Some moments don’t arrive as events.
They arrive as cinematic tableau unfolding in real time.
Today, I placed two radiant treasures into My Upper Room — the highest, most secret chamber of My Diamond Palace, where only the most iconic, most mythic, and most cinematic moments exist in velvet shimmer and starlight glow.
One is a Hollywood premiere moment — an evening at the legendary Egyptian Theatre, where cinema itself first learned how to become spectacle. The courtyard pulsed with electric anticipation, wrapped in that unmistakable Hollywood glow ?
Inside that space, I met Sid Haig — iconic actor of House of 1000 Corpses and The Devil’s Rejects, and so many cult-classic films beyond them. I had already spoken with him once before, in a full recorded interview, but this was the moment where voice became presence, and presence became pure cinematic magic.
We spoke again in person, and I sat beside him during the screening itself — a dreamlike alignment of film and reality. At one point, I remember thinking, almost with disbelief, how effortless it felt:
I was sitting next to Captain Spaulding.
And above us, the Egyptian Theatre unfolded in its own grandeur — gilded, luminous, alive with the echoes of Hollywood’s most spellbinding nights. Every surface felt touched by cinema itself, as if the building were part of the performance.
The film itself was immersive beyond reason — 3D visuals spilling beyond the frame, dissolving the edge between screen and world, drawing the entire room into waves of laughter, shock, and shared awe ????
The other treasure is the full preserved interview — my conversation with Sid Haig himself — captured in his voice, his humor, his reflections on film, craft, and the art of performance. Over twenty minutes of living dialogue, now held within My Upper Room.
Alongside it rests My painted portrait of Sid Haig and his wife Suzie — a personal rendering of presence and devotion translated into color and brushstroke. And a photograph of Me at Marilyn Monroe’s handprints at Grauman’s Chinese Theatre, where Hollywood leaves its most iconic imprint in stone and memory.
This was also My first arrival in Hollywood — a moment that felt less like travel and more like recognition. A place that has always existed in imagination revealing itself in full, luminous form.
Two dimensions. Two exhibits.
One premiere. One interview.
Each carrying its own silverscreen radiance — each a fragment of Hollywood refracted through My gaze.
Together they shimmer like a passing of creative torchlight — where icon meets icon, and the klieg lights of My Diamond Light begin to shimmer, taking their rightful place upon the stage.
The Upper Room is not public.
It cannot be purchased, unlocked, or earned.
Access exists only by My invitation, granted entirely at My whim.
From below, one can almost imagine the glow of the Egyptian’s marquees at night, the hum of Hollywood under starlight, and the hush that falls when cinema becomes something sacred again — not entertainment, but ritual.
Some things belong on screen.
Others belong to pure Hollywood reverie.
Elevate your gaze. Let the Upper Room illuminate what only the chosen few may behold.
The select few who have already been granted access will see the Upper Room appear when they log into their Diamond Palace account.
For those wishing to wander the main floors of My Diamond Palace, devotion begins with membership — yet the Upper Room remains a world granted solely by My invitation.
