(2) Kundalini – Kundalini references symbols such as the snake, reptile clothing and/or accessories, rhythm, dancing, spinning, tornado, creativity, surge of energy, gush(s) of wind, octopus, electricity, lightning, thunder, lightening, unpredictability and many more. Kundalini manifests itself in many unlimited forms and it is a threat. The protagonists and antagonists will usually be fascinated by it and/or some symbolic kundalini representation form. They will fight to acquire it, figure out how to harness its power, control it or fight against it or suppress the many forms it arises from. It is also possible for each one of the scenarios to be present in the interior film…seemingly like a world wind of confusion for the viewer…what is the feeling impression the viewer is receiving from the film at the exact moment symbols, dialect and dialogue are present? This is critical. It happens through the presentation of symbols, slight gestures, point of view shots, where the eyes focus on simultaneously to what is happening in the background and foreground scene, and vice versa while the screen play dialogue is shared. Actors are selected for specific reasons, scenes, looks, dialect, personality and idiosyncrasies. Translate this also to the seemingly miscellaneous actor that crosses the foreground and background almost in a blur simultaneously to dialogue, scene shifts or climactic moments. Pay attention to their racial skin color, hair color, clothing and what they are doing. Also pay attention to objects in the background and foreground, their color, texture, name, wording and signage. The presentation of confusion persists because scenes are jumping from one to another so fast that it is often hard to keep up with what is happening and shown down to the finest details. But keep your eyes on the prize, focus on the patterns that occur consistently throughout most films and movies containing black actors. Note what is happening in the background is just as important as the foreground. For instance, one scene showing a black male in the group of other races in the background, the subsequent scene general shows a black female. Then sometimes they are shown together again or separate and/or apart from each other on different sides of the same scene. It weaves in and out on repeat through the entire film and movie but it is done so slight that it is often easily missed. It is almost like the weaving of symbolic Kundalini energy (yen and yang) throughout the film. Check out Citi Hampton explains Kundalini. In cases with no black actors are in the films foreground or background, default to the black, orange hair color or darkest hair color.