So, most of my readers know that I’ve been following Enty, over at CrazyDaysAndNights.net (#CDAN for short), for some time now. Enty is a very high level Entertainment Lawyer (thus the name, “Enty)” with connections out the wazoo, who publishes what are known as #BlindItems. The term “Blind Item” itself originates from (I believe) gossip columns printed in small, local papers wherein the names of those involved would be removed, leaving the reader to speculate as to who could best fit the descriptions being given by the author of the Blind Item. and have been pushing the more important entries to the broader Anon community – so much so that a number of Anons now follow Enty as well.
Often, these Blind Items are very damning, and contain significant intel about what’s really going on in the world. Enty has published a number of very important pieces revealing predators and power players in both Hollywood, and global politics. So influential have the Blind Items become, that bad actors have taken to crafting fake ones, in order to throw people off the true scent, sharing these fake screenshots across social media, hoping to capitalize on people’s laziness and lack of time, hoping they won’t fact-check to see if Enty actually published these items or not.
And what’s more, Enty has a stellar track record when it comes to his “predictions” and intel. He called out Weinstein, Singer, and Spacey ages before the rest of the world knew about it, and anyone following his site closely knows just how prescient his blind items can be. What is perhaps more troubling are some of the individuals Enty has named, who have yet to be publicly exposed – or otherwise prosecuted for their crimes.
Furthermore, sometimes Enty (and not only Enty, but other blind item writers) will get a bit cheeky with their descriptions of the players involved – such as Enty repeatedly calling Azealia Nanks a “Flowering Financial Institution.” Technically, the name is removed from the Blind item – but it’s not exactly hard to fill-in-the-blank with a description like this.
And every year, Enty has a big blind item “reveal day” – which has become an annual tradition – wherein he takes the subjects of the blind items themselves and publishes the names of those involved. He judiciously chooses which items are “safe” to reveal by way of either news that has broken elsewhere, or other events unfolding, revealing what he said earlier to be true – thus, taking any real risk out of the equation for Enty himself.
And boy, did he deliver today.
There were a number of explosive blind item reveals – which you can read at the CDAN site itself or by searching the #CDAN hashtag on Gab to see which ones I thought were the most interesting, but far and away, I think the most important reveal Enty delivered came from this drop, first originally posted on July 10th, 2019:
I know I’m not the only one who has wondered how Chandler got caught up with Epstein. It’s been a subject of debate on the /Qresearch/ boards for some time. Well, Enty provides a straight-up answer today.
Bob Carlos Clarke was an Irish-born photographer living in England, and he specialized in – well – erotic photography. Most of his work is quite pornographic in nature, though – I will add – he does have a serious level of technical skill and craft applied to what he does. We’re talking about someone here who knew his medium inside and out, and leveraged his talents towards bitter ends.
This interview with him shows him at work with tame photos – and perhaps you’ll get a sense for what I mean when I say he did posses serious skill, which is, I think, foundational in understanding why he was so widely regarded and, for instance, leveraged by some of the biggest companies world-wide, for their various advertising campaigns:
The Blind Item tells us that Clarke was connected to Epstein, and used to procure young girls for him – which was easier for him to do, given his career in photography and access to young models.
He is particular famous for his one series, where he photographed his subject in all manner of latex garments, including Rachel Weisz in latex catsuit (this was, perhaps, the most tame photos from the series):
And that, of course, immediately brought to mind this photo of Weisz and Richard Gere from Rachel Chandler’s instagram profile:
So we’re already seeing some independent verification of the connections between Chandler, Clarke, and Epstein.
Enty goes on to talk about how Clarke killed himself in 2006, when he stepped in front of a train.
The Guardian tells of his final days:
On 25 March 2006, the photographer Bob Carlos Clarke checked himself out of the Priory Hospital in Barnes, southwest London, walked a short distance to a railway track, and jumped in front of a train. He was 55, and it was a terrible end to a complex life.
Towards the end of his life, Carlos Clarke’s vision of success seemed as far from realisation as it had ever been. He held bold new shows in London and Madrid at the end of 2005, but he seemed to take little pleasure from them. His doubts about his work strengthened, and his insecurities were expressed in erratic behaviour and growing paranoia. He became convinced he would be sued for failing to gain clearance to use his models’ images, and he was distraught that Lindsey had threatened to leave him. “The fact of the matter was,” she told me, “he was living in the basement. All I said to him was, ‘I can’t live like this.’ And he just said, ‘Don’t bully me.’ I could never get any communication… I said to him, ‘Bob, I cannot go to my grave like this.'”
His one constant love, daughter Scarlett, wasn’t enough to keep him seeking a way out.
