INCEPTION BREAKDOWN! Ending Explained, Easter Eggs & Deeper Meaning!

Hello, I'm Eric Boss and the beginnings of Christopher Nolan led us to an existential crisis that we may never wake up from, leaving us like Ellen Page in this movie, only able to speak in questions, you're not going to tell me anything about this question, wait from whom? subconscious we are entering exactly at the beginning I explored the nature of reality with a cinematic structure that reflects the surreal illusions of its subject and after my recent review and analysis of the hidden clues of how The Matrix achieved a similar feat and I rewatched The Trilogy Nolan's Dark Knight allows us to reexamine Inception for all the secrets that are only now being uncovered, so let's turn on the snooze function and the volume warning because you know it's coming and, in fact, it's appropriate to start with that incorrect sound effect because Inception begins with the thunderous score by hans zimmer this music is actually a super slow version of gretliane no general by edith pf sorry for the bad french pronunciation this is a song they use in the movie as a musical countdown to Synchronizing the kicks The time dilation of each successive Dream Level extends the tempo of the song which Zimmer reflects in his orchestration.

Nolan chose this song specifically because its lyrics explore the effect of memories on the psyche and how destructive not letting go of painful heartbreak can have on a subconscious. In the original French the letter i regret the good things that were done to me nor the bad things is nila bien komafei ni lamal and that last word maul translates to some version of bad in several languages ​​and of course it is the name of the villain character by marion cotillard a painful memory that aims to literally destroy this hero's subconscious, ironically before the start kotiard played edith pioff in levien rose singing this particular song, one of the many crazy meta coincidences in this film, as we will see, The opening is designed to feel like a dream with Nolan casting dreams and the dream-building process as an extended metaphor for movies in the filmmaking process, there is actually neurological evidence that brain activity when watching a movie is very similar to the one you have when you are asleep.

In both cases, the visual cortex is very active and the visual cortex is very active. -the frontal cortex that deals with logical analysis and self-awareness is inactive, so we see a lot of crazy things but don't question them. Writers like Walter Merch have explored how our love of film comes from a natural acclaim of our dreaming processes and to demonstrate the beginning, the film is structured like one of the film's dreams, Nolan actually timed the entire film exactly two hours and 28 minutes, a dilated sync to the time of the pf song, which is exactly two minutes and 28 seconds, the opening image shows cobb leonardo dicaprio on the beach now the name cobb is a nod to the thief in the film Nolan's previous work and American architect Henry Encob, a combination of which gives this cob the dreams of an architect who builds to steal the images of crashing waves reflected by philosopher Carl Young's description of water as a symbol of Subconscious water by nature deconstructs things, but it also connects with other waters in a vast shared network in the same way that our subconscious is a collective ocean of ideas.

The water crashes into Cobb over and over again in this movie to represent his mental state of collapse cobb sees these children walking away from him and then we learned that these are projections of his children philippa and james haunting his dreams now they start to spin but Cobb doesn't see their faces partly because he can't remember what they look like, but also, as we'll see later, he fears that looking at their faces in his dreams will trap him in this unreal place forever because they'll never want to leave. Cobb is taken to meet an elderly Saito Can Water. whoever finds cobb's top this is a totem that cobb uses to determine his reality if the top spins and spins forever it is in a dream if it falls it is in reality but we also learned that originally this top was not cobb's totem, It was actually Mauls Cobb wears it to represent his guilt for Maul and his guilt for how he used this object to infect his mind.

He also notices that Cobb is wearing a wedding ring here and we only see him wearing that ring in his dreams and in his flashbacks where he mauls. She's still with him, but she's never actually dead, so it's possible that Cobb's wedding ring is actually his original totem. By the way, my totem is his dancing baby groot. In reality, he gets tired and stops dancing, but in the dream he dances and dances forever. actually, okay, we cut from sado to cobb and then back to sado from cobb's point of view, but now zado is decades younger, this transition jumps back in time without any clunky previous titles, using reverse shots to putting us inside cobb's point of view when he suddenly remembers his previous dream with sado is subtly disorienting the way the dreams transition from one moment to the next you will notice that dicaprio as young cobb is actually a visual double for director christopher nolan It is probably not a coincidence that the beginning of the film is a story about a The dream maker tries to return to his children.

