The Manosphere Report

0:03the joe rogan experience train by day joe rogan podcast by night all day come

0:12on roger yeah fuck it fuck it fuck it fuck it go for it fuck

0:18it we'll do it live yeah do it live that's a classic oh yeah that's

0:22a classic look behind the scenes fucking crazy people telling you the news yeah that's

0:30good and the the william shatner one where uh you know the um studio guy

0:36you know he says uh shatner's doing some adr for uh the cartoon the star

0:42trek cartoon and he says uh you know he uses the word sabotage and he

0:49gets corrected by the by the studio guy he's like uh bill it's pronounced sabotage

0:54please don't correct me it disgusts me it sickens me and you say sabotage i

1:02say sabotage i absolutely love william shatner my favorite ones are the or uh excuse

1:12me uh fuck well i can't remember his name um rosebud orson wells jesus christ

1:18orson wells what happened you started saying it i know what happened my brain just

1:22said nope no access when orson wells was doing the gallo wine commercials oh yeah

1:27remember those days like yeah orson wells so no wine before it's time i know

1:32and then he was like everything was like a exhaustive sucking of air to come

1:37in to speak then he was making fun of how shitty the wine was in

1:41between takes like he's angry yeah there is a cd that you can get i

1:47can't remember what it's called but i have them at home and it's like all

1:50these radio things like that where just when celebrities you know lose it on uh

1:55while doing voiceover and adr it's hilarious orson wells is a crazy story right because

2:01when he made that movie when he made citizen kane which was about william randolph

2:05hearst yeah william randolph hearst essentially shut down one of the most talented guys alive

2:11at the time shut down his career yeah because the movie was kind of an

2:15insult about you know the whole thing about rosebud is that's the name of his

2:20girlfriend's clitoris oh that was his nickname for her clitoris and so orson wells was

2:25doing a kind of very uh uh like uh like he was jabbing at him

2:33in a very low level way like really yeah rosebud how did he know that

2:38that was the nickname of his girlfriend's clitoris people in hollywood know these things oh

2:42boy word gets around word gets around i would keep that one just to her

2:47yeah who told yeah that's crazy but i mean if you go back to like

2:53war of worlds and then citizen kane i mean this guy was a dynamo and

2:57then they shut him down well yeah and he was doing things that nobody else

3:00would do it's like he's like oh i want the camera down here like on

3:04the phone well we can't get the camera lens down that low you like what

3:08you're talking about is impossible to do and so he would just grab a like

3:12a pickaxe and just start chopping away at the studio concrete and dig a hole

3:16in the ground so you can put the camera down that low oh really yeah

3:19he would he was uh obsessed with getting a vision on screen that was even

3:26today is so advanced that there's a shot in the very beginning when uh young

3:31kane is like a little kid and he's out there playing with rosebud he's out

3:34there playing with the sled in the snow and the camera is on him and

3:39then it kind of starts pulling back and it pulls through a window and then

3:42we see his parents and the uh the trust attorney and the camera keeps backing

3:47up all the way into the room well to do that in a studio and

3:51to have all that snow and everything you need so much light but you also

3:54need a lot of light inside the uh because the exposure change it's like an

4:00amazing incredible uh dolly shot a reverse tracking shot it's fantastic and what year did

4:06he do this too i don't know the exact year citizen kane has to be

4:1340s right yeah yeah probably it's uh yeah it's in the 19 late 40s i

4:19would think is that when it was jamie yeah tell us the uh it should

4:23be um yeah 41 is when it came 41 early for early 40s early 40s

4:28wow yeah wow let me see that shot wartime can we find that wartime it's

4:31a wartime film what jamie i was i was looking for i was lost and

4:34that's some other ones wartime 40s right yeah right it's a wartime movie yeah yeah

4:39i didn't even think of that yeah oh my god a lot of stuff going

4:43on back then probably hard to get people to go to the movies back then

4:46no it would be easy to go to the movies because in fact wartime and

4:49depression and when things are bad that's usually the best time for entertainment because people

4:55just want to escape oh well that actually makes sense yeah be careful charles pull

5:01your muffler around your neck charles i think we shall have to tell him now

5:05yes i'll sign those papers now mr thatcher you people seem to forget that i'm

5:11the boy's father it's going to be done exactly the way i've told mr thatcher

5:15there ain't nothing wrong with colorado i don't see why we can't raise our own

5:19son just because we come into some money if i want i can go to

5:22court a father has a right to a border that beats his bill and leaves

5:26worthless stock behind that property is just as much my property as anybody's now that

5:31it's valuable and if fred graves had any idea all this was going to happen

5:34he'd have made out those certificates in both our names however they were made out

5:38in mrs kane's name so in order to maintain that background exposure of the little

5:42kid in the window and the foreground what's what you're not knowing is how much

5:47light they're using on the interior part in order to create that balance between the

5:51two with the with the foam stocks back then and the other thing is that

5:55table gets flown in like they move that table into the shot because it's in

5:59the way of the camera move wow and so there's all sorts of like you

6:02know mathematics going on in the creation of this shot and most people would just

6:07you know be like oh just you know shoot the kid outside and then cut

6:10inside you know just do it like that but you know wells was i mean

6:14he was thinking on a complete other level it's just we've robbed we got robbed

6:18of so many films if you really think about it what he could have made

6:21you know yes and no my favorite film of his is touch of evil and

6:26there's this amazing shot with charlton heston where he's playing a mexican and he's got

6:31like this like pencil thin uh you know mustache this and like chuck heston as

6:37a mexican is fantastic and then everybody's so sweaty in the movie and it takes

6:41place in mexico but it's shot in venice in california and so the whole opening

6:45which is this setting of a bomb in the trunk of a car and then

6:49yeah here's the opening shot and you can tell that it's actually downtown venice and

6:54this is supposed to be mexico yeah this is supposed to be like a border

6:57town in mexico i don't know if it's tijuana or some other border town but

7:03it's he does this this amazing amazing single shot wow and which back then this

7:10is really hard to do and this is kind of a um i mean it's

7:14charlton heston essentially saying i uh i believe in orson wells and his vision this

7:21is that's downtown venice there's the beach is just beyond that oh wow god what

7:27year actually i'm sorry the beach might be behind us what year was this yeah

7:321958 wow it's an incredible shot and and this is incredibly difficult to do as

7:41well because you've got a crane and now you're following the people now you're following

7:45the people and there's charlton heston with his mustache and we know as an audience

7:50that there's a bomb in that car but he doesn't know wow and so you

7:56know he he's still you know the just the fact that this is all one

8:01shot is crazy and for back then i mean it's a big deal back then

8:05the camera that you're using isn't just some little uh handycam or something like that

8:09now you know an iphone it's a mitchell bncr which is a you know it

8:14takes four guys to move that camera it's made out of cast iron you know

8:17it's a giant camera with a blimp and a blimp a blimp is a soundproofing

8:23device that's so you have the camera and then you've got to build a giant

8:26uh encasing for the camera because it makes so much noise you don't want to

8:30hear that oh what did that look like um i have one in my home

8:34it's uh of course you do well i that shot's incredible i would have never

8:41i didn't know that film existed i bought i bought mine from this commercial director

8:45named charles wittenmeyer and he had a massive collection of stuff and then he liquidated

8:50everything he just kind of cashed out of los angeles and he's he had a

8:53warehouse full of stuff and so i went in and he's like you know well

8:57here's you can get this and you can get this i was like okay the

8:59mitchell bncr and we went over to it and he's like you know this mitchell

9:03bncr was used uh you know to shoot uh the godfather so that's what it

9:08looks like with the big lid on it yeah that's actually yeah that's basically the

9:12camera that's that's the camera is that i also have some camera blimp is the

9:15thing on top of it yeah the blimp is well the whole thing is actually

9:19the whole thing is a blimp i mean well there's there's a smaller um oh

9:23so that's the camera with a blimp on it the the big one like the

9:26whole thing is a blimp and when you can actually open up all of these

9:29uh these trap doors on it to reveal the camera inside of it and then

9:33the reels that are in there you go it's there's an open one an opened

9:37up one wow it looks like it's holding an airy on the inside an airy

9:42100 one of the things about old movies is they would let a scene cook

9:46you know you had so much time before people would talk and you just let

9:51the like the average daily life sort of play out yeah and it set the

9:57tone for the film and they don't now it's like it's like built for netflix

10:03well yeah well now you have a white paper that netflix gives you and that

10:06i think uh was it ben affleck that was talking about it you know how

10:09you know you've got to have a beat in the beginning and you've got to

10:12have this and this and this and regular things i mean there was this book

10:16by sid field which was a screenwriting book um that you know at one hand

10:21it gave a kind of formula on what a movie should be you know by

10:24page seven your inciting event should happen and by page 30 the first day you

10:29know he had everything mapped out by page and that eventually found its way into

10:32the hands of studio executives and they were like oh now we know what a

10:36screenplay is supposed to be structured like you know in order to have proper story

10:40arcs and structures and a satisfying design and uh and that's just the next iteration

10:48is netflix giving you a white paper saying you have to shoot with these cameras

10:52you have to uh process at these labs you have to have you know tech

10:57specs that are within this range and that's now extending to story because they've analytically

11:03looked at what audiences are you know able to process now which is less and

11:08less probably because of the covid shot you know completely frying their pineal glands so

11:14they can no longer pay attention to anything and then on top of that the

11:19uh the mind control device of uh cell phones and um you know with all

11:26of that they they're now like well how do we maintain the audience and so

11:30you end up with white papers don't you think it's options too it's almost like

11:33if something is not really fascinating within the first 20 30 seconds people just want

11:38to let's see what else is on they just want to keep searching well there

11:42is that i mean there's something magical about being in a movie theater you know

11:46it's uh you know you're you're you're you're in this congregation yeah you know quentin

11:53always talks about how you know movies are my church well it is a congregation

11:57and you're having you're sitting in the dark next to someone you don't even know

12:02they might have completely different ideologies uh you know race creed color like everything is

12:08different about them and yet you're sitting in the dark next to them having this

12:13ecstatic dream this waking dream sitting like insects looking at the flicker on the screen

12:18and you're sharing this kind of experience that you're physically trapped in you know like

12:23you you don't you know you don't you get up and leave the theater and

12:26well you might if you have to go to the bathroom or get some popcorn

12:29or something but they'll even bring that to you now.

12:32You're having this kind of ecstatic experience absorbing the movie with someone you don't know

12:37and you're sharing your bodily electricity with them.

12:40And I think this kind of this is the magic that they often talk about

12:44of movies. It's not necessarily the movie itself on screen.

12:50It's the shared experience of being next to people.

12:53And that there is a kind of unseen electricity between people that unifies us and

13:02I think that there are dark forces in the universe that are attempting to divide

13:06people up and to take that away to take away that congregation.

13:11Do you really think that that's on by design or you think that's just a

13:14natural function of streaming and televisions and phones and having access to things instantaneously?

13:21I mean I personally think that streaming was by design to eliminate residuals.

13:26Like by design but what isn't it just a function of new technology emerging?

13:29I mean you notice that all of the executives well yeah I mean part of

13:32it is technology but technology gets pushed and brought to the forefront for specific reasons

13:36and you know digital cinema hasn't been the greatest thing for the creative process and

13:43I think we see that in the works that we're looking at.

13:45I mean if you watch stuff on Netflix and whatnot we can see that it

13:52doesn't have the same power and impact and also you know when you were making

13:58a movie when you were making a film on film it was like every time

14:04you turn on the camera you're burning money.

14:07It's like every single frame is like four cents or whatever whatever the calculation was

14:12and so that was actually an expensive part of the process and so you know

14:18there was all this preparation to get everything ready like oh we want to get

14:20all of the the props in place you know right before we shoot and the

14:25actors are in their trailer and they're figuring out their what they're going to do

14:28and then you're on your way to set and people are like hey I'll see

14:31you in the moment and what they mean by that is when the cameras turn

14:36on and you actually hear that happening suddenly everything pops into play and suddenly you're

14:42you're performing in front of uh you know you're you're and you're what you're attempting

14:47to do is capture lightning in a bottle and you don't even know that you

14:51have it right away you ask your dp like do we have it and it's

14:54like oh well there's a some dust in the frame or a hair in the

14:57frame let's get another one you get another one and like then you hold that

15:02all in the dark all that film because you can't expose it and you send

15:05it off to the lab and then some alchemist at the lab at the castle

15:09you know puts it into a potion and he and the next day what comes

15:14out are these like little stained glass windows and you watch it and you realize

15:17what you caught you're like we did it we we captured something okay now everything

15:22is different you uh you know you show up on set and everything's digital and

15:28you've got producers and network executives and broadcasters and everybody's there studio people in video

15:37village and they set up like a little tent and everybody's sitting there in their

15:40canadian goose uh jackets on high chairs and they're looking at a big color corrected

15:46monitor and there's a guy doing color correction in a van and they're basically watching

15:50an approximation of what it's going to look like in the end and they're sitting

15:54there okay on my first film there was none of that i had to stand

15:57next to the camera we didn't even have videotap stand next to the camera and

16:01look at the actors and see did the actors do what i wanted them to

16:04do and now you know they just turn on the camera and it's it costs

16:10more money to stop the camera and to restart it again so you just let

16:13it roll and you're just like letting it go and you're like hey you know

16:17the director now is like hey go back start over and smile this time and

16:22then they redo it and then the editor is now like having to take those

16:26takes and separate them in the uh in the editing room and the actors are

16:31like suddenly the moment is gone in in other words it's vanished it's uh is

16:36there a way to do both i mean is it the medium of film i

16:39mean it seems like different mediums but it's the environment as well you're describing an

16:44environmental thing right well video village executives yeah and the problem is now suddenly you've

16:49got a chorus of people sitting there who are like oh yeah you got it

16:52i saw he got it didn't you get it you got it but you as

16:54the director still have to run back and forth to the camera and to the

16:57actors and everything and you're like trying to uh keep it all in place and

17:00look it's it's neither is worse than the other right they are both paint but

17:08one is watercolor and one is oil paint and those are opposingly different you know

17:14if you were a um an oil artist during the uh british renaissance of watercolor

17:21paint where all of a sudden watercolor came on everybody wanted watercolor why would you

17:26try to make your you know watercolor paint look like oil or vice versa they're

17:32just completely different mediums they're both paint right but they're different and so digital has

17:38its its advantages and its purposes you can you know because you can run like

17:43a long mag of uh of video i call it video everybody calls it digital

17:48cinema but that was that was just to push it through you know and and

17:53and actually the technology is different you know with film light travels through through the

17:59glass it travels through a gate it exposes the silver and the acetate and uh

18:05and and then and you keep it all in the dark and send it away

18:08with video the light travels through the glass it strikes the golden sensor and then

18:15it bounces back into the glass and that's why video or digital cinema is flatter

18:19by nature than than most film because it and so to combat this uh filmmakers

18:26have started to do the exact opposite of what we used to do it used

18:31to be that you would go to uh shoot something you're on you're outside you're

18:34on set i've got my camera on joe and i have the sun behind me

18:38because i want all that see you next time see you next time you light

18:39on you, for the most part.