“In January he just started to behave very oddly. I used to come down in the morning and take him a cup of tea and he’d already be up and dressed and sitting absolutely rigid on the bed, almost hyperventilating, and saying, ‘I can’t go on like this.’ He’d say, ‘I can’t sleep, I can’t eat, I can’t breathe. I think I’m going to do something terrible.’ I knew exactly what he meant, and I’d say, ‘Well, shall we not do that today, shall we do something else?’
“I started to come down quite early in the morning and find the front door here open, and I didn’t know where he was. I would remember things he said in the past, like he would ask, ‘How fast would I have to drive my van into this wall in order to kill myself?’ I’d be in my pyjamas, and I’d be racing round these streets thinking, ‘Where are you? Where are you?’ I’d see the van and see him sitting in it and I’d tap on the window and he’d look at me absolutely like he didn’t know who I was.”
Reminder that the original investigation into Epstein had just started in March of 2005. From Wikipedia, which gives us an easy-to-follow timeline:
In March 2005, a woman contacted Florida’s Palm Beach Police Department and alleged that her 14-year-old stepdaughter had been taken to Epstein’s mansion by an older girl. There she was allegedly paid $300 (equivalent to $390 in 2019) to strip and massage Epstein. She had allegedly undressed, but left the encounter wearing her underwear.
Police began a 13-month undercover investigation of Epstein, including a search of his home. The Federal Bureau of Investigation (FBI) also became involved. Subsequently, the police alleged that Epstein had paid several girls to perform sexual acts with him. Interviews with five alleged victims and 17 witnesses under oath, a high-school transcript and other items found in Epstein’s trash and home allegedly showed that some of the girls involved were under 18, the youngest being 14, with many under 16. The police search of Epstein’s home found two hidden cameras and large numbers of photos of girls throughout the house, some of whom the police had interviewed in the course of their investigation.
Erratic behavior. Paranoia. And ultimately, suicide.
As Enty said:
He didn’t want anything to touch his legacy or have his family know what he had done, so he killed himself.
Police had been investigating Epstein for a year already when Clarke committed suicide. I think it’s safe to say this if Enty’s testimony is accurate, Clarke was tormented by the things he had done.
But the blind item doesn’t end there. It goes on to mention Clarke’s daughter, Scarlett Clarke, and how he had used her to get to Rachel and bring her to Epstein. If I recall correctly, Rachel was 14 at the time. So it’s no surprise that police investigating allegations of Epstein using teenage girls he knew to solicit sexual services from other teenage girls spooked Bob Carlos Clarke into an early grave. But Scarlett is still very much around, and I started to dig on her here and there – with the first thing I did being to archive her very much NSFW instagram profile here: https://archive.is/MI5FC
Much of her profile are pictures of her nude, pregnant, giving birth, her own photographic work, or otherwise showing off baby photos.
And if the Dad was black and white, repressed and Gothic, the Daughter is bright and saccharine, all Plasticine, Lucite and perhaps more than a few banned substances:
17K Followers, 1,021 Following, 57 Posts - See Instagram photos and videos from Scarlett Carlos Clarke (@scarlettcarlosclarke)
But there were some strange photos that made me stop and pause.
First is this photo of this nondescript building. No reason was ever given for posting this, but one commenter posted that it was in Ramsgate, in Kent, England:
Next was this photo, taken from the Kubrick film, The Shining:
This photo was extremely disturbing to me, as anyone who has studied The Shining in depth, knows that the unspoken undercurrent – symbolically represented throughout the film – was one of sexual abuse from Jack Torrance, to Danny – which ultimately lead to Jack’s untimely demise… lost and frozen in, of all places…
(More on that in a moment).
The scene above is – specifically – one where abuse against Danny occurs.
To understand thing, the thing you have to know about Kubrick is that he actually studied NSA codebreaking techniques to better reverse-engineer his own films, in order to load them with symbolism – so he utilizes a number of techniques which operate at multiple subconscious levels – often layered simultaneously – in order to produce a profound result that, in the case of The Shining, disturbs the audience for reasons they might not even be able to properly articulate.
For instance, one of the more famous examples of this is how Kubrick moved furniture between cuts in certain scenes to invoke the perception that the Overlook Hotel was haunted. So often, we see “ghosts” in films moving things on-screen, while the characters we’re watching miss the events going on, as they happen just outside their periphery, right behind them.
Take, for example, the famous Library intro scene from the original Ghostbusters. In the clip, the librarian is doing her rounds, replacing returned books for the evening, and books start floating behind her back, where she juuuuust misses them.
The scene ramps up in intensity and is shot like a horror film as the ghostly happenings become more and more obvious, until the librarian realizes she’s in a haunted hall. If it weren’t for the upbeat music kicking in with the big scare, you wouldn’t be blamed for thinking it was a horror film. That music – in this film specifically – is so key for setting the tone.