Comparing this to the filmmaking process suggests that Nolan sees Cobb as a version of himself, a nostalgic director who he gets lost in and out of dream worlds that he creates concert after concert to extract riches from the audience until he finds one. last work to artfully introduce a

meaning

into the minds of your audience that will allow them to see their children again, whether they buy this or not. It is worth noting that the younger version of Cobb's son here is played by Magnus Nolan, Cobb's right-hand man, Christopher Nolan's son, is Arthur Joseph Gordon-Levitt If Cobb is the writer-director of this cinematic metaphor Arthur is a cobb art producer one who discovers the practical aspects of the idea to execute the vision cyto represents the studio head, financier or executive producer and his The speech for him is essentially a movie speech in which Cobb, the creative, puts him off with a joke and Arthur, the producer, rephrases things.

Cobb compares ideas to viruses. The idea is resilient and highly contagious. It is similar to Agent Smith's comparison of the human species to a virus in the womb. film which Nolan cited as one of the reference points of his along with Dark City on the 13th Floor, all of which explored the idea that the world around us is not real. sato's dining room was inspired by nijo castle in kyoto, japan which is the city cobb later says he's getting off the bullet train at the head of this table is willow chair design by charles renee mcintosh and designs from frank lloyd wright's barrel chair because the architect of this dream, nash probably saw these real life architects as inspirations and then cobb finds maul outside if he jumped he would survive maul is actually mocking him deliberately reminding him of cobb his suicide nolan designed maul to be the essence of the femme fatale a film noir trope character with maul as a female antagonist who is the manifestation of the hero's own neurosis and fear of how little he knows about his lover within maul praises that painting him is actually a real work by francis bacon called a study for george dyer's boss Bacon was also a big influence on Nolan in inspiring the look of the joker's face paint in the dark.

Knight Bacon's subject here was his late lover, whom he painted long after Dyer's death to perpetuate his memory, just as Cobb is perpetuating Maul's memory by trying to use her in his heist. Did the kids miss me? I can't imagine Cobb's response. They both tell us that. He has no idea what his kids are thinking, but they also literally can't imagine what his kids are like because they've gotten older and he can't look at their faces in his dreams, so Cobb shoots these guards and sneakily catches the bullet casings before They knock on the floor to prevent any noise that would interrupt the level of sleep and then, back in the dining room, Cobb opens the safe, which we learn that extractors design in dreams so that the dreamer unconsciously fills it with their secrets and then note the last number in the combination is 53.

Now the repetition of numbers is key in the beginning and 2053 is a recurring number for Cobb. You'll notice later that he was in the taxi they used in the first broadcast level. 20 is also the first number in the combination in the safe and limbo of Maul's dream now that reversed number is 3502 which also appears throughout this movie was the room number of the hotel suite where Maul committed suicide and is on the train that crosses the dream with maul using the same train of his double suicide in limbo now destroying cobb's plan then cobb reversed maul's perception of reality by manipulating his totem so that she takes revenge on him by reversing his significant number into a malevolent force now this showdown and shootout drips with cliched Hollywood tuxedo guns but is designed to lean on tropes like this because every level and dream start is meant to feel like an action movie because that's often how we dream Nolan uses these basic common understandings of dreams as the rules of his world.

People generally describe dreams with elements like waking. up when you die in a dream without knowing you are dreaming while you are in the dream experiencing time more slowly physical forces such as pain gravity noises that affect you in the dream experiencing dreams within dreams feeling the essence of people in places despite that they look physically different and, of course, the kick, that strange sensation of falling, the muscle spasms wake you up, but the new element of fantasy that Nolan introduces into this world is the technology of shared sleep, which he even justifies later if You listen carefully to the dream. collapses maul tells sado now i always found this strange because maul is not working for sato she is the chaotic projection of cobb just wants to ruin everything but then notices her reaction when sado realized that the cops changed the envelopes she is smiling maul he feels victorious because cobb is victorious by telling sado that cobb came over, she is bragging to sado talking about cobb's skills to cobb because the cop knows that this extraction was a test for sato and now maul feels that this next concert It will bring Cobb even closer to getting lost in her, so Nash gives Gob the kick that sinks him and Sato recognizes that the rug in this love nest is off and realizes that this is a dream too, if you think about it. , this rug functions as sado's totem, something that only he knows precisely to determine if he is dreaming.