18:41I'm over -exaggerating my point.

18:44And the analogy or the saying would be that at the end of the day,

18:47you go home and the back of your neck is sunburned because you've always had

18:50the light behind you. Now, because the image is flatter, they rotate the camera 180

18:55degrees and they shoot into the sun to get lens flare.

18:59And lens flare gives you the illusion of depth where there is none.

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20:19I always thought that like when you would watch soap operas, I was like, why

20:23do they look so weird?

20:25And it's because they were shooting them on video instead of on film.

20:29Like when we were filming news radio, the sitcom, we were doing it on film

20:34and they were like really adamant about doing it on film.

20:37Like they really wanted it to be on film.

20:38And then there was some process where you could make video look like film.

20:42And I was like, this is so interesting.

20:44It's like, we're designed, like when you take your photo with your camera on your

20:47phone and you use portrait mode, which is you blur out the background.

20:51So you're making it shittier.

20:52You're doing an artificial. That's because we associate the faults of media as film.

21:05Like people think of like old movies as gate weave and sepia tone and dust

21:10and scratches and kind of fast motion.

21:14Well, when those movies were originally made, the motion was corrected by the cranking of

21:17the projector. And so it was natural motion.

21:21The, uh, there was no sepia tone change.

21:24There was no dust. It was originally, and there was no gate weave because it

21:28was a fixed image. The image, the celluloid hadn't yet shrunk or anything like that.

21:34And so, uh, we now, we have this kind of filter, nostalgic filter that we

21:40associate with what an old movie looks like.

21:42And so if you want to make something look old, you start adding all this

21:44crap to it. You're adding the faults and it's the faults of cinema that actually

21:48make it really good. It's not the perfection of cinema.

21:51That's in my opinion. Because you would never be able to sell that if that

21:54cinema never existed. Like if cinema never existed and video came around and then it

21:59was normal video, like soap opera style.

22:01And then someone came along and said, Hey, let's make it blurry in the background.

22:05And let's like, it's almost like we've become accustomed to the faults.

22:10And nostalgically, we look at them as if they're, they're, it's a positive.

22:14And, and, and it's also led by, you know, everything is shot on iPhones now.

22:18And so that's becoming the cinematic vernacular, the grammar that people are used to.

22:22And they, they now expect that in a big movie.

22:25And so suddenly you see something like the latest James Gunn Superman or Guillermo, Guillermo

22:32del Toro's Frankenstein. And they've got these crazy wide lenses where there's no distortion and,

22:38you know, kind of infinite depth and, and they're shot in a, you know, very

22:42large format. But what they're replicating is an iPhone.

22:46Right. And it just, I, I watched both of those movies and I thought, okay,

22:52both of them are amazingly technically competent and they're made by, you know, like highly

22:58professional people, but, you know, it looks like iPhone footage.

23:02I'm a huge Guillermo del Toro fan.

23:05Um, I even loved his book, The Strain.

23:07Like it was really, it was really good till about like three quarters of the

23:11way through. And it seemed like he just wanted to finish the book.

23:13Yeah, probably. Like a bunch of shit just sort of just happens in the last

23:17quarter of the book where I was like, this is kind of jarring.

23:19It became dinnertime. It was almost like, put this aside.

23:23I'm going to go eat.

23:24It just seemed like, fuck, I can't keep going with this book.

23:26It's what it felt like.

23:28It felt rushed, just my, my opinion.

23:30But I'm a huge fan of that guy's book.

23:31I love Pan's Labyrinth. I love a lot of his films, but I didn't like

23:35Frankenstein. I, you know, like I love Guillermo and I love his spirit and I

23:43love his artistry. He is an amazing artist.

23:47He is, he's, uh, um, uh, just literally as a, as an artist, you know,

23:52his, his sketchbooks are beautiful and he brings a great amount of passion, uh, to

23:57his work. He, he brings that kind of Mexican, uh, passion to his work.

24:01And I adore his, him as a, as a person, but to be perfectly honest,

24:07I'm not wild about his movies that much.

24:09I, you know, I, I, I didn't like Pan's Labyrinth.

24:12I, I, I liked parts of it, but as a whole, I, it just kind

24:16of, I don't know what it is, you know, about it, but, uh, I mean,

24:22Blade II is probably my favorite film of his because it's like the least of,

24:27of, well, actually it's quite a bit of him, but, um, it's just the most

24:32accessible for me. I didn't know he did Blade II.

24:34Which one was that Patton Oswalt was in where he had the, the whole bit

24:39about Wesley Snipes and then they replaced him with a cool, cooler Wesley Snipes.

24:44I think that was three.

24:46Yeah, it was probably Blade III.

24:47I don't remember Blade II.

24:49I don't remember Blade II.

24:50Blade I was awesome though.

24:51Yeah. That's my favorite of all.

24:53The comic book vampire, well, comic book movies, because I was just a giant fan

24:58of the Blade comic book series.

25:00I also like his Pacific Rim movie, and I like parts of, like, the moment

25:04in Frankenstein that I think is, for me, the entire movie.

25:08Like, I could have, like, left the rest of it.

25:09So much of it was just so melancholic and, you know, it was just like

25:16I just couldn't engage with it.

25:18And, but the part that I absolutely loved was at the Miller's house.

25:23Where he's learning language. To me, that was the movie.

25:28When he's kind of secretly learning how to speak and how to be and learning

25:33morals. And to me, I could have watched an entire movie about that sequence.

25:39And it was also beautifully made, that part.

25:42Just the rest of it with, I could have done without.

25:47It was just a little flat.

25:48And also it's like, why does it have, it's so freaking long.

25:52Like, he could really, like, learn a lesson.

25:55Well, I was going to say he could learn a lesson from Ridley Scott, who

25:58just clips through things. Like, he takes, you know, there's a dialogue scene.

26:02I'm just going to do the essentials and just get out.

26:04Like, it's a commercial. This dialogue scene doesn't need to be any longer than 30

26:07seconds. And he just clips along.

26:11Somehow yet his movies are still, like, two hours long.

26:13Well, they're so involved. You know what I really loved?

26:17Nosferado. Did you see the new Nosferado?

26:19No, I haven't. You know, I don't want to sound like a persnickety guy, but

26:25I had to be in the right.

26:26I want you to be persnickety.

26:27I had to be in the right mood to engage with that movie because I

26:31like that guy's first movie, The Vivitch or The Witch.

26:36I never saw that. I heard it's great, though.

26:38I love that film. I think that's a great movie.

26:40And he's like a production designer.

26:42He's doing a werewolf movie right now.

26:43Yeah, of course he is.

26:44I'm very excited. Of course he is.

26:45I love a good werewolf movie.

26:46I did not like his Moby Dickish Lighthouse movie.

26:50Oh, I didn't see that.

26:51That was the Willem Dafoe and Robert Pattinson.

26:53Yeah, the Willem Dafoe one.

26:54It was just garish and kind of I felt like lost its way halfway through.

27:00And then this latest one, Nosferatu.

27:08Look, I am a Werner Herzog nut, and so I adore Werner Herzog, and I

27:15love his Nosferatu. So for me to watch this guy's version of that, I have

27:24to be in the right mood.

27:25I have to be in the right mood.

27:26I just wasn't yet in the right mood to accept it.

27:28Which one is Werner's? Who plays Nosferatu?

27:30Oh, the incomparable Klaus Kinski.

27:35I know I've seen it.

27:36I mean, the thing about Werner Herzog, when he made his Nosferatu, what's, you know,

27:41the Murnau movie, which is the original Nosferatu, the very first one with Max Schreck.

27:47Yeah. I saw it at the library when I was like 10 years old.

27:51So the thing about Werner Herzog as a filmmaker is that most filmmakers have their

27:56forefathers that they can look back to.

27:58They can, you know, they have a generation before them that they can kind of

28:01imprint on. And because of the brutality and tragedy of World War II, he had

28:11none. There were no German filmmakers that he could look to.

28:13And so he had to look to his grandfather, basically, which was Murnau when he

28:17made it. And so his film is almost like haunted by the by the original.

28:22And then he bring, you know, Werner Herzog grew up not using a telephone until

28:27he was in his teens.

28:27He'd never seen a telephone before.

28:29He had grown up like in, you know, upper Bavaria in the mountains.

28:34And, you know, so he comes like his film is almost displaced in time.

28:39It's like skipped a generation.

28:41And he does things like, you know, he'll show two actors in the most emotional

28:46part of the movie when Mina and Jonathan Harker are, you know, at the beach

28:51and they're basically saying goodbye.

28:53And normally, you know, Hollywood film, they would cut to a close up so that

28:57we could see the tears.

28:58You know, we would cut to that close up.

29:00But because his film is, you know, because he's displaced in time, he stays back

29:06like he doesn't even bother shooting a close up to him.

29:10It's more melancholic to show them just isolated as figures, you know, in in in

29:15a wide shot. And it truly is.

29:18And so his film is is super powerful that way.

29:21And then you have Klaus Kinski, you know, who is, you know, like the madman

29:26actor of of German cinema and who is, you know, who who was like I

29:34mean, there's a documentary called My Best Fiend, which which is about the relationship between

29:41Herzog and Kinski. And there's an amazing scene in the beginning of that where he,

29:47Werner Herzog visits the apartment that he rented in.

29:51I think it was in Berlin that, you know, that where he was first becoming

29:55a filmmaker and where he first met Klaus Kinski.

29:57And he goes there and it's now occupied by these two, you know, just very

30:01conservative, this German couple. And and he starts going through the house and saying, oh,

30:06yes, here, this is where Klaus, you know, went crazy.

30:12And he started smashing it and shitting on the walls.

30:15And like, you know, like because he was an insane guy.

30:17He was like his whole thing was about provocation.

30:20And so he brings a kind of crazy vampire.

30:25I mean, it feels like a real vampire.

30:28I remember it now, but I haven't seen it forever.

30:30What year was that? You mean the Kinski one?

30:32Yes. I think it was in the 70s.

30:34So I'm thinking it was like 78 or 79, maybe even earlier.

30:37I know I've seen all the Nosferados.

30:40Let me see. Give me a clip from Werner Herzog's.

30:44I will eventually see this new one.

30:45It's fucking good, man. It's good.

30:47But the dude who plays the vampire, what's his name?

30:51The guy who played the clown in It?

30:54Oh, yeah, Bill Skarsgård. He's so good.

30:57Well, he's so good. And so is this the scene when he meets the vampire?

31:04I don't know. I just clicked on it.

31:05Yeah, this. Oh, he cuts.

31:07Well, this is. Yeah. I mean, Kinski brings just an amazing, deep empathy.

31:22Oh, this is the English version.

31:23Please, let me do it.

31:25It's the oldest remedy in the world.

31:28Oh, forget it. It's hardly worth mentioning.

31:32Just a little cut. Oh, you know, it's only for the best.

31:54The original jerk in German.

31:58It's incredible. That's so awesome.

32:05And that's probably Kinski, like, you know, they're supposed to cut and Kinski just keeps

32:09going. Yeah, I mean, Bruno Gans, I think it's Bruno Gans, is probably terrified in

32:16real life because he doesn't know.

32:18Kinski's crazy enough where he'll bite him.

32:20Right. And he's got those fake teeth then.

32:23Yeah. All right. Show me a clip from the new one.

32:39You got to see the new Nosferatu.

32:42I mean, I had never seen a vampire like that.

32:45And then I think Salem's Lot was made after the TV movie.

32:48Yeah, Salem's Lot was super similar to it.

32:49Yeah. There's a scene when he meets the guy at the castle.

32:57I did see one scene from this online with Lily Rose Depp kind of reacting

33:03to something which was, like, very compelling.

33:04Go full screen to this.

33:05This is when he makes it into the castle.

33:09It's really dark, man. He did a fantastic job of, like, capturing the creepiness of

33:15it and also the surreal aspect of him being under the trance of this vampire.

33:21You recognize that reality is all fucked up and skewed.

33:25Like, time passes very quickly.

33:27It doesn't make sense. He's super confused as to what's going on.

33:39I mean, I have to say, this movie feels haunted, as haunted by the Herzog

33:45version, as Herzog was haunted by the Murnau version.