But back to Kubrick: he took the inverse approach. Instead of us watching someone have object move around them – he moves the objects around on us, the viewer. As we’re distracted watching the characters and events unfold on-screen, a chair might inch over to one side of the shot, or a stool might scoot over a bit. The effect is that the viewer is put into the same state as the librarian in the Ghostbusters clip – with the unease ramping up in intensity for a long time, though we’re not always quite perceiving why, until the danger is right in front of our faces. See, your brain picks up on, for instance, a book moving on a table and goes “Wait, was that there a second ago?” But the story moves on, so we get distracted and forget about it – though we still experience a deeply unsettling sense of unease – not sure if we just saw what we think we saw.
I’ve previously referenced Kubrick’s gold/Federal Reserve narratives (also in The Shining), and I’ve gone back and forth as to his motivations over the years as to why he filmed what he filmed in his various movies – wondering if Kubrick was trying to warn people, or whether he was just trying to rub subversive narratives in our faces. But the themes of sexual abuse in The Shining are undeniable, and no one does a better job of explaining this than Rob Ager:
It’s worth reminding the reader that Enty has also pointed to Kubrick as being a notorious rapist and abuser himself, so what you’re seeing in The Shining might be Kubrick laying out elements of his own guilt-ridden psyche, on-screen:
It’s also worth noting that Sue Lyon, the teenage actress in Kubrick’s film Lolita – who is undoubtedly the victim (and who, let’s be honest, is all but named in this blind) – just passed away:
She was 14 when she was cast in the title role of Stanley Kubrick’s 1962 film of the Nabokov novel. It remained her best-known credit. Sue Lyon, who at 14 was cast in the title role of Stanley Kubrick’s “Lolita,” a film version of Vladimir Nabokov’s eyebrow-raising novel about a middle-aged man who becomes obsessed with a 12-year-old girl, died on Thursday in Los Angeles.
It’s also worth noting that Scarlett once called Kubrick her “favorite director:”
Perhaps she’s taking her own interior design cues from Kubrick and A Clockwork Orange:
Her photo with the “bear” is also suggestive – and perhaps plays into the imagery Rob Ager picks up on in his Shining analysis.
And finally, I want to point out this photo as well. The design on the floor is what caught my eye because that most definitely is a labyrinth.
Perhaps not unlike the labyrinth in The Shining again?
The second photo zooms in on the labyrinth design, with Scarlett and a friend at the center of it:
Again, she’s not the first one to invoke this kind of image. She may even be aping Kubrick again, here:
Here’s another photo showcasing the design on the floor:
In writing Revolution Q and studying what I could of the mystery cults surrounding the Cabal, labyrinthine imagery was one subject that kept popping up. I say as much in the book, but you’ll recall that the FBI’s own declassified list of pedophile symbols included swirls, and a triangle with a spiral inside.
All these, as far as I can tell, hearken back to MK Ultra mind control programming, using Ritual Satanic abuse to fracture the victims mind and erect “amnesia walls” wherein their personality “alters” wander, trapped and controlled – and that all this stems from the ancient Cult of the Bull, and things like the legend of the Minotaur.
(Again, I go into more detail in my book, so if you want a more descriptive version, you’re going to have to read there).
I prefer long tables over round. The food was served family-style on each table, so we didn’t want the flowers to take up too much space. My mother filled jam jars with anemone and ranunculus which we bought at the Bristol flower market a few days prior.
So the question is… how much does Scarlett actually know, and what isn’t she saying?
Obviously, the two biggest wrongdoers here are dead. Both Epstein and Clarke are now both one with the dirt, and it’s hard to say – barring direct testimony from either Chandler or the surviving Clarke, how much they know and are responsible for, versus how much they themselves were victims.
Though… given the symbols and preoccupation with Kubrick that we’ve seen, and other symbols that might be a tad bit more obvious…
… I’d have to say, it’s not looking too good for Scarlett.
And of course, I’m reminded of what Q said back in March of 2019…
I think it’s safe to say that one more piece of the Epstein puzzle just fell into place.
One of the things I love is seeing photos from around the world that my readers have taken with my book, #RevolutionQ, and seeing the world-wide impact its having in, frankly, places I never expected to see it.
This photo was recently shared with me by @Nolito over on Gab, and this is what he had to say:
Torre del Oro (Gold Tower), Sevilla, Spain.
Congratulations and thank you for this book, great craft and immense dedication can be felt. I couldn’t help but going through the first two chapters wondering how normie friends would process the cognitive dissonance (I gave away a copy or two), but got rid of that and now I’m just enjoying the read.
I know I thanked you on Gab, but I’ll say it again here: Thank you for sharing this picture with me, Nolito.
If you want to share your own pics of Revolution Q, please do so using the #RevolutionQ hashtag. Obviously, Gab is the best place for me to see them, but I periodically check other social networks as well, and it’s always great fun to see where the book is going!
And of course, if you haven’t yet picked up a copy but want to, you can do so right here: