Tune in when Rob will be live on Coast to Coast AM! The show debuts at 10:00 pm PST; to find your local affiliate and listen, click image:

Rob’s 2019 Halloween Special is now live! Listen to Rob analyze the folklore of Halloween, horror classics, and the new Joker movie! Check it out!
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.
Copyright Robert W. Sullivan IV, Esq., 2018.
October 27, 2017: Brand new podcast! Listen to Rob discuss the Illuminati, Freemasonry, and movie symbolism with Grimerica. Check it out!
Rob returns to the airwaves Saturday night, June 10, 2017 when he will be a guest on Where Did the Road Go? Show debuts at 11:00 pm EST on WVBR-FM Ithaca, New York and streams on Where Did the Road Go?’s website; to listen click banner:

Received a few emails on this, so I will briefly explain. The title text on the covers of both Cinema Symbolism and Cinema Symbolism 2 is determined by the middle image. Cinema Symbolism’s center image is Back to the Future’s DeLorean hence the words, Cinema Symbolism, mirror the text of the movie poster (easy to figure out). Likewise, Cinema Symbolism 2’s center image is V from V for Vendetta, thus the words, Cinema Symbolism, are in the same font from the poster, with the number “2” imitating the letter “V” in a painted red circle. If you have read Cinema Symbolism 2–at least up to Chapter 1–you will know all my books contain occult symbolisms and other veiled arcana. Happy reading!