33:49For you. For me. It would be, like, I encourage anybody to, like, enjoy all

33:54three of them, I guess.

33:55Yeah, I wonder if he was haunted by that or if I wonder if he

33:58was haunted by the original.

33:59But this is, with the use of all...

34:03Yeah, the little step frame.

34:04...modern ability. Yeah. But it's just the way they made the castle and the way

34:09they made him is very unique.

34:12There's so many aspects of it that I thought were very unique.

34:14Even the way the vampire feeds on people is unique.

34:17This guy is a very, very, very good filmmaker.

34:22I just, uh... I don't know so much about the way he's talking.

34:43It's weird, but it grows on you.

34:46Yeah, yeah. It grows on you.

34:47Well, I'm sure it has, like, a haunting quality over time.

34:50Yeah, like, like this. The guy just disappears and all of a sudden he's way

34:53far away. There's a lot of that in this movie.

34:57So the scene when they get him to sign papers, when he's, get up to

35:01that. Questions about the, um...

35:05Right there. Will we yet keep close many superstitions here that may seem backward to

35:16a young man of your high learning?

35:22I'm sure Prince Charles was, like, jacking off to this film.

35:27Before they made that painting.

35:28Well, he, he, apparently he visits, uh, Castle Dracula, like, every year.

35:34Well, isn't he related to Vlad Tepes?

35:37Yeah, it doesn't surprise me.

35:38I mean, he's, he's German, he's of German ancestry, so...

35:41I think Prince Charles is related to the original Vlad the Impaler.

35:47That would track... You can go further ahead so they get...

35:50That would track with the whole baby eating thing.

35:51They give you a look at what he looks like.

35:54I think it cuts off, probably.

36:06They don't want to give away too much.

36:07That was the other thing, like, you don't really get to, get a look at

36:10him for quite a while.

36:11And when you do, it's horrifying.

36:14Yeah. And the movie is made in washes of darkness.

36:17Mm -hmm. It's very dark.

36:20I mean, it's very much a candlelit movie.

36:23Which I like because I don't like a film where you're pretending that people are

36:28in a candlelit, but it's really well lit.

36:30Well, and that's, that's an example of where video actually is, is a better medium

36:35to choose. Because it, it, like, digital loves darkness.

36:41And it can do things in darkness that film just doesn't have the capacity to

36:44do. Right. And so it's an excellent choice.

36:46When we did Silent Hill, we made the choice of whenever we're in the dark,

36:50we're shooting on digital. And whenever it's during daylight, we're shooting on film.

36:54Oh. To create a kind of dissonance between the two.

36:58And so, and that's largely because digital loves dark.

37:02And this is a great use of it.

37:04But I'm warming up to it.

37:06I, like, I've been waiting.

37:08I bought it on, on Blu -ray.

37:10I have the movie. I mean, I keep it.

37:13It's in that stack. And I've just been waiting to, you know, for the right

37:16time to expose it, expose myself to it.

37:18I loved it. Where I'm in the right mood.

37:19I loved it. I'm no film expert, but it's my favorite.

37:22Favorite vampire movie ever. Well, that's actually saying a lot.

37:27That's incredible. I loved it.

37:28That's incredible. A fun vampire movie is 30 Days of Night.

37:33Yeah, 30 Days of Night is great.

37:35I love that one too.

37:36It's not as good as this.

37:37This is a better movie.

37:39I think I Am Legend is actually a pretty good vampire movie.

37:42The one with Will Smith.

37:44I thought they were zombies.

37:46Well, they're kind of, it's a contagion film technically.

37:49They're not really zombies, but they've been turned into like vampire -like creatures in that

37:54film. That's a really good one.

37:56And then that one that, what's his name?

37:59Taitiki Wakatakalakalaka. That Polynesian director who did the Thor movie did.

38:06God, what was it called?

38:11We Are, I can't remember the name of it.

38:15But it's like a comedy version of vampires, like kind of all living in a

38:20house and sort of - How old was that?

38:23This was made sometime in the mid -2000s, I think.

38:28Hmm. Vampires living in a house?

38:30What We Do in the Shadows?

38:31Yeah, What We Do in the Shadows.

38:32Did you see that? Nope.

38:34That is an incredible vampire movie.

38:37Really? It's kind of like a mockumentary, like where they're, they're, but it's, it takes

38:43all of the kind of vampire mythology and it makes it really, really fun.

38:47I've never even heard of this.

38:48It's fantastic. This is his best film.

38:51This is, I'm sure, the foundation of everything he's done has been on what we

38:55do, for me, What We Do in the Shadows.

38:57Huh. That's so crazy. I never even heard of it.

39:00Yeah, it's, it's wonderful. Show me the trailer, Jamie.

39:07We are granted protection for the subjects in this film?

39:10Oh, it's like a Blair Witch Project type deal.

39:14It's been like this the whole time, Deacon on dishes, and it still hasn't moved

39:19in five years. You're a cool guy, but you're not pulling your weight in the

39:23flat. Oh, I'm glad to hear that I'm cool.

39:27No, that's not the point, though.

39:29Yeah, no, I know. Not the flat meeting about how cool you are.

39:33When you get three vampires in a flat, obviously there's going to be a lot

39:38of tension. Viago was an 18th century dandy.

39:43Look, a ghost cop. Pratislav is a bit of a pervert.

39:49This is my torture chamber.

39:51Deacon's like the young bad boy of the group.

39:54I'm supposed to pay rent, but I don't.

39:58The trouble with being a vampire is you have to be invited in.

40:02Coming to the bar, please.

40:04Four dollars is walking. Will you invite us in?

40:07We need some fresh land.

40:10The whole movie's like that.

40:11It's fantastic. Oh, that's funny.

40:14Will you invite us in?

40:16Just invite us in. The bouncer's like, no.

40:18And they can't do anything about it because they're vampires.

40:21Let the right one in.

40:22Oh, okay. That is, of all the modern vampire movies, I mean, I haven't seen

40:27the, what's his name? Eggers?

40:29The American version of it?

40:30No, I hate the American version.

40:32The American version is, let them in, is terrible.

40:37Like, I had to wash my eyes afterwards with another movie.

40:42I didn't mind it. I hated the, but because I loved the - I loved

40:47the foreign version. Who, which country was it from?

40:49I think Sweden. Sweden? It's really good.

40:51It's an outstanding, outstanding film.

40:54And the book is fabulous as well.

40:56It's an amazing novel. Yeah, I just love a good horror movie, a well -made

41:01horror movie. Because, like, the suspension of disbelief is, like, inherent to the enjoyment of

41:06the film. Like, you know?

41:07Like, just show me. Show me how the guy turns into a monster.

41:11Show me. Yeah. Let's go.

41:12Make it so. Make it so.

41:14And also, you can see, like, I mean, they have been making Dracula movies again

41:21and again and again. It seems like every year there's another vampire movie coming out,

41:26or every couple years at least.

41:27And, you know, there never seems to be an exhausted - The market never seems

41:33to be exhausted by it.

41:35No. You know, it's zombie movies.

41:36They continue making them. You know, it's like - That's the most overused genre, is

41:41zombie films. Zombie films, zombie TV shows.

41:44I mean, how many versions of The Walking Dead are there?

41:46There's multiple. Yeah, and I'm not a big fan of the - I like -

41:50I mean - The beginning was great.

41:52I think first season of The Walking Dead was great.

41:54When I realized, oh, it's just sadism.

41:57And, I mean, I get the point.

41:59After the first season, I realized, oh, the point is that The Walking Dead are

42:02the living. They're actually The Walking Dead.

42:05Yeah. Because they've become emotionally - I didn't like - It got into the point

42:09where they were just - It was just murder porn.

42:12Yeah, and that - I mean, I think I even talked about this before.

42:17Like, that's a real problem with television, is that they're just trying to get the

42:21serotonin levels spiked by killing someone that you care about.

42:25Mm -hmm. And, you know, real television, you return because you love the characters and

42:29you want to return to it.

42:30Well, sometimes it's done well.

42:32Like, Game of Thrones did a fantastic job of doing that.

42:36But even that kind of lost its way after a while.

42:38Well, there's like eight seasons.

42:40I'm re -watching it right now.

42:42We're actually on season three right now.

42:44It's fucking great. I kind of forgot how great it was.

42:48But when you get to binge it and you don't have to wait, like, there

42:52was years in between seasons because it took so long to produce.

42:55Have you seen The Pendragon Cycle, The Rise of the Merlin?

43:01No. Okay, so these days, like, you almost don't know where television - where to

43:08find television. And that's because you can find it anywhere.

43:11Like, and the main - the mainstay producers of it, the studios and everything, they're

43:17no longer reliable in producing quality television.

43:20And so suddenly we see stuff rising, you know, out of places that is completely

43:25unexpected. And this was produced by The Daily Wire of all - What?

43:31People, yes. And the CEO of The Daily Wire directed it.

43:35This guy, Jeremy - boring yeah i hope i'm not mispronouncing his name his name

43:40is boring but um and this is good okay this is to me this is

43:46better than uh you know it's i have a very high watermark for um uh

43:54for arthurian mythology like to me excalibur is the high watermark and this really went

44:01this like i had a chip on my shoulder when i started watching this i

44:04was like okay this is very unlikely that i'm going to enjoy this production but

44:08they did it for like a for a micro budget effectively they made something that

44:13is absolutely kind of reinvents the mythology and they do it like proper television where

44:19you kind of love the characters and they they weave an entire reality and universe

44:25that is just fantastic and it's done for like you know for very very little

44:29you know they're spending billions making uh these lord of the rings things and like

44:34nobody cares they're just awful to watch and in the meantime these guys just you

44:40know without anybody paying attention cranked this out and i've only seen four episodes of

44:47it but i am like completely blown away by it that's so interesting that daily

44:52wire anything about i think that's part of the problem well that's because well like

44:57we don't hear about a lot of things like and media is like the least

45:01of it right good point but certainly with the daily wire the problem is it's

45:07like associated with this right -wing production if you can get over that and like

45:12and and put that behind you and then uh i mean this is to me

45:17as good as classic television it's i my prejudice was initially oh they're gonna somehow

45:24or another embed right -wing ideology in this well everybody's embedding their own ideology whenever

45:30you make any media there's usually um you have corporate propaganda and personal propaganda and

45:36you're you and usually there was a balance between the two you know if you're

45:39making midnight express for example okay that movie was nothing like the book at all

45:47really not even close to the book and it's a complete alternate experience and you

45:52wonder why did that movie why was that movie such a big success why was

45:56that movie such a um overwhelmingly like oscars and everything okay i think it had

46:03a little bit more to do with the politics of what was going on with

46:06turkey at that time than anything else and and and you know um what's his

46:12name billy hayes who uh um you know experienced it lived it spent the rest

46:16of his life basically apologizing for the movie and uh why you know because none

46:23of he he wasn't like raped in a turkish prison and that's like that's like

46:26the original that's like a joke that gets you know right you know in airplane

46:30they're making jokes about it right and so yeah billy hayes he was the the

46:34actual character or the person who lived the experience and uh and so the movie

46:40is a kind of propaganda element and that's like all hollywood does it we you

46:46know you kind of accept whenever you're making a movie that you're being used in

46:51a certain level to do something whether it's to you know on a very basic

46:55level whether it's just to like you know mortify or scare audiences or you know

47:00to you know to do things and we see that more and more obviously in

47:03media as the director the personal propaganda when you have something personal that you want

47:08to get on screen has become more and more diminished and you have you know

47:13sort of more corporate propaganda kind of taking over and i think the the the

47:18most probably crass example of that is dei stuff uh you know in movies and

47:24pushing uh characters in situations that are just completely out of whack did you see

47:30the star trek that they tried to make like that okay i'm like a big

47:35star trek guy i watch star trek every day in my house we watch like

47:38two or three episodes and i'm not kidding my wife is like a trekkie she

47:43is like crazy for star trek and so she puts star trek on you know

47:46like at around five o 'clock star trek comes on original well uh or picard

47:52we cycle through we go chronologically from uh you know the original series through the

47:58next generation and then ds9 and then voyager and then enterprise and then we look

48:03back to uh and sometimes you know when you show an episode like uh in

48:09ds9 there's an episode called trials and tribulations where all the characters go into the

48:13past and they kind of interact with trouble with tribbles and they kind of blend

48:17them into the set and everything that's happening we'll then go back and watch trouble

48:21with tribbles or you know uh same thing with wrath of khan we'll do this

48:26you know so we'll uh we'll kind of connect it all together and so uh

48:31but every day there's at least two or three episodes of star trek playing in

48:35my house it's like i usually have to wrestle away the controller to say we're

48:38watching a movie now and so uh and and my children were like basically raised

48:45on star trek and you know the sort of morals behind star trek and you

48:50know uh and you know and people complain about oh you know i don't like

48:55ds9 as much it's not as dynamic i hate bajor and blah blah blah but

48:59i think captain cisco is one of the most amazing captains there is because he's

49:04also a father and there's all these like father son lessons that are going on

49:08throughout it it's like really elaborate television and by the way all that kind of

49:13dei stuff is still in it it's still there they're you know they're exploring all

49:18sorts of things in star trek the next generation uh riker who's like the uh

49:23uh the the second in command to picard in in that one there's an episode

49:29where he goes to a planet of neuters that are just you know they have

49:34one gender and he falls in love with one and they kind of waken up

49:38out of their single gender thing and realize oh i'm female and that person then

49:42gets taken and reprogrammed like and and then there's an episode where cork is turned

49:47into a woman in order to for some cockamamie reason they come up with in

49:52the show and and he kind of likes it he's like getting into it like

49:56so it's not like they aren't exploring gender and not just beating you over the