I wonder what he and his lover were doing the whole time on that rug, Attaboy Sado, so this broadcast also collapses and reveals that this was a dream within a dream, actually including the prologue, it's a trailer within a dream within a dream, so that's three awakenings for Cobb here, similarly, the first act of The Matrix features three false awakenings to foreshadow the hero's ultimate spiritual awakening and make us actually paranoid all the time, so Cobb is He marches saying that I don't like trains, another foreshadowing of the way he and Maul kill. themselves to escape from limbo so then cobb spins the top and raises the gun ready to shoot itself if it keeps spinning showing his fragile mental state and struggling with reality but you can see here that cobb is no longer wearing his wedding ring as She is actually his wife. sado is dead asks cobb and arthur about the deception arthur says it's impossible to give sado the example don't think about elephants it's actually a nod to the title of a book on cognitive semantics by george laykov don't think about an elephant which describes the conceptual framework use specific words to discreetly insert feelings and ideas into someone's mind sato offers to clear up cobb's criminal charges so he can return home to his children do you want to take a leap of faith or become a regretful old man for these men to do it later?

He exchanges these same words in limbo to remember this arrangement, but right now this line jumps to Cobb because he echoes Maul right before his suicide. I'm asking you to take a leap to fame maybe cobb sees his coincidence as more proof that this reality might still be a dream but either way, take this leap of faith with sado to wake up from this nightmare that started when he couldn't take the leap of faith with Maul in Paris. Cobb meets his father-in-law Miles Mike. architecture professor who tells him to come back to reality tom ah just like michael kaine did in the dark knight hints at the thematic lesson the hero must learn cobb still believes that this reality is controlled by external factors but the truth is that our reality is something we Choose miles presents to cobb a new architect ariadne ellen page now in thecinematic metaphor Ariane is a production designer the artist who conceives the visual aesthetics and language of the film the name Ariadne alludes to Greek mythology the princess daughter of King Minos who helped the hero Theseus by helping him navigate the labyrinth and avoid the minotaur .

This Ariane helps Cobb navigate the mazes to escape his maul Notar. Sorry, Cobb tests Ariana by telling her to design a maze on site and she finally succeeds by ignoring the graph paper grid. thinking literally outside the box by designing this circular labyrinth which is actually a similar design to the labyrinth of king minos and many works of art, so in several greek myths a labyrinth represents the journey of one's own enlightenment and navigating the labyrinth is confront the darkness according to psychologist marie louise von franz labyrinths are symbols of the subconscious mind with winding paths and dead ends that reflect our wandering thoughts stanley kubrick who perhaps influenced nolan more than any other filmmaker adopted this labyrinth concept in his film the brilliance in which the hedge maze and the hotel's labyrinthine hallways with views paralleled Jack's mental state with his disorientation in that maze.

Reflecting his madness, Nolan's brother and sister-in-law, Jonathan Nolan and Lisa joy, they also used this labyrinth concept with their show westworld in which labyrinths represent an inner journey towards an awakening to consciousness cobb explains to ariadne how dream sharing works the diagram of the cycle of creation versus perception in our mind and how it is they intervene in that process visualized with a line that extends this cinematographic metaphor. The line is like a movie screen, a literal projection of a simulated reality for the mind to perceive and Cobb emphasizes this point, I never really remember it. the beginning of a dream you always end up right in the middle of what is happening similarly the movie scenes begin in the middle of the action or the greek term in the media race ariana's consciousness breaks a dream and Cinematographer Wally Feister used six high-speed cameras to capture debris exploding at a thousand frames per second.

They also use visual effects to help accentuate all the debris and notice this piece of paper as it is pushed around by the street geysers as if it were underwater, similar to the cob collapsing. previous transmission Ariade now sees that she is in slow motion because she is still in the dream and now explodes at the speed of the previous reality, which is slower from her previous point of view. Arthur explains that this is why the military developed the shared dream. It was a training program for soldiers. shooting, stabbing, strangling each other and waking up, ah, so here nolan sticks to his insistence on real-world practicality, like he used in the dark knight trilogy, like all of batman's technology, there is no technology of fantasy only because they are all justified in things like military research, they return to the dream and Ariane folds Paris on top of itself creating this impossible architecture inspired by m.c escher, who Ariane also references when using Escher's druste effect to create that bridge .

One of the reasons the images are so striking was the effort the vfx artists put into the geometry of the shadows. The surreal angles of the curved horizon appear more vivid to us due to the perfect timing of the shadow lines spilling out. About Facades Really adequate lighting is the key to good vfx Arthur shows Ariane has a totem which is a loaded die that always lands on the number five Similarly, Arthur is the fifth member of the team in terms of how deep they go everyone like Yusuf is the outermost dreamer in the number six, Arthur in the number five and so on and so on and when the hotel rolls, Arthur falls like this loaded die does, but he always maintains his center of gravity.

