Cambronne, Mandela Effect, Robert W. Sullivan IV, Royal Arch of Enoch, The Exorcist, Tonton Macoute on November 8, 2018 by robertwsullivaniv

Destined to become a classic, Rob’s November 7, 2018 appearance on Beyond the Veil is now stationed on YouTube. Listen to Rob talk Freemasonry, Cinema Symbolism, A Pact with the Devil, and the Mandela Effect. Check it out!

Archive: Rob on Hyperspace

Posted in Black Swan, Blog, Blog post, Cinema History, Film, Freemasonry, Halloween, Hollywood, Monsters, Movies, Mysticism, Royal Arch of Enoch, Stanley Kubrick, The Occult, Uncategorized, Witchcraft with tags A Pact with the Devil, Cinema Symbolism, Fight Club, Halloween, Halloween III, Movies, Robert W. Sullivan IV, Samhain, September 11 2001, The Shining, The Simpsons, Writing on November 4, 2018 by robertwsullivaniv

In case you missed it Rob’s November 2, 2018, appearance on Hyperspace is now archived. Listen to Rob talk September 11, 2001 and its nexus to Spies Like Us, The Simpsons, and Fight Club. Rob also talks horror films and the mystical holiday of Halloween. To listen click banner:

13 May 2018: Excerpt from Cinema Symbolism 3….

Posted in Bible, Blog, Blog post, Cinema Symbolism, Education, Film, Hollywood, Movies, Mysticism, Mythology, Reading, Religion, Sorcery with tags Alfred Hitchcock., Bates Motel, Bible, Cinema Symbolism 3, Psycho, Robert W. Sullivan IV on May 13, 2018 by robertwsullivaniv

Currently writing Cinema Symbolism 3. Here is an excerpt (rough draft) for your consideration.

Bates Motel was one of this author’s favorite television series. It aired on the A&E Network for five seasons from 2013 to 2017. The show was a modern retelling of Hitchcock’s Psycho with hardcore Easter eggs turning up during its entire run. The eggs served to pay homage to Hitchcock and Psycho (1960). Psycho is replete with esoteric symbolism, so it is no wonder Bates Motel followed in its footsteps.

(Left) Susanna and the Elders oil painting by either Frans van Mieris the Elder (1635-1681) or Willem van Mieris (1662-1747), Frans’ youngest son. The painting, based on a story from the Bible, shows three men, like Norman Bates, spying on a bathing woman. In the Biblical tale, the men accuse her of erotic blackmail; in Room 1 of the Bates Motel, Norman qua Mother brutally stabs the naked woman. (Right) During Psycho’s climatic grand finale, Norman assumes Susanna’s same posture as he is being subdued by Sam Loomis.

For instance, the oil painting Norman Bates (Anthony Perkins, 1932-1992) uses to cover the secret peephole in the Bates Motel parlor symbolizes his repressed sexuality. Voyeuristically watching Marion Crane (Janet Leigh, 1927-2004), his passion brings jealous “Mother” to life; she, not Norman, seals her fate. The image is a replica of a painting called Susanna and the Elders. It depicts a story from the Bible–Book of Daniel, Chapter 13–in which three old men spy on an innocent woman as she gets ready to bathe, but when they find themselves overcome with passion, they accuse her of sexual blackmail. Later, when he is caught by Sam Loomis (John Gavin, 1931-2018), Norman’s position mirrors Susanna’s from the painting: his clothes are torn while his head is thrown back, and his right arm lifted high in the air. Stripped of his mother’s dress and his cheap wig, Norman is finally seen “naked” for all he is: mother and son, female and male, guilty and innocent.

Working on Cinema Symbolism 3….

Posted in Blog, Blog post, Cinema Symbolism, Film, Horror Movies, Movies, Symbolism with tags Alfred Hitchcock., Bates Motel, Cinema Symbolism, Cinema Symbolism 3, Crying, Mulholland Drive, Music, Psycho, Roy Orbison on April 7, 2018 by robertwsullivaniv

Here’s a teaser: “Unlike the original film’s and book’s counterpart, Marion Crane survives her experience at the motel in this episode. The iconic shower scene from the original film was duplicated in this episode. However, Sam takes Marion’s place of being the original victim and Norman is not his “Mother” persona when killing him. After Norman kills Sam, he says “Oh, mother, what have I done?” echoing the line “Mother, what have you done?” in Psycho. When Norman kills Sam, Roy Orbison’s (1936-1988) “Crying” (1962) is playing. The music is designed to conjure David Lynch’s film, Mulholland Drive (2001), in which Orbison’s song is performed in Spanish, “Llorando,” by Rebekah Del Rio in Club Silencio. In Lynch’s movie, the song terminates the dream world of Betty Elms (Naomi Watts) returning her to the real world of Diane Selwin (Watts again). In Bates Motel, the use of the song connotes the same thing: Norman becomes cognizant that “Mother” is another side of his personality–a dark vision–and that he has been murdering as her the entire time. Like Mulholland Drive, the music signifies the deconstruction the fantasy, returning the characters–Elms and Bates–back to their bleak realities.”

Live Radio: Rob on John B. Wells’ Ark Midnight this Saturday Evening, March 17, 2018!

Posted in Ancient Aliens, Blog, Blog post, Carl Jung, Cinema Symbolism, Disney, Elizabeth Burnblack, Freemasonry, Gnosticism, Illuminati, Jesuits, Joseph Campbell, Kabbalah, Movies, Mysticism, Mythology, Royal Arch of Enoch, Star Wars, The Occult, Witchcraft, Wizard of Oz with tags A Pact with the Devil, Cinema Symbolism, Crimson Peak, Enochian Magick, Film, Harry Potter, Religion, Robert W. Sullivan IV, Royal Arch of Enoch, Shape of Water, Stanley Kubrick, Star Wars, Writing on March 15, 2018 by robertwsullivaniv

On top of the world with Rob when he will be live on John B. Wells’ Ark Midnight this Saturday evening, March 17, 2018! Program debuts at 10:00 pm EST with Rob discussing all his books! For more information and how to listen click banner:

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