This whole parallel totem character also applies to Eem Hardy, the forger of this equipment, it is implied that his totem is his poker chip. You see him turning his fingers around. Much the flaw of his totem is that he misspelled mombasa with two s characterizing eems as a risk taker and an imitator and bets on the unfortunate number 13 because he thrives under chaos in this cinematic metaphor eames is the actor of the group the big ego know-it-all but also the one with the sharpest understanding of human psychology is eames who unravels fisher's complex father issues in the same way that great actors can revitalize and find the truth from otherwise empty scenes and use props with Great effect Hardy described Eames as a James Bond wannabe, which is why he first saw him gambling and at the level of his dreams recreates Her Majesty's Secret Service, Cobb has been chased through Mombasa by Sado's rivals. and notice how this supposedly said scene doesn't actually work at all realistically, the men approach cobb out of nowhere, a shot from above makes the alleys look like a maze the walls literally approach cobb the same way dreams do they can often feel claustrophobic sato randomly appears in a conveniently cartoonish moment at one point a guy even tells cobb i'm not dreaming now i'm blue this whole foot chase parallels the foot chase of Matrix Neo running from the agents in a simulated reality, as we will discover later, Nolan deliberately made this exaggerated to further blur the distinction between dreams and reality, meanwhile, another reference to Mcesha appears with the Penrose stairs and example of a paradox that arthur uses to teach ariadne how using an impossible architecture to create closed circuits, arthur will actually use this exact design later in his dream level and the best paradox of the movie and as the team recruits their chemist yusuf philippe real yusuf is actually the arabic form of joseph, who was an interpreter of dreams from the book of genesis, completing this metaphor of film equipment, yusuf is a technician like the director of photography, a lighting director, a visual effects artist, the one who applies science to produce the images more vivid and the bandwidth wider. within which the rest of the team operates yusuf shows them how to use his custom-made sedative in the dream chamber they come here every day to sleep no, they come to be woken up the dream has become reality who are you to say the opposite?

This man is invoking the existential crisis at the heart of this movie and at the heart of The Matrix. What is reality? Philosopher Renée Descartes explored this in her famous argument about dreams, arguing that it is possible that we can wake up but still dream, so we cannot trust. our senses and perceptions this concept is also known as the zhuangzi paradox in reality the matrix and the beginning led a generation of basic nerds to assume that we had been caught by the red pills sato informs you about the brand robert fisher killian murphy who represents the audience in this filmmaking metaphor that he is the heir to an Australian-owned business empire that Sato wants Fisher to dissolve.

Nolan and Murphy based this family dynamic on Rupert Murdoch and his tense relationships with his children. Interestingly, Murdock's empire is starting to break up right now with the recent purchase of Disney. fox huh iam spying on Fisher's inner circle and notices the pinwheel photo that Robert placed next to his father in that photo. Killian Murphy actually doubled for a young Maurice Fisher with glasses and a mustache, so Eems is following a key process from the actor's observation note that this is the only scene in the film in which the real Browning appears to From now on every time we see him, he is actually being personified by eames or projected by robert based on eem's caricature.

It's a reminder that Fisher's entire narrative and catharsis in this film was invented on the spot and carried out by the actor in the group, so it's easy for producers like Arthur to see the actors as replaceable, but they are the actors who bring all the humanity and soul to the narrative, the entire team comes together to strategize and summon noted that if you take the first letters, the names of the main characters, dom robert eames, arthur maul and sado, you get dreams, but that leaves out aryane and yusuf, who are also pretty important, so if you add peter, ariadne and yusuf, you get dream pay, you know what they explain too. dramas, yes, because anagrams are random and stupid, here they are brainstorming how to trigger catharsis in Fisher's mirrors, the room of a Hollywood writer trying to reveal a story and, as we will see, each layer of the Dream is a different film theme based on three of Nolan's biggest influences, as mentioned before, the instream bottom layer is a snow fortress with an elaborate ski shootout and an homage to one of Nolan's favorite 07 movies about the her majesty's secret service, but the next layer in arthur's dream is a hotel labyrinth like stanley kubrick's labyrinth hotel overlooking the shine in reality a shot of cobb and fisher in the hotel bathroom is framed a shot of jack and grady's kubrick in the bathroom and this hotel then rotates 360 degrees in a practical custom-made set with nolan quoting kubrick's rotating set 2001 a space odyssey is the inspiration, the top layer yusuf stream is set in the center of the Angels, which turns into a deadly machine gun shootout inspired by the Michael Mann heat that Nolan used as the basis for his story in The Dark Knight and you'll notice that several of the group's brainstorming sessions take place in these levels. of dreams not only to show us these empty movie sets before filming begins, but also when you think about it to give the crew more time to think about their plan.

Ariane sneaks into one of Cobb's nighttime dreams. sessions to discover that he can only dream by revisiting memories Maul's childhood room their first house together the beach with the family the train yard their house when they had children and Maul's hotel suite where she died all these places They appear later in the film when Cobb takes Ariana through Limbo that was constructed from her and Maul's memories with all of their favorite places in a neat little row. Now Cobb has rebuilt his Limbo into a column that revisits all of the memories. nights where he tries to keep maul buried on the plane where the stewardess played by miranda nolan is chris nolan's cousin and john nolan's daughter whom chris chose and batman begins in the dark knight he gets up and they descend to the first level of sleep soaked in rain because yusuf's full bladder notices that when arthur drives a taxi he turns off this arabic music on the radio, the song is a boon saloon by yusuf el majad, which would probably have been a song that this yusef whose dream he chose, in addition to the numbers 2053 and 3502 that I mentioned before, the license plates of all these cars have a state motto that says the alternate state, so after a shootout in a chase, Cyto gets hit and they realize a major miscommunication.

Arthur did not inform that Fischer's subconscious would be militarized and Cobb did not inform that his heavy sedation would leave them in limbo. if they die, then yes, the rules change at this point, but it's also in a way that raises the stakes and makes things much harder for the heroes, so it's not convenient bad writing. Every heist movie features this kind of half. mugging crisis that changes the game and makes things more difficult eames transforms into browning using an actor's vanity mirror and one by one the reflections change to browning each time he returns to it with eems reflecting little pieces of nature of browning, but not until he screams to see him objectively in brown form because that scream is heard by Fisher who recognizes him as his uncle and so from now on we see him in the character cobb tells ariane about limbo with flashbacks that show it with a sledgehammer using sandcastles that collapse and in the background they also fall apart, we learned that they spent about 50 years together, but in order for Maul to leave this world, the policeman broke into his safe and decided to spin his top totem accepting the concept that this world isn't real in her mind, which worked in the short term to get her out of limbo, but it worked too well and ended up defining her to question every reality she found herself in until she committed suicide, framing Cobb for murder. hoping he would join her in lobbying fischer for a random pick. safe six-digit combination and simply blurts out 528-491, a totally random number they use as a macguffin in this subnarrative, a seemingly very important detail that really only serves to lead the fisherman hero in this subnarrative to his deepest realization in the level two reinforced this number for Fisher, the phone number in thenapkin and the hotel room numbers, so that on level three, when you open the safe with this code, you feel as if you have unlocked a puzzle feeling a personal fulfillment that was in reality, all manufactured to lead you towards your catharsis emotional, which again is what movies do.

People regret their emotional breakthrough while watching Toy Story was designed for you. All of her tears have Andy stamped on them, so on level two, the hotel appears to pose as a blonde. woman to flirt with Fisher a nod to the woman in the red dress from The Matrix, which is also a trick designed as a distraction while Cobb executes Mr. Charles' tactic to have Fisher turn him against his own subconscious, freezes when he hears the glass breaking . he sees his children playing nearby, the breaking glass is the same sound when he steps on the glass in the suite and represents Maul breaking into his operation just as he did with the train, so in the first two levels the interference of Maul takes the form of Cobb's tragic memories preparing her to make one last catastrophic interference in person on the third level.

After making Fischer believe that Browning was working against him, they established a secret about his father that, naturally, Fisher is desperate to find out. know, so they say they're going. in browning's dream, but it's actually eames' dream, the snow fortress above eustis, crazy driving creates some really fun physics for arthur to move around like a producer in any number of problematic film productions, arthur stays only to thanklessly struggle with one problem after another. and when yusuf falls off the cliff early and they miss the first kick, arthur has to quickly and ingeniously apply newtonian physics to kick them all without gravity, that's a great producer, ariane shares eem's shortcut to the hospital allows cobb and the little ones know it too. fischer is shot and falls into a limbo along with sado, ariana and cobb were dropped to retrieve them now the limbo was designed by visual effects supervisor paul franklin to look like a huge glacier made up of stacked modernist architecture with chunks of it breaking off At sea like icebergs Cobb finds them all in his old house and they have one of the most important exchanges in the movie, I know it's real, without a doubt, without feeling chased, foolish, chased around the world by anonymous corporations and forces police where the projections chase the dreamer with this line nolan recognizes the cliché and convenience of moments like mombasa chases little boy, right, they don't make sense, cobb's reality is as stylized and cinematic as his michael mann dream narratives were , stanley kubrick and double-oh-seven, and then maul offers the The final theme of the beginning is that you no longer believe in a reality, so choose.

Nolan suggests that the human mind cannot rely on external objectivity to determine our realities, but we can choose which world we want to live in. It doesn't really come from the walls around you. It comes from a loved one in your arms. The beginning itself is a trick. illusory magic we believe that it is Fisher's catharsis with her father but that catharsis is simply a lie, Cobb facing his demonic maul is the true catharsis of the beginning, he apologizes for corrupting her and lets her go because her ghost is simply the shadow pathetic of his true soulmate, something like the vegetable version of homer simpson marching through his guild cobb condemns himself to what could be another life in limbo, seriously, he and sado get quite old down there, they could Spend another 50 years or more, we'll never know, Ariane kicks Fisher back to the hospital level and he plays right into the built a catharsis with his father that goal prepared for him everything from the photo the stupid pinwheel the dad emits the word disappointed things he learned in the first level of the dream for Fisher to synthesize a new truth I know you were disappointed I couldn't I know you, no, no, I was disappointed that he tried, so they got on and Cobb washed up on the beach and came full circle to the film's prologue, which now, at this moment, to us feels like a forgotten dream becoming familiar as a dub for Cobb. and sato who repeat their promises to each other and just like the sudden dream like edit before it happens again and cobb wakes up but this awakening is the true awakening a beginning for cobb who was once defined by his fear of the uncertainty of his reality and now defined by the control over the reality that he chooses to live in the glances of complicity between the characters in these final minutes echoes the

ending

of the wizard of oz in which the hero sees that his friends have returned from their fantastic shapes to their real faces and they are gone. wondering about the difference between dream and reality and that brings us to the famous final shot of this film, Cobb comes home, spins his totem pole in disbelief, but then finally allows himself to look at his children's faces and hugs them, the camera focuses the top. which keeps going around and around and around and then yes, it's a deliberately ambiguous

ending

, a tease meant to leave us in doubt forever, of course if you look at it there's plenty of evidence that Cobb's world is actually real, now the part top teeters on the verge of Fall Over Cobb is not wearing his wedding ring and Michael Caine said that Nolan told him that every time his character is in the scene it means it's real, but this debate doesn't matter because the final shot of the part superior is another misdirection of Nolan guiding her.

Beware of an intriguing distraction while allowing the

deeper

catharsis he initiated in our minds to resolve the secret truth of this moment is that Cobb is not looking up, he only cares about his children and if you follow his lead and pay attention to the reality that cobb has chosen his son james actually says something surprising when cobb asks them what they were doing with a house in limbo on a cliff, yeah you could argue that it doesn't entirely make sense that cobb woke up straight from the limbo for the plane and a man wanted for murder miraculously managed to get through security with just a phone call, so I'm sure cobb could still be dreaming and maul was right, this movie had strange dream elements and outtakes and zhuangzi They were right, our whole life could be a dream from which we have not yet awakened but is that some way of living the incepted truth that Cobb learned from Maul and perhaps that Christopher Nolan realized himself as the cob-like visionary of this dream within a movie within a dream and the truth is that what we take away is that we determine our realities and that reality can be as simple as a loving hug in reality it is not that the dream that you will never want to wake up from now the dream The one I never want to wake up from is the one where Thor and I teamed up to beat up my ninth grade bully in front of his crying kids.

Do you think Cobb is still dreaming? Hit the comments and let me know. I want to know your opinion on this and let me know which movie. would you like to see me break it down next in the series follow me on instagram and twitter eavos subscribe new rockstars and thanks for joining me in this wonderful

breakdown

of the beginning of a movie. I literally got a job at a movie theater in the summer. 2010 so I can watch it over and over again ah now those are good times let me remember that you