50:00head with it it's somehow integrated into good storytelling and i think something happened at

50:06uh you know at the studios where they fired all of the legacy people and

50:11they hired on a bunch of new people who just weren't as good at storytelling

50:16and or as respectful of the you know the the canon i guess you could

50:23say right is what it was but you know those seasons of star trek are

50:29which i guess you could call the from the gene roddenberry into the rick berman

50:33era and i mean they had such amazing writers they had guys like renea shiveria

50:38and narin shankar and uh and they had technical advisors and you know so if

50:44you were just into the tech you could really like you know and and and

50:48most of our technology and most of our aspirations have come from star trek you

50:52know our telephones are basically you know like tricorders yeah and we're we're all and

50:59you know when we see it on star trek like oh we talked to the

51:01computer well i want to have that and so somebody figures out a way to

51:05develop that and to make it so and now we have that didn't he actually

51:08say computer yeah he would say computer and ask a question yeah well like hey

51:13siri hey siri same thing yeah wow and so it you know it's a i

51:19mean i think it's a fantastic show and then this dweeb alex kurtzman comes along

51:24and just shits all over everything just like craps all over it and i mean

51:29i went in and met with the guy you know i was like hey i

51:32will write for for scale uh you know i'll write on your new show i'd

51:37like i just want to be part of it just as an opportunity to work

51:40on star trek and he was and i basically found out he didn't want anybody

51:43who had any kind of fondness for the original show he wanted to do something

51:48new and to create something new and boy has he shit the bed like in

51:53a big way and this latest thing that he that they've made this starfleet academy

51:59now it's still ongoing maybe it writes itself at some point you know i think

52:03they canceled it did they good the newest the newest they read the room they

52:09read the room finally um they didn't they stop the idea of a season two

52:14that fucking alex kurtzman man his company's called uh secret hideout i think he's gonna

52:19need a secret hideout after all these like after destroying star trek for like this

52:24latest generation are we talking about the newest one the one with tig notaro that's

52:29the newest starfleet academy starfleet academy is an abomination uh is that what you're talking

52:34about i could not get yes i could not get through three episodes of of

52:38discovery and i mean they're just like it is just awful awful storytelling well it's

52:44also clunky dialogue and bad acting just horrible and they're they're more interested in um

52:51in the corporate corporate policy and the corporate propaganda than they are with any kind

52:57of personal propaganda right it seems like that's the imperative that it's like they get

53:01across this inclusive i the card the card was terrible it was it was sad

53:07actually it was just depressing for me and so like when you know when well

53:13it's so what's his name did that show the orville and like that is like

53:16you know the proper successor like they brought back guys like james conroy conroy the

53:21uh i don't know what the orville is uh it was kind of like a

53:25comedy version seth mcfarland did but he hired all the original people that they had

53:31fired from star trek and basically used them to do his show and it actually

53:36feels a little bit more like uh like a continuation i've never heard of this

53:41either and it's on hulu yeah yeah is it it is a star trek or

53:46is it no it's not star trek it's the orville so they just ripped off

53:50star trek they basically just ripped off star trek and they they have a sort

53:53of like tongue -in -cheek quality but they they bring all the you know all

53:57the writers from the original and showrunners and uh you know people like that and

54:01the original directors like um you know like jim cotton god i'm like blanking on

54:07his name conroy con i want to say conroy but it's i think it's yeah

54:10whatever um and uh so they bring everybody back and it has a little bit

54:15more of the same spirit another really good star trek ish thing is galaxy quest

54:20it's something that got kind of buried and with uh sigourney weaver sigourney weaver yeah

54:25that was good galaxy quest is hilarious if you love the original series of star

54:30trek galaxy quest is amazing like it's so fantastic it's i love sigourney weaver yeah

54:38she's one of my all -time favorites that that's a good example of a movie

54:42that was like a dei movie that you never even noticed it was alien yeah

54:46you have a female lead and you you never think about it it's not like

54:50we didn't have like powerful women in movies before we've like had them throughout history

54:55right you know uh the history of cinema is built on uh you know and

55:00by the way a you know a complex woman character can have faults right like

55:05that's part of it is characters have faults characters have things wrong with them yeah

55:11they're not always just you know like you know uh like you know dominant and

55:16noble dominant and and like can do everything immediately exactly like the some of the

55:21star wars ones when it went woke there was a few of those well yeah

55:25i mean you know it's funny you had i think it was i think it

55:28was here ben affleck was on and they were talking about ai and how it

55:32always goes to the middle and well you know it always goes to the middle

55:36it always goes to the middle and i was like like jj abrams always goes

55:41to the middle and boy was that star wars he did the middle where he

55:46just basically took the luke skywalker story and just reinterpreted it with a strong strong

55:50woman you know character and i i just thought it was bland and just tasteless

55:57and just you know nothing new he just went to the middle so you don't

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57:01No. No. You just need a mandate.

57:04And the thing about Alien 2 was like you didn't know who the hero was.

57:10Alien 2 or Aliens? You mean Aliens?

57:12Aliens as well. I mean, Alien 1.

57:14I didn't like Aliens 2 as much.

57:16It was fun, but it was like, why are they so easy to kill now?

57:19Why are they so obvious?

57:20Well, they were, you know, space marines and marines are tough.

57:24Marines are badass and marines can like, and those aliens, they still overwhelmed him.

57:29I know, but the first alien was clever.

57:31He was hiding. He would sneak around.

57:33He would jump. He didn't get to see much of it.

57:36And that was also cool too, because it kind of captured you with the suspense.

57:40It's one of the best movies ever made.

57:42Ever. And it's a 1979 movie too, which is crazy.

57:45People don't even know how old it is.

57:46What's funny, I recently went back and started watching all the Ridley Scott movies I

57:50hadn't seen. You know, like there's a ton of them that I just, you know,

57:54kind of missed along the way.

57:56And I started off with, God, what was it?

58:02Oh, I started off with Napoleon, like, because I just missed it when it came

58:06out. And I'm like, what happened to Ridley Scott?

58:11And I have not liked any of his recent alien movies.

58:14I just think they're, I'm confused by them, to be honest.

58:17The Prometheus ones. It's just like when you need a web episode in order to

58:21understand what the hell he's talking about in the movie, you failed.

58:24And they're just like, they're technically, technical marvels.

58:29Like nobody shoots big canvas cinema like Ridley Scott.

58:33Like no one shoots a helicopter crashing like Ridley Scott shoots a helicopter crashing.

58:38And, you know, you watch Napoleon and sure, the Battle of Austerlitz, amazing to watch.

58:46You know, cannonballs going into the lake and the ice breaking and people falling in

58:52the water. But the minute anybody talks in that movie, it just collapses on its

58:57own weight. It's just like, you just don't care.

59:00My wife was like, this is the worst date movie.

59:03You're not going to sleep with me after this.

59:05It's, what's wrong with it?

59:07I didn't see it. It's, well, Joaquin Phoenix, who, and I think he made a

59:12choice because I consider him to be an excellent actor.

59:15But in this movie, I think he made a choice to just play it like,

59:19you know, contemporary, like he just kind of talks.

59:22Everybody else is doing sort of a British or French -ish accent.

59:26Like they're all kind of pretending that they're in a period piece.

59:29But not Joaquin Phoenix, he just plays it like he just, you know, walked off

59:32Hollywood Boulevard. Really? And just like the battle scene, there's no passion in any of

59:38his performance. It's kind of this weird, dead, dead performance.

59:44And so I did it on purpose to betray like a sociopath.

59:48I think he came on, he was like, I am going to do whatever I

59:51want to do the way Napoleon would.

59:53And I'm not going to try, I'm a Corsican and I'm not, I'm going to

59:57be an outsider to all of these other people who were, I think there was

1:00:00an intellectual idea behind what he did and it completely failed.

1:00:03And so I'm like, okay, I adore watching Ridley Scott do these big scenes, but

1:00:07what a terrible movie. And, you know, like failure.

1:00:13And then I, and so then after that, I'm like, okay, let's, let's watch something

1:00:16else. Well, oh, he did Exodus.

1:00:19I've never seen that. Gods and Kings with Christian Bale.

1:00:23Same thing. It's like you start watching that movie and there's some interesting things in

1:00:27the film. He's got like chariot battles and, you know, archers shooting things.

1:00:32And like, you know, whenever he's doing that, like Ridley Scott's like, oh, this is

1:00:35my day on set. And he's got a cigar and 20 cameras, you know, put

1:00:38cameras everywhere. And he's like, shoot from every angle.

1:00:41And he's like a, like a great general, you know, shooting.

1:00:44But the minute anybody talks, that movie falls apart.

1:00:47And actually, I mean, I don't know how to say this, but that movie almost

1:00:51did its best to turn me on the Jews.

1:00:54Like I'm watching it and I'm like, this is like, first of all, is anybody

1:00:59even Jewish making this? Like it seems like nobody involved in it was Jewish.

1:01:04And like they start like, you know.

1:01:07How is that even possible?

1:01:08Well, Moses as a character, when he's an Egyptian, when he's like the adopted Egyptian

1:01:13brother, I'm like totally with him for some reason.

1:01:16And then he becomes Moses after getting like hit in the head with a rock.

1:01:20And all of a sudden he's, you know, kind of, he's like a lunatic.

1:01:25And like, you're like, everybody's following him?

1:01:28Like he's, like he's distasteful all of a sudden.

1:01:32And, but every now and then they would show a battle scene and it's like,

1:01:35okay, I can, like Ridley Scott's doing his thing again.

1:01:38But like, and you know, who's also really good in it is, God, I can't

1:01:42remember, Joel Egerton, who plays Ramses.

1:01:45It's really funny because Joel Egerton is, you know, usually you imagine Egyptians when they're

1:01:51cast as being kind of tall and, you know, sort of noble looking and everything.

1:01:56He's kind of like this butch, like sort of tough, you know, wide bodied butch

1:02:01Ramses, like just kind of like a tough Ramses.

1:02:04And every now and then his Australian accent comes out and so he's like, oh,

1:02:07he's like an Australian Ramses.

1:02:09And John Turturro plays his, his father, you know, a bald, I'm like, is that

1:02:15John Turturro? Like what a crazy choice this is.

1:02:17And so there were all sorts of like interesting things.

1:02:20going on in the movie but again i was like oh this is awful is

1:02:25it impossible for you to watch a movie without just becoming hypercritical about all these

1:02:31different aspects like how i would do it what i don't like yes and no

1:02:35so the next ridley scott movie i watched which i stayed away from and with

1:02:40great apologies to matt damon and ben affleck was the last duel and i just

1:02:46kind of avoided it i was doing other things at the time and the poster

1:02:49looked awful and it was like i'm not going to go see that and then

1:02:53i uh i i put it on after watching these other two and i was

1:02:56like okay here we go let's go again and lo and behold one of the

1:03:02best films of the century in my really absolutely first of all those guys know

1:03:07how to write a script and i know that they wrote it with nicole hofsenotter

1:03:11or whatever her name is but and look at and look at ben affleck like

1:03:15when i saw him blonde i was like that's one of the reasons it kept

1:03:18me away from it but he's hilarious in the movie he's a genius in the

1:03:22film i never even heard about this i was gripped by this film and this

1:03:27is a great date movie like this my wife got turned on after this film

1:03:30believe it or not that's hilarious i don't know anything about and adam driver is

1:03:37magnificent and like this relationship that these two guys have and it's kind of a

1:03:41rashomon story meaning that uh like akira kurosawa's rashomon which was three stories that are

1:03:47all sort of the same event told from different perspectives and so and matt damon

1:03:52is like a revelation and this movie says so much about hollywood like when i

1:03:55watched this i was like okay i'm matt damon and quentin is uh adam driver

1:04:00for sure like adam driver totally knows how to like you learn about hollywood in

1:04:05this film and i'm sure they're writing it like knowing about hollywood that the way

1:04:09to really get along in court is to join the orgies you know to be

1:04:13in the orgy with everybody is like how you get along it's like uh uh

1:04:17we all fuck together and that's how we do it but matt damon who by

1:04:21all accounts in this is a great you know he's a fighter he's a great

1:04:27knight he had he's true in his heart but he's just a like a pill

1:04:31to hang out with and he doesn't go to the orgies and because of that

1:04:34he's just kind of marginalized and the whole movie plays off of this friendship that

1:04:39just kind of goes awry where jealousy comes into play and uh and and it's

1:04:44ruinous to everything until they're finally fighting in the very end and this is where

1:04:48ridley scott just does what he does which is he has this insane fight between

1:04:55these two guys which like was just every blow was painful to look at and

1:05:00this to me was the best ridley scott movie i've seen of the century i

1:05:05mean i guess black hawk down i also very much like gladiator although gladiator 2

1:05:09i throw that i never saw that throw that in with uh exodus gods and

1:05:13monsters it was actually boring to watch i'd love gladiator one though gladiator one is

1:05:18magnificent it had some kind of secret sauce in it that was fantastic and gladiator

1:05:242 it it just kind of goes through the paces it's just kind of everybody

1:05:27shows up speaking of showing up when sigourney weaver shows up in uh exodus gods

1:05:32and monsters she's not even trying at all she knows that she's there for a

1:05:36paycheck like she just shows up and she's just like does not put on an

1:05:41accent of any kind she just shows up and just speaks the lines and i'm

1:05:44out of here i'm i'm going into morocco or whatever into town i'm gonna go

1:05:49party for a while do you think she just thought it was a bad film

1:05:52and just checked out i'm not sure what she was thinking but like she may

1:05:56have been thinking what uh i mean maybe she was trying but i don't it

1:06:00just didn't look like it it just looked like she was well that's gotta be

1:06:05a weird thing when an actor makes a choice with a character and it just

1:06:08doesn't work and they don't realize it but they're committed to it and the other

1:06:12ridley scott movie that i just watched that i hadn't seen again i avoided it

1:06:15partly because of the um uh the the title of the film and they're just

1:06:20nothing excited i thought it was a comedy in fact i'd been avoiding it it

1:06:24was on my plex there it is i look at the thing it looks like

1:06:28a comedy it's got um javier bardem and cameron diaz and they're all kind of

1:06:32javier bardem looking exactly like robert downey jr like in it like just kind of

1:06:37this crazy robert downey jr in his crazy phase you know with like colorful glasses

1:06:41and everything robert downey jr with like a broken up nose or whatever's going on

1:06:46with that nose and um okay so i put on the counselor and this movie

1:06:52so looking at that i thought this was a comedy i thought oh it's going

1:06:55to be a romantic comedy this movie after i saw it i was like i

1:07:00feel like i've seen too much i feel like i know too much now about

1:07:04the world like it's it and and it and it's made like right before you

1:07:10know i think this movie was kind of a disaster for ridley scott and he

1:07:14uh you know had to recover from it i probably because of the the failure

1:07:19of it but i never even heard of it it's written um by um uh

1:07:23oh my god um cormac mccarthy and so so it is dark dark dark and

1:07:29it is a an analysis of how power works in the modern world which is

1:07:37basically a giant cartel the cartel runs everything and you cannot escape the cartel and

1:07:42it is such a spectacular i think that's such a spectacular movie i loved it

1:07:48i loved it when did that come out like 2014 i think 2013 2013 did

1:07:53you ever hear of it jamie i don't think so there's too much content well

1:07:58there's too much content and yet really scott's and he's cranking out movies like every

1:08:02year he's doing a movie it's like just knocking him back knocking him back he's

1:08:05constantly making films and so that was why i hadn't uh and so finally i

1:08:10was like well i gotta catch up on some ridley scott and and quentin had

1:08:14been talking about uh black hawk down and how much he loved it and how

1:08:17he thought it was the best film of the century and you know he's largely

1:08:22correct that's not a bad uh i could have done without the unicef commercial at

1:08:28the very beginning where it's just like you know a little unicef commercial about people

1:08:33starving in africa you and somalia but uh the rest of the movie is just

1:08:38insanely beautiful and so i wanted to check out all the movies i hadn't seen

1:08:41of his and and so that's why i started researching them and looking them up

1:08:45again and like the counselor how did that fall through the cracks and it gets

1:08:49terrible reviews like people hated the film apparently and what's the criticism uh people like

1:08:56i think they were just like we don't believe it you know they just don't

1:09:00believe that that's what the world is like and you know i found the film

1:09:03to be like uh do you think that's just because of the time period it

1:09:07was released i think it was more innocent i think ridley scott knows things that

1:09:11and cormac mccarthy know things about the world that they put on film before everything

1:09:18was known like i think if that movie was released today people would be like

1:09:21yeah that's what's happening today yeah and so yeah oh yeah oh they're putting people

1:09:27in sulfuric acid into uh milk into drums yeah what the fuck and shipping them

1:09:33around the world you know as a joke you know like that's in the film

1:09:37yeah there's all did you see the thing in the epstein files oh yeah like

1:09:40they ordered in fact i can't believe that like everybody just kind of like okay

1:09:46and they're moving on with their lives did you see that guy at the atlanta

1:09:49airport uh flipping out the well -dressed black dude who just freaks out at in

1:09:54the when uh just like a couple of days ago on uh i saw it

1:09:58on youtube and i saw it on twitter or x and uh this guy's just

1:10:03freaking out in the atlanta airport he's like i've read the epstein files like all

1:10:09of you you're going about your lives like nothing's happening look at your old zombies

1:10:13and he's right it's like invasion of the body snatchers everybody is just numb to

1:10:18everything like dudes we had a global pandemic uh aliens uh you know all these

1:10:25like revelations people are you know eating babies uh here's the guy and there's a

1:10:42longer version of that where he's but he's basically like you're all acting like nothing's

1:10:46happening like what the fuck you know you're all just pretending you're just drones going

1:10:51on in your normal lives waiting for a condensed version that lays out all the

1:10:56facts it's the people that are like really interested in reading all the emails i

1:11:01think the luciferians uh cast a spell on the world and for real oh absolutely

1:11:06you're like you know it's just like how vampires can't go into a house unless

1:11:10they're invited they tell you you know what's going on ahead of time it's predictive

1:11:15programming and once you say it out loud and you put it out there and

1:11:19make fun of it and do a little skit like they like stephen colbert did

1:11:23a little skit on his show where oh here's a baby i'm going to take

1:11:26this baby and i'm going to give it to moloch and he goes into like

1:11:29a cloudy red uh you know furnace and hands the baby over and the baby's

1:11:35going to be fine and they make a joke about it and the audience laughs

1:11:37okay we're all now conditioned to it we've all seen it and by laughing at

1:11:42it we're complicit you think that that's a that's on purpose that this is like

1:11:47some sort of a grand design to get us to be desensitized to the idea

1:11:50of demons eating babies yeah for sure really for sure and and by the way

1:11:56but nobody's doing anything about it we know what's happening but that has to take

1:12:00like there has to be a person or some group of people yeah like about

1:12:04about 8 500 people yeah that are manipulating the colbert show that are manipulating everything

1:12:10it's all an illusion like reality as we know it is fake that's that's the

1:12:17revelation that that guy is having and he's looking around and he's like it's like

1:12:22invasion of the body snatchers well it's sir see i don't the thing about the

1:12:28emails is one of the things is it's just stuff written down and so that's

1:12:34sort of hard to digest like what is this like what are they saying like

1:12:37some of it is in code like walking over beef jerky like saying talking about

1:12:42jerky could you walk beef jerky over to this person like what does that mean

1:12:45for all this pizza they're talking about no you never see any pizza right yeah

1:12:49they're ordering i'm gonna get some grape soda it's like with my cheese pizza yeah

1:12:58and like there's all this coded language and everyone's like you know oh that's uh

1:13:02you're just you just have periola you know the uh you're just seeing things where

1:13:07you want to see them no there's clearly a code well that was the thing

1:13:10about pizza absolutely a code and in fact mundus volt dissipi ergo dissipiatur it's a

1:13:15long known concept and so in latin mundus volt dissipi means the world wants to

1:13:22be deceived ergo dissipiatur therefore it is we want to be deceived we we don't

1:13:30want to believe the horrors that are actually behind the veil well i think with

1:13:35the epstein files people are because of these emails that have been released people are

1:13:38just now starting to be aware of the bizarreness of the code and some of

1:13:47the things like the facts like let's just talk about the sulfuric acid so this

1:13:51was like right after he was indicted in 2000 yeah i gotta get rid of

1:13:56some bodies yeah i gotta how much dissolve up some bodies what did it say

1:14:01he ordered like let's uh like 8 000 gallons or maybe we can get our

1:14:10sponsor perplexity to process this and uh give us a synopsis of what exactly happened

1:14:17some sort of a breakdown because one of the things they're saying is like he

1:14:21was indicted and then right after he's indicted he orders how many gallons six 55

1:14:29gallon containers full of sulfuric acid jesus christ jesus christ what what they're eating babies

1:14:43man like that's so that that you think is real so well yeah not only

1:14:47that i think that there's uh You know, sacrifices going on every day in Los

1:14:51Angeles, I mean, you know, allegedly, like, you know, high -level musicians, let's say, high

1:15:00-level female musician, is like, you know, killing chickens every day, doing sacrifices, like, you

1:15:07know, high -level. Well, I don't want to say names because I don't want to

1:15:11get sued, and I don't want to be dead either.

1:15:13What does it rhyme like?

1:15:14Here's the purchase order. I go, I start looking at the comments for some stuff,

1:15:17not that this is the best answer, but okay.

1:15:19A quick answer someone gives is that this could be for, like, a reverse osmosis

1:15:24water treatment system. It's true.

1:15:25He is on an island.

1:15:26He's on an island. I mean, there's enough pushback because mundus volt dissipi, ergo dissipiator.

1:15:32You know, we, but, like, the timing of all of that, like, you know, where

1:15:36are the purchase orders for all of that sulfuric acid before that?

1:15:39Oh, no, I just want to put sulfuric acid into my swimming pool, muriatic acid.

1:15:42Well, that's the question. Was there orders for sulfuric acid before this if they do

1:15:47have a water treatment plan?

1:15:48And how does sulfuric acid play into water treatment?

1:15:51It says it here. It says it's commonly used.

1:15:54This explains it. I don't fucking know.

1:15:56Okay. It says RO plant reverse osmosis seawater desalination facility.

1:16:03Sulfuric acid is commonly used in the maintenance of such facilities.

1:16:06Not everything you don't understand adds up to the worst possible thing it could be.

1:16:10Deception. Look, maybe they're all eating pizza and grape soda.

1:16:13Who is that guy that's saying this?

1:16:14How many billionaires do you know that, you know, sit down and eat lots of

1:16:17pizza and grape soda and ice cream?

1:16:20This is weird. A trial lawyer is saying this.

1:16:23That's why I just go with grain of salt.

1:16:25This is just a plausible answer.

1:16:26I don't know if it is the answer.

1:16:28It could even be wrong.

1:16:28Okay. So does he have a desalination plant on the island?

1:16:34Oh, it's a reverse osmosis.

1:16:34Oh, yeah, for sure. He had everything.

1:16:37He had a dump and, like, he had all sorts of stuff.

1:16:40So that's... Tunnels and... So they were using that.

1:16:44So they were taking seawater and converting it into freshwater for what?

1:16:47For irrigation or for drinking, for all the above?

1:16:50One similar email that he wrote to someone said that, like, around his island is

1:16:54like Damascus. And I'm like, what the fuck does that mean?

1:16:57He was like, you go explore buried shit around my island?

1:17:01Or what else could he mean by that?

1:17:03Huh. What does that mean?

1:17:05I don't know. I mean, they say a lot of things, and they're not really

1:17:09coding it very much. Well, the code, it's glaringly obvious.

1:17:14When they say pizza and when they say jerky, that's glaringly obvious.

1:17:17How do you walk jerky?

1:17:19Yeah. You know what I'm saying?

1:17:20And why do I need a chilled container to...

1:17:23Right. You know, a chilled bag or whatever they said.

1:17:25Jesus Christ. So you think they're eating babies?

1:17:29Oh, yeah. I absolutely believe that.

1:17:31You should get together with Kurt Metzger.

1:17:33You two would go crazy.

1:17:34I don't doubt it for a second.

1:17:37Well... And I think this dates back, like, you know, a long, long time.

1:17:42This is Moloch worship. Well, there was the other email that said, thank you for

1:17:48the torture video. I enjoyed the torture video.

1:17:51Yeah. And it's like, people just, they don't want to accept it.

1:17:57Like, people don't want to believe it.

1:17:58They don't want to accept it.

1:18:00Okay. Some commentary notes that a remote island with water treatment and energy systems could

1:18:05plausibly stockpile such quantities for one to two years of operations, although others argue that

1:18:12using it directly for reverse osmosis, as stated in one social post, is technically questionable

1:18:17for membrane health. Hmm. Hmm.

1:18:22Highly corrosive, strong mineral acid that can severely burn skin, eyes, dehydrate, and char organic

1:18:26material, which is why it features in both legitimate industrial processes and in darker hypotheticals

1:18:34online. Darker hypotheticals. Darker hypotheticals is where I'm leaning.

1:18:38Yeah, yeah, yeah. When you get indicted for sex trafficking and then you order six

1:18:43drums of sulfuric acid right away, are you really worried about your reverse osmosis plant

1:18:49right after you get indicted?

1:18:50I feel like you know you're going to jail.

1:18:52It looks like a duck and it quacks like a duck.

1:18:53It's probably a duck. It's probably a duck.

1:18:57330 gallons of sulfuric acid.

1:19:00It says this was the only documented purchase order for it.

1:19:05Oh, boy. I came out here last time and I talked about, you know, the

1:19:07pedo cult inside of the Kubrick film.

1:19:10Yeah. By the way, that went viral.

1:19:12And I got so much blowback from that.

1:19:14You know, online critics are like, no, no, there's nothing in there.

1:19:17Mundus volt dissipi. They don't want to see it.

1:19:20They don't want to see those two guys walking away with that girl in the

1:19:23end. They just like, no, no, it wasn't in the Schnitzel or novel and blah,

1:19:27blah, blah. I mean, dude, look at that movie.

1:19:31It's about a cult. Like, what are you talking about?

1:19:34It's a secret cult. And in fact, Sidney Lumet's character even says at one point,

1:19:38you know, do you know what these people do?

1:19:40I'm not going to tell you what they do.

1:19:41But let me tell you, if I told you what they do, they would like

1:19:43scare the hell out of you.

1:19:45I mean, like. That's after he's been to the place and seen everybody walking around

1:19:51at the in the sex club.

1:19:53I mean, it's obviously there's obviously more going on in that movie, but people don't

1:19:58want to see it. But I like like I had what was it, New York

1:20:02magazine or whatever went so far.

1:20:04It's like, you know, aggressively trying to get me to debunk it.

1:20:09And which is fine, just fine.

1:20:11It's just an interpretation of a movie.

1:20:13Right. But that that interpretation resonated.

1:20:16I mean, that clip went very, very viral.

1:20:18Especially now. It's like people are like looking at it and they're like, well, you

1:20:22know, he was obviously saying something.

1:20:24Even if you extract that out of the movie, he's obviously saying something about people

1:20:28at high levels of power.

1:20:29Well, there's always been weird secret groups and rituals.

1:20:33Yeah. And it's one of the ways to ensure that you're compromised.

1:20:38You'll stay. It's a confidence operation.

1:20:41Yeah. And so what you do is you find somebody when they're young and they're,

1:20:44you know, less inhibited and they, you know, or uninhibited.

1:20:49And you catch them doing something that is illegal.

1:20:53And maybe you even provide the mechanism for that to happen.

1:20:57And then once it's happened, you, you now have the, the video proof or the.

1:21:03Audio proof or whatever proof you have, you've got proof of it and you show

1:21:07it to them and you say, look, this is what we have on you and

1:21:11and we can ruin you at any minute.

1:21:14But you know what we're going to do?

1:21:15We're going to give you twenty thousand dollars a month or we're going to give

1:21:17you twenty million dollars a year, whatever level that is instead.

1:21:22And you're going to work for us.

1:21:24And and what else explains some of these people who are so flipped out about

1:21:29like, you know, about Trump?

1:21:31He's a putz. He's like it's over the top.

1:21:36It's you know what? It's strange how people are how people behave in regarding that.

1:21:44It's bizarre. I think that's also just because the Democratic Party didn't want him to

1:21:49get into power because he was a complete outsider.

1:21:52I don't think there are parties.

1:21:53I don't think they're there.

1:21:55I think that's all an illusion.

1:21:56Also, I think everything that you think that it is is an illusion.

1:22:01It's all fake. I don't think that any history before sixteen hundred.

1:22:06I think everything has been falsified before the year sixteen hundred.

1:22:10How so? Well, there's this guy, Anatoly Fomenko, who's a Russian mathematician and historian, and

1:22:18he wrote a book called The New Chronology.

1:22:20It's actually a series of books.

1:22:22It's like six volumes and I've read them all and and and and and also

1:22:30his addendum book, The New Chronology.

1:22:31He has an addendum book about it.

1:22:33And he basically says that all of history has been changed.

1:22:40About a thousand years have been added to the timeline in order to justify land

1:22:45claims. And those land claims.

1:22:47And those land claims largely have to do with Eurasian, the Eurasian horde and the

1:22:52elimination of the Eurasian horde by collusion between, you know, the Vatican, the Romanovs, the.

1:23:02You mean like the Mongols and the Huns?

1:23:04Yeah, there was a. And if you look on very, very old maps, you see

1:23:08that there used to be a country called Tartaria that was that was in existence.

1:23:13And at a certain point, they wiped them out.

1:23:17And so his theory and it's just a theory, it's just a posit.

1:23:20But when you see how history is constantly being rewritten in real time, it's not

1:23:24so hard to believe. And then he uses, you know, astronomical evidence and mathematically kind

1:23:33of proves it. And he basically says that let's see if I can get this

1:23:37right, that Rome and Greece and those and Egypt were actually active till around 1600.

1:23:48And that Rome actually fell around 1600.

1:23:51So kind of imagine or more like late 1400s, 1492.

1:23:55As opposed to what's the conventional timeline?

1:23:58About a thousand years before.

1:24:00And so and so, you know, if you can wrap your head around it, the

1:24:04Salem witch trials took place around the same time as the Inquisition.

1:24:08Columbus was discovering America around the time Rome fell.

1:24:11And that all of this was designed to justify and or to erase this entire

1:24:19civilization from history. And then there are people who believe that there are a lot

1:24:23of buildings that are still in existence that that were this.

1:24:26They they they they claim that Jesus Christ was I can't remember the emperor's name.

1:24:33It's kind of a composite story.

1:24:35There's a number of so they think a thousand years are missing from the time.

1:24:40Well, I think about it.

1:24:41If you're a Byzantine guy and you're like, hey, I want to move to the

1:24:44country. And you look over at France, let's say, and Germany.

1:24:48And you're like, yeah, there's all these like indigenous peoples there and we want to

1:24:51wipe them out. And so you hire, you know, a mercenary.

1:24:55You hire a guy named Charlemagne and you get him to go in there and

1:24:58kill all the chieftains in one day.

1:24:59Like five thousand chieftains were killed in a single day, apparently by Charlemagne.

1:25:05And you completely wipe out everything.

1:25:07And then you move in, you become Jerome, Jerome the first and you run Paris

1:25:11or you begin, you know, France.

1:25:13And what it really is, is just land.

1:25:16And so you add time to the timeline in order to justify that land claim.

1:25:20Because what makes more sense that history was cruising along like this and then suddenly

1:25:25flatlined for a thousand years and then picked up again?

1:25:28Or does it make more sense that somebody took that time that the Dark Ages

1:25:34and kind of added to the timeline?

1:25:39So I'm confused. So but isn't there like documented history from multiple cultures about that

1:25:47time period? Yeah, but it's all like, you know, written down by the Jesuits who

1:25:50were completely in the control of it's that history.

1:25:54History is easily changed. And in fact, we see history being changed before our eyes

1:25:58in real time. And so the deep past is easy to change.

1:26:02So we're not in 2026.

1:26:04No, we're like in the 1700s.

1:26:08Oh, Jesus. Oh, my God.

1:26:12Just a theory. It's just this guy, Antony Fomenko.

1:26:19And it's a very interesting theory.

1:26:22And so I read that and I kind of had a tentpole collapse.

1:26:25I was like, well, holy crap.

1:26:27Explain to me the flatness.

1:26:28Like, what do you mean by history goes up and then flat?

1:26:31Well, the progression, the progression of humanity through history as we kind of are progressing

1:26:35as we go. And then all of a sudden there's this flat line called the

1:26:38Dark Ages where nothing happened.

1:26:40Is there a conventional explanation for this flat line for a thousand years?

1:26:45The collapse of Rome and falling into the time of barbarism.

1:26:51That's not plausible? Everything is plausible.

1:26:55It's plausible that sulfuric acid is used for RO, reverse osmosis water cleaning.

1:27:02And so everything is possible.

1:27:05The question is, is it probable?

1:27:07Well, Jamie just pulled up that that was the first time they had ever ordered

1:27:10that. Oh, really? Yeah. Okay.

1:27:12So, well, there it is.

1:27:13Yeah. That's not good. Yeah, that's not good.

1:27:16I mean, that's the... least of the things.

1:27:19The thing is we become desensitized to stuff.

1:27:21I mean, look at everything that has happened in the last six years.

1:27:25It's like an insane amount of stuff has happened and everyone's just kind of like

1:27:28numb to it. Well, they get desensitized.

1:27:30And I think it literally is that people's brains have been fried.

1:27:33You think by COVID vaccines?

1:27:35Yeah, for sure. Well, there's some scientific evidence that for some people, at least, it

1:27:41crossed the blood brain barrier and had some sort of a detrimental effect on their

1:27:45cognitive function. mRNA is reprogramming your system.

1:27:50And we've been looking at a giant die -off of people.

1:27:55People are collapsing left and right.

1:27:56Nothing is normal anymore. I mean, that guy at the airport who's flipping out, that's

1:28:03what he's realizing. He's having a sudden awakening and he's tweaking over it.

1:28:07And he's looking around and no one cares.

1:28:11Everyone just wants to like, you know, get through their day.

1:28:15Everyone wants to just make their next movie and maybe they'll let me make their

1:28:18next movie. And everybody wants to just, you know, I just want to keep going

1:28:21at my job and I just want to do my thing and I just want

1:28:23to protect my thing. There's certainly a lot of that going on.

1:28:26The British only care about it as long as I have my daily pint at

1:28:28the end of the day.

1:28:29That's all I care about.

1:28:30You know, in the meantime, their entire country is being overtaken and overrun by, like,

1:28:36when else in history has this happened and ended well?

1:28:40No. Well, it's so shocking how quickly it's happening in England that you just go,

1:28:44how do you bounce back from this?

1:28:46Like, what is the remedy?

1:28:48Yeah. Because they're doing this mass arrest thing with social media posts, which is bizarre.

1:28:56It's bizarre to watch. And then they eliminate jury trials for anything other than like

1:29:00murder and rape. If you say anything, you're in jail.

1:29:03If you repost anything, you're just immediately sent to jail.

1:29:07Look what's going on in Canada right now, you know, with Carney.

1:29:11I mean, like, I think that's insane what's going on.

1:29:14And most Canadians are just kind of vibing along with it.

1:29:16Nobody wants to rock the boat.

1:29:17Nobody wants to be racist.

1:29:19Nobody wants to be, you know, nobody wants to be discriminatory in any kind of

1:29:23way, rightfully so. Like, you know, and you want to believe that your leaders are

1:29:28taking care of you and they're not.

1:29:32And it's over. We've lost.

1:29:34It's over. I mean. You think it's over here in America as well?

1:29:38Well, it got slowed down a little bit.

1:29:42It got slow. Whether you like Trump or not, and I'm not like a, I

1:29:45don't really like anybody, but.

1:29:48That's a healthy perspective. It definitely added a road bump in the actions of the

1:29:55cabal of the Clintons and the Obamas and the bankers that control them.

1:30:02And that's when you see the movie The Counselor.

1:30:05That's what you realize is that, wow, the cartels are the banks and they are

1:30:11law enforcement and they are the media and they are everything.

1:30:15And there is no fighting it.

1:30:17There is no individually fighting it.

1:30:19Like, there's nothing any of us can do.

1:30:22That is. And I don't mean to be, I mean, the only thing you can

1:30:26do is, you know, affect what's happening around you locally within the moment.

1:30:31But don't you think that more people are aware of what's going on right now?

1:30:35There's more pushback than ever before.

1:30:37And so there's a possibility that it could be stopped.

1:30:39Yeah. Look at that guy in the airport though.

1:30:42Nobody, everyone's like, he's crazy.

1:30:43Yeah, but you're yelling at a fucking airport.

1:30:46I would think he's crazy too.

1:30:47If I was there waiting for my flight to go visit my parents and there's

1:30:50some fucking guy yelling out the Epstein file, you're just living your life.

1:30:53Like, yeah, what do you want me to do, dude?

1:30:55I'm headed to Florida right now.

1:30:57Sorry. Invasion of the Body Snatchers was about McCarthyism and what was going on at

1:31:00that time. Really? Oh yeah.

1:31:03It was the original Invasion of the Body Snatchers was all about McCarthyism.

1:31:08I'm a fan of the Donald Sutherland one.

1:31:10Well, and look at how that ends.

1:31:12That ends with you're walking through the streets pretending and he's like, you know, like

1:31:18you're, you're just pretending to not be an alien, hoping that you can get by.

1:31:22And then, you know, the minute you show any kind of emotion, that's it.

1:31:25You're caught. And then they're going to make you go to sleep.

1:31:28And, uh, and so, I mean, so that the original script was written about McCarthyism,

1:31:32the original, uh, um, the original film.

1:31:35So Kevin McCarthy, uh, movie.

1:31:38Okay. So, and in the end, look how that movie ends.

1:31:40That movie ends with him.

1:31:42Like that guy in the airport on the street, you know, they're, you know, they're,

1:31:46it's, it's, they're aliens. Yeah.

1:31:48He's basically, you know, running through the street, just in traffic and people just keep

1:31:52driving. I don't remember the original one.

1:31:56I might not have even seen it, but the Sutherland one was amazing.

1:32:00I never would have thought that that's what it was about.

1:32:02I mean, I, we're experiencing a kind of Bolshevik revolution at the moment right now.

1:32:07And so. In what way?

1:32:09Well, there's a rise of Bolshevism, you know, it's like, we see it, we see

1:32:13it occurring and. How do you define Bolshevism?

1:32:16Well, uh, it's the Bolsheviks were essentially a kind of, uh, uh, I mean, it's,

1:32:25it's, it's, it's, it's not correct to say communism, but it's basically a kind of

1:32:31authoritarianism, you know, in the guise of egalitarianism and, uh, and helping the world know

1:32:37we're all going to be equal and everything, but.

1:32:39And they were social, social, socialism.

1:32:41Yeah. They were murdering Christians and social.

1:32:44And, you know, we're very, very close to that now.

1:32:47We're very, very, we're on, we're standing on civilization is standing on the precipice at

1:32:53the moment. And by the way, uh, you know, after this podcast comes out, people

1:32:58are going to be like, Oh, Avery's crazy.

1:33:00Avery went to jail. Avery's, uh, you know, uh, a killer.

1:33:05They're going to say all sorts of shit about me to discredit anything that I

1:33:08say. And that's fine. Uh, like, uh, I'm easy to discredit.

1:33:11And so it's not really my right to speak up anymore about anything.

1:33:16And so you're a human being, it's always your right to speak up.

1:33:19Well, it is, but, uh, they can eat shit as I look, as I look

1:33:23around, like civilization is on the precipice and, you know, mostly good people tend to

1:33:30not take action against stuff.

1:33:32Until they have to. Until they have to.

1:33:35We were talking about this yesterday, actually, with Cheryl Hines, and I was saying, I

1:33:39think we were talking about this?

1:33:40Well, I was talking about this recently, where I was saying that it's almost like

1:33:43we need something like a 9 -11 to wake us up.

1:33:47I would never want that to happen.

1:33:49But I do remember that after 9 -11, we were united because we realized, oh,

1:33:54threats are real, danger is real.

1:33:57We really do need to be united as one group, a community, and recognize that,

1:34:03that our brothers and sisters in the streets are not our problem.

1:34:07Yeah, but we even know about 9 -11 now, that so much of it was

1:34:12Building 7, Thermite. The evidence is there for anyone to look at.

1:34:18Nobody wants to look at it.

1:34:19And nobody wants to look at it.

1:34:22Nobody wants to look in the conspiracy, like how did these guys get a hold

1:34:26of these planes? How did they fly into the building?

1:34:29Why were the dancing Israelis watching it and cheering it on?

1:34:33Why did they get shipped out of the country?

1:34:35Yeah, and that guy who owned the building, who bought it, who took out like

1:34:39the insurance policy, and then, you know, had Eliot Spitzer kind of push it through

1:34:45and force it through so that he could receive his billions in insurance claim money.

1:34:49And really, because they wanted to tear down that building and it would have been

1:34:53too expensive to do, and all the asbestos and everything.

1:34:56So, hey, better to just destroy it.

1:34:58It's like, what was that building housing?

1:35:01Like Building 7. Well, Building 7 was housing all sorts of, it was like, was

1:35:04an IRS, I mean. NSA.

1:35:07Yeah, it was NSA. What was in Building 7?

1:35:10Let's find that out so we don't just, I think, but there was certainly some

1:35:15intelligence and data that was being collected in building.

1:35:19The fact that no one wants to admit that that building fell like a controlled

1:35:23demolition is really crazy. And, again, I'm not saying it's a controlled demolition, but the

1:35:28fact that people want to say, no, it wasn't like a controlled demolition.

1:35:32Like, when was the last time you ever saw a fucking building collapse like that,

1:35:36ever? Only controlled demolitions. Yeah.

1:35:39There's been many buildings that have been very badly damaged and lit on fire, but

1:35:42their frame remains. Reputable structural engineers have basically also proven the towers could not have

1:35:48fallen the way they fell without explosives, you know, pre -planned explosives.

1:35:54And the people on the scene, the rescuers on the scene, the people who were

1:35:58there said, yeah, I heard explosion.

1:35:59Boom, boom, boom, boom. And they're describing the sounds of controlled demolition.

1:36:04U .S. Secret Service, floors 9 through 10, CIA, the Department of Defense, sharing the

1:36:1025th floor with the IRS and the Equal Employment Opportunity Commission.

1:36:14Like, you put all that together, CIA, Department of Defense, IRS.

1:36:18You know, who thinks any of those people have your – Right.

1:36:23But also, if you wanted to destroy data – Your best interest in mind.

1:36:26You wanted to destroy data.

1:36:28Like, didn't the part of the Pentagon that got hit wasn't – and that was

1:36:31also a day after Rumsfeld was saying that there was trillions of dollars that were

1:36:35unaccounted for. Yeah. Didn't the accounting part of the Pentagon get hit by that, air

1:36:41quotes, plane? Yeah. Yeah, that plane that came in very – What's that, Jimmy?

1:36:46On the screen. Last sentence.

1:36:47The building contained about 24 ,000 gallons of diesel fuel for generators used by tenants

1:36:52like Salomon Brothers and the Emergency Command Center.

1:36:55Floors 46 through 47 and parts of the lower level were mechanical spaces, while files

1:37:01from federal investigations, Secret Service cases, were stored there but lost in the collapse.

1:37:07And the SEC. And the SEC.

1:37:09Whoopsies. And has the world been the same since then?

1:37:12The SEC, like, having that there too, boy, that's super convenient.

1:37:17Guys, we lost the data.

1:37:19Let's just start from scratch.

1:37:21There's no case anymore. Whatever they were doing.

1:37:24And yet nobody wants to accept it.

1:37:26And nobody cares, actually. Well, it's the video of it that is, like, really shocking.

1:37:30I had this really dumb guy on the podcast once that was a skeptic, a

1:37:35professional skeptic, and he was really angry with me for saying that it looked like

1:37:39a controlled demolition. You know, you're promoting a dangerous conspiracy theory.

1:37:45I'm like, no, I'm saying it looks like you're saying it doesn't look like control.

1:37:50Let's watch it. I'm like, let's watch it.

1:37:51I mean, conspiracy theorists have had a pretty good run lately.

1:37:54Let's watch it. Let's watch Building 7 collapse because it's kind of kooky.

1:37:58Now, one thing that people do point out that is true is that the center,

1:38:03like, there is a small structure at the top of the roof, Building 7, that

1:38:07collapses first. And it does it, like, I think a minute before the actual building

1:38:12collapses. Yeah, but these are skirt buildings.

1:38:14And what that means is that's actually the most structurally sound part of the building.

1:38:18The rest of the movie is a facade that's hanging off of the inner structure.

1:38:21The rest of the building, yeah.

1:38:22Yeah, that's the most sound part of the building.

1:38:24It was built over a Con Edison substation requiring large transfer trusses on lower floors

1:38:30to support the tower above, creating long -span floors vulnerable to thermal expansion.

1:38:35Long, unsupported floor beams and girders up to 50 feet connected to critical interior columns,

1:38:43like column 79, with sheer studs that failed under fire -induced lateral loads rather than

1:38:49just gravity. It was the auto -manual flip -flop.

1:38:52The exterior tube frame provided stiffness, but the open interior layout lacked redundancy to prevent

1:38:59fire -induced progressive collapse with connections not designed for horizontal thermal forces.

1:39:08Okay, that's a cute way of saying that's why it fell at free -fall speed

1:39:13and looks like a controlled demolition.

1:39:14Because if that was my building, I would say, give me my fucking money back.

1:39:18You made this shit -ass building, this building got lit on fire and just collapsed

1:39:22on itself? Let's watch it collapse.

1:39:24Because the way it collapses is so kooky.

1:39:27Because it really does it at free -fall speed.

1:39:29Or close to it. It's strange.

1:39:33Like, there's never been a building that looks that intact that falls like that.

1:39:38It's weird, man. I mean, it's fucking weird.

1:39:42Anybody that says it's not weird, look, this is how it happened.

1:39:45It's weird. Now, the planes hitting Tower 1 and Tower 2, okay, that makes maybe

1:39:54more sense to me. Does it?

1:39:55Yeah. Does it? Yeah, because it fell from the top down, like it looks normal.

1:40:00It doesn't collapse into its base.

1:40:02Tower 7 collapses into its base.

1:40:04The way Tower 1 and Tower 2 fell.

1:40:06But how about the testimony of people saying they heard multiple pop, pop, pop, pop,

1:40:08pop explosions? Is that just girder snapping?

1:40:11It could be, yeah. I mean, you've got to think you have immense, immense amounts

1:40:15of weight, and it is collapsing.

1:40:17So if it does collapse the way it looks, it's collapsing from the top down.

1:40:21It's not going to be silent.

1:40:22You're going to hear tremendous explosions when concrete hits the slabs below it.

1:40:26It's going to sound like explosions.

1:40:28Also, you have the fog of war, right?

1:40:30So you have these people that are involved in an extremely traumatic situation, and their

1:40:35memory is very fucked. Like, your memory is fucked when you experience something like this.

1:40:40You remember things funny. You have confirmation bias.

1:40:43There's a lot of weird stuff that happens.

1:40:45So this is the explanation, that a piece of the plane falls down and hits

1:40:50that building. That's a big tower on top.

1:40:51Yeah, yeah, yeah. I'm sorry.

1:40:53A piece of the building.

1:40:54The aerial antenna. I meant to say.

1:40:55Sorry. So that piece of the building falls down and, not a plane, obviously, hits

1:41:01the building next to it, Tower 7.

1:41:03And that gash is all it took to take that building down.

1:41:07That's super suspect. And I do know that there was a fire inside the building.

1:41:11I'm sure. I'm sure there was.

1:41:13But the way it fell was crazy.

1:41:16That, see, Tower 1 and Tower 2, it's like, I don't know what happens when

1:41:19a jet flies into a building like that, and neither do you.

1:41:22And also, you've got to deal with corrupt construction companies, cutting corners, not doing things

1:41:29up to code. But perhaps, perhaps, perhaps.

1:41:31I'll give you that. I'll be super charitable.

1:41:34But with building 7, I'm like, come on, man.

1:41:36That's weird. That one's fucking weird.

1:41:39Because it doesn't fall like 1 and 2.

1:41:411 and 2 fall from where the impact was, the deterioration of the structure, the

1:41:47weight of what's above the impact.

1:41:49It falls down on it, and you see a progressive collapse from the top to

1:41:53the bottom. Tower 7 is nuts.

1:41:57Tower 7 just drops. Just drops all at once, free fall speed into its base.

1:42:04That's weird. Anybody that doesn't think that's weird is being naive.

1:42:10That's never happened before to a building that hasn't been a controlled demolition.

1:42:14Again, not saying it's a controlled demolition.

1:42:17Maybe it's accurate that these enormous drums of diesel are creating this fire, unprecedented load

1:42:23on the structure of the building.

1:42:24But see, even with everything else that occurred, with all the tangential stuff that's occurred,

1:42:30you're still giving the benefit of the doubt.

1:42:34You'll have suspension of disbelief.

1:42:35But I'm saying right now, I was trying to finish, that fire is not on

1:42:40every floor uniformly. So why is it collapsing uniformly from the top down into the

1:42:45base? Why doesn't the base where you have this incredible fire load, why doesn't that

1:42:51weaken and it fall over sideways because it no longer has structure anymore?

1:42:54Why is it every floor has the same amount of damage and it gives in

1:43:00at the exact same time?

1:43:02That kind of doesn't make sense because the fire is not uniform throughout the building.

1:43:06It's not like the building is one gigantic flame ball and then it all gives

1:43:11out at the same time.

1:43:12But even then, I would think it would tip over.

1:43:15It would fall to the side.

1:43:17Falling into its base, that seems to indicate some sort of a control.

1:43:23Like, it was done uniformly.

1:43:25They time it. When you watch, like, in Vegas when they blow up a casino,

1:43:29it's like, doom, doom, doom, doom, doom, doom.

1:43:31And then it does that.

1:43:32Doom, doom, doom, doom, doom.

1:43:33Let's watch an actual controlled demolition.

1:43:37So when you watch an actual controlled demolition, it looks just like that.

1:43:41It looks just like that.

1:43:43And then, I don't know.

1:43:44I mean, the testimony of your eyes are telling you the truth.

1:43:48But your brain, you know, will come up with all sorts of stuff because mundus

1:43:54valt des epi. Well, I'm not allowing it to with Tower 7.

1:43:58I've always maintained a pretty open mind with that.

1:44:01But also, I lean towards shenanigans in that one because that one just seems fucked.

1:44:10Tower 1 and Tower 2, maybe.

1:44:11Maybe. Tower 7, come on.

1:44:14Tower 7, nobody looks. And if they're telling you that Tower 7 seems normal, they

1:44:20seem so gaslighty. Everybody that says that seems like they're gaslighting.

1:44:25So here we go. Hit it.

1:44:29Okay, this one, they're setting up for a controlled demolition.

1:44:32So anyhow, that's kind of a shitty one.

1:44:34There's other ones that I've done a better job with.

1:44:36But it's the same kind of thing.

1:44:38It's still falling onto itself.

1:44:40Yes, it's falling into itself the same way Tower 7 did.

1:44:43But see, that building has a different shape.

1:44:45That has a skirt building.

1:44:47It's got a center structure.

1:44:49Yeah, it's a different kind of structure.

1:44:50It has a different look to it.

1:44:51Let's watch that one. Okay.

1:44:53There, like there. Come on.

1:44:55That looks exactly like Tower 7.

1:44:58When you watch that, back that up again a little bit, please.

1:45:02Watch that from the top, from the beginning.

1:45:04Just a little bit before, right before it drops.

1:45:06So watch. They're looking. They're watching.

1:45:08We're going to watch the building drop.

1:45:09There it is. That fucker goes right down like Tower.

1:45:13From there, come on. That's exactly like a controlled demolition.

1:45:17And even the way it looks as it's going down looks exactly like Tower 7.

1:45:22You know, we were talking about predictive programming and how movies and like spells can

1:45:27predict stuff in advance and, you know, kind of prepare you for the future of

1:45:34what's coming. You know, in 1999, a movie came out, which was effectively a manifesto,

1:45:40and that movie was called Fight Club.

1:45:43And what's the end of that movie?

1:45:45The end of that movie is the collapsing of the buildings, which are the financial

1:45:49system, you know, of the future so that they can create a new future.

1:45:53Who produced that movie? Arnon Milchan.

1:45:56Who is Arnon Milchan? And they got a commercial director to do it, Fincher.

1:46:00And like he's. Excellent director, and I think it's an excellently, beautifully made film, but

1:46:06who is Arnon Milchan? Well, you know, he himself has said, I am a Mossad

1:46:12agent, and he said that out loud.

1:46:15Like, that's not me saying that, that's him saying that.

1:46:17And Fincher said, oh yeah, my last movie, that was made by an arms dealer.

1:46:22Well, that's him, that's Arnon Milchan.

1:46:24And so, you know, and what's another Arnon Milchan movie?

1:46:29The Medusa Touch with George C.

1:46:32Scott and, I think, Lee Remick.

1:46:34And in that movie, what happens?

1:46:35An airplane crashes into a building, and you could probably pull that one up too.

1:46:39An airplane crashes into a building.

1:46:41This guy's obsessed with airplanes crashing into buildings and buildings collapsing in movies.

1:46:46And so, what's likely? You know, has he been reading these scenario plans that defense

1:46:53departments make and that are maybe, you know, Mossad plans that are made?

1:47:01I've worked for the DOD through John Milius, and we wrote scenarios.

1:47:05They gathered together a bunch of Hollywood writers into a, you know, into a, what

1:47:10is it, like a conference room.

1:47:11Like a, it was like more like a ballroom, but like a small one.

1:47:15And gather a bunch of us together around a table and said, let's come up

1:47:17with ways on how to attack Los Angeles.

1:47:19And we all wrote scenarios on how to attack L .A.

1:47:23And now they just use A .I.

1:47:24to do all that. But, so, you know, has he just been like reading these?

1:47:30Does he have access to them?

1:47:31And so, he just puts them into his movies?

1:47:33Well, that movie was made in 1999.

1:47:35And what happened right after that movie got released?

1:47:37Those buildings came down. 9 -11 came down.

1:47:40And so, is it predictive programming where you're showing the world what's to come and

1:47:45that makes it almost somewhat acceptable to do?

1:47:48Whoa. Or is it just coincidence?

1:47:51And he just happens to be Mossad.

1:47:52And most people out there will say, oh, no, it's just coincidence.

1:47:54It's coincidence. And he just happens to be.

1:47:56I mean, that's what he has said.

1:47:58I don't know if he is or not Mossad, but that's what he said.

1:48:02Well, that's the thing about the pejorative term, conspiracy theorist.

1:48:07It's slapped on things and it immediately sort of diffuses any real questioning of, oh,

1:48:12my God, are things this bad?

1:48:14Is there this much? But as time goes on and you're confronted with more and

1:48:19more information, and I think we're in the beginning stages of reckoning with these files

1:48:24that were just released where so many people are like, I haven't really read much

1:48:29of it. I've only read the things that are really outrageous that my friends have

1:48:32sent me because I'm just trying to maintain my sanity.

1:48:35Well, that's just it. Most people want to maintain sanity.

1:48:38Yeah. I just want to get through the day.

1:48:40You know, I just want to like.

1:48:41You're busy. Yeah, well, it's even more than busy.

1:48:44I want to be happy.

1:48:45Right. I want to raise my children in a world that is, you know, a

1:48:49peaceful world and where people respect each other and where we can like you can

1:48:54make something out of yourself, you know, through hard work and through merit.

1:48:59You know, it's like that's the world I want to live in.

1:49:01And more and more, it feels like we're not in that world.

1:49:05Did you see that thing that was just released today?

1:49:07I think it's the AI company Anthropic.

1:49:11I think that's the company.

1:49:13So one of its engineers resigned and essentially said that humanity is doomed.

1:49:19Yeah. And he's going to move to the UK and just write poetry and just

1:49:24wait it out. Hasn't that guy seen Threads?

1:49:28Like the UK is like one of the most dangerous places to be.

1:49:31That's where he's going to wait it out.

1:49:32Like that's. Well, he probably has this romantic idea.

1:49:36Does he mean like where does he mean?

1:49:37I'm not sure. Maybe he means like the Scottish Highlands.

1:49:39Yeah. Maybe he's going to hide.

1:49:41Yeah. And go into some small town and fucking just hang out at a pub.

1:49:45Yeah. They're going to populate that town with suddenly 800 war capable men from another

1:49:54country are going to move in and they're going to move into the local.

1:49:57Some place that the West has conveniently been bombing and creating refugees on.

1:50:02Yeah. Creating angry people. Yeah.

1:50:03Yeah. And who have a.

1:50:05God, you don't want to think that it's all planned out like that.

1:50:08But. Of course you don't.

1:50:10Like, you know. But that was a bit of the exposure of USAID.

1:50:13You know, so I, like many people, thought USAID was about aid.

1:50:17I thought it was like a beautiful philanthropic program where the United States donates money

1:50:22to all these poor countries.

1:50:23That's how they get food.

1:50:24Like I had Bono on the show.

1:50:25And he's like, I've heard that 30 ,000 people have already starved to death because

1:50:30of this. 30 million people are going to die.

1:50:33And I'm like, okay. But do you know how much corruption was involved with this?

1:50:37Do you know that it's not aid?

1:50:39It's the agency for international development.

1:50:41And mostly what they were doing was regime change shit.

1:50:44And Mike Benz laid it out and he said USAID was for tasks that were

1:50:50too dirty for the CIA.

1:50:52Which is crazy. So, like, if they've been engineering this long game and engineering the

1:50:58collapse of legitimate governments all throughout the world, bombing places, creating refugees, and then having

1:51:06these not just open border policies, but inviting and helping people get into countries and

1:51:13then giving them money when they get there.

1:51:15Yeah. Like, so many people do not want to admit that that was really going

1:51:19on despite all of the evidence.

1:51:21That's another – like, it's designed to destroy whatever confidence you have in law enforcement,

1:51:29in civilization, in the electoral process.

1:51:33What's the answer? Okay, so given a choice between totalitarianism or cannibalism, you know, which

1:51:40would you prefer? Right, right.

1:51:42You take cannibalism because you don't want to be eaten.

1:51:44Yeah. No, I mean you take totalitarianism rather because you don't want to be eaten.

1:51:48I would rather not be in the movie The Road, but I feel like we're

1:51:52– I turn that one off immediately.

1:51:53I feel like we're increasingly in the movie Children of Men.

1:51:57And, I mean, that's – that movie was a pretty accurate futurist example of where

1:52:04we're heading with collapsing birth rates and at least portions of civilization looking at extinction.

1:52:11Yeah. And – I mean they're experiencing that right now.

1:52:13A totalitarian – South Korea, Japan.

1:52:16Yeah. Yeah. Yeah. What is – can you find that guy's manifesto or – excuse

1:52:19me. Corone is a genius for making that film.

1:52:21I just want to say.

1:52:22Children of Men. Yeah. Fantastic movie.

1:52:25So today is my last day at Anthropic.

1:52:27I resign. Here's the letter I shared with my colleagues explaining my decision.

1:52:32That's a lot to read.

1:52:33What is the synopsis? Just ask perplexity what the synopsis of what this guy said.

1:52:39Okay. Sharma, who built defenses against AI -assisted bioterrorism and pushed for transparency on model

1:52:46risks at the San Francisco AI firm, announced his resignation on Monday.

1:52:50He described struggles to let values guide actions amid mounting pressures, planning to return to

1:52:55the U .K. for a poetry degree, and step back from the spotlight.

1:52:59His exit follows other safety team departures amid Anthropic's launch of Claude Opus 4 .6

1:53:05in a massive $20 billion funding round at $350 billion valuation, fueling debates on balancing

1:53:13safety with commercial speed. Okay.

1:53:17But what is he saying specifically is the issue?

1:53:22Let's click on that. Let's click.

1:53:24Fuck it. Let's click on his.

1:53:25His AI started talking to him and scared the bejesus out of him.

1:53:28The safehold. He's part of the guiding of the.

1:53:33Damn it. Lost the word.

1:53:35Yeah. Bioweapon. I mean, look, this guy's built something, and all of a sudden he's

1:53:43realizing all the players that are funding it are likely, you know, scary, scary people.

1:53:50Yeah. Scary people who are comfortable.

1:53:53Who are all in the same club, you know, drinking baby blood and offal together.

1:53:57What's offal again? Shit. Oh.

1:53:59Muconium. Muconium, which is like a thing.

1:54:02Baby poop. Yeah. That's in the files.

1:54:05What comes next, I do not know.

1:54:06I think fondly of this famous Zen quote, not knowing is most intimate.

1:54:12What? My intention is to create a space to set aside the structures that have

1:54:16held me these past years and see what might emerge in their absence.

1:54:20He's already working on his poetry right here.

1:54:22I feel called to writing that addresses and engages fully with the place we find

1:54:28ourselves and that places poetic truth alongside scientific truth as equally valid ways of knowing.

1:54:37Yeah. That was written for him by AI.

1:54:39Elon said something very bizarre recently.

1:54:41He was talking about the speed of light, that the speed of light cannot be,

1:54:45you can't bypass or exceed the speed of light.

1:54:49If you believe Einstein. He said, unless we live in a simulation.

1:54:52Or unless Einstein was wrong.

1:54:54Right. I mean, a lot of astrophysics is based on a false premise that P

1:55:00equals P prime and that the sun is designed a certain way.

1:55:04And it's completely wrong. And everything that we know about the stars and how we

1:55:07view the nature of the universe is fundamentally incorrect.

1:55:12How is it wrong? Uh, it's, it's based on this idea of the stability of

1:55:18Kelvin temperatures in the sun and, uh, which is this P equals P prime, uh,

1:55:26thing. And the guy who invented like CAT scan machines, there's sort of a Venn

1:55:30diagram overlapping of, uh, of, you know, this photographic technique and astrophysics.

1:55:36And what he realized is, holy cow, that is not true.

1:55:40And therefore, so much of everything that we know about how we view the cosmos

1:55:46is incorrect. And so, um, and much.

1:55:50Now, how'd they find out that it was incorrect?

1:55:51Well, he, he's a mathematician.

1:55:53He figured it out. I would have to look up his name and everything.

1:55:56And what is incorrect about it?

1:55:58Do you remember that? Uh, well, it's, it's at the beginning of astrophysics, there is

1:56:04this formula. And if that formula is wrong, then the preceding calculations are also wrong,

1:56:09or at least off. And so the idea is that, you know, what we view

1:56:15is, is really just a, it's kind of a cartoon that's painted for us using

1:56:21all these formulas, you know, and, and using radio telescopes.

1:56:24And so, you know, it's, it's, things are not as they seem.

1:56:29Well, they've already, they already have issues with the findings from the James Webb telescope.

1:56:34Oh, yeah. Well, that's probably part of it.

1:56:36Yeah. You know, I have to say, like, I mean, I'm a provocateur.

1:56:41And so I'm always interested in, uh, um, finding that which upsets people's, you know,

1:56:49concepts of things. And that's partly because I'm a screenwriter and I'm looking for these

1:56:53kinds of conflicts and interesting ideas and stuff like that.

1:56:57So take what I'm about to say with a grain of salt.

1:56:59But, uh, the big one, the biggest conspiracy theory that freaks everybody out is flat

1:57:06earth. Now, I don't know what the earth is, but experientially through the testimony of

1:57:13the eyes, it is flat.

1:57:15And there is very little chance that I will ever in my life, or most

1:57:20of us will ever in our life experience anything other than what is effectively a

1:57:25flat earth. And, uh, you know, and, and, you know, the way, uh, laser sighting

1:57:31across large bodies of water or navigation map maps for air, air travel, you know,

1:57:37for, for pilots is always a presumption of a flat earth.

1:57:41It's always in the, uh, pilot manuals and on, and on maps.

1:57:45How so? Well, if you're flying a jet at low altitude, you're not making corrections

1:57:50for curvature, even though you're going fast enough where you should be.

1:57:53And so what's actually happening there?

1:57:56Well, um, and, and so the, the idea is, look, I don't know what the

1:58:01world is or what the realm that we're in is, but experientially from my perspective

1:58:07in life, it is nothing but a, it's a flat earth.

1:58:11But what about travel routes?

1:58:12Like what about when they fly over Antarctica?

1:58:15What about what if they, that's, well, they don't fly over Antarctica.

1:58:17But you can watch the sun rise and fall as you fly.

1:58:20They don't even, they don't even fly from Cape down to Buenos Aires.

1:58:23There's a, they travel, they travel up into, uh, into the other hemisphere and like

1:58:29land in London or something.

1:58:30And travel back down whenever you're doing a flight across the Atlantic.

1:58:34And so, like, when you look at it on a flat Earth map, and there

1:58:39are plenty of them. Yeah, but there's satellite photographs of Earth from space.

1:58:42Those are all cartoons. What are you talking about?

1:58:44I'm saying that even the NASA, the guys who actually do those composites, those are

1:58:49composite imagery of, listen, I'm not, I am not saying that.

1:58:54But it seems like you're saying that the Earth is possibly flat.

1:58:57I'm saying experientially. Right. But that's a scale issue, though.

1:59:03Correct. We're a tiny little thing on an enormous thing.

1:59:06Correct. But, you know, snipers have to calculate for the curvature of the Earth when

1:59:10they shoot. Only the curvature of the landscape that they're on.

1:59:15Right. Why do you think the landscape curves?

1:59:17The landscape doesn't curve. It is a mountainous and uneven.

1:59:21Not always. No, on flat plains, you have to do the same thing.

1:59:24If you're making a long shot over a flat area, like if you had to

1:59:28shoot. Well, then why don't pilots make adjustments?

1:59:32I'm not a pilot. I don't know.

1:59:34But I do know that when you look at the film from the space station.

1:59:38Presume a flat Earth. When you look at the film from the space station, you

1:59:41see an Earth that's not just round, but spinning.

1:59:45I see. Actually, the space station, you know, the international space station is actually not

1:59:53high enough to see curvature.

1:59:54And what you're seeing is lens, you know, the lens distortion.

1:59:59It's not high enough to see curvature when you look out into the horizon?

2:00:03No, it's actually even, like, it's very, very close to the...

2:00:06Let's look at footage from the space station of Earth.

2:00:10So when you see satellite images that are taken of the Earth, you think they're

2:00:14lying? You think there's this grand conspiracy to piece all these pictures together and turn

2:00:19it into a circle instead of have it flat?

2:00:20Because that's the fundamental conspiracy theory that unravels everyone.

2:00:27Well, it doesn't make any sense because everything that we see in the cosmos that's

2:00:31a planetary body is round, including stars.

2:00:34So it's all round, except for small moons.

2:00:37Everything is round, and that's because...

2:00:40I'm not even certain... That space exists.

2:00:44Well, that the moon is anything more than a plasma.

2:00:48A plasma? Yeah. What does that mean?

2:00:51That it's a plasma effect, a lenticular effect of some kind.

2:00:56So that it's not a real thing, but it affects the tides.

2:00:59It is something that we have landed, at the very least, we've landed probes on.

2:01:04We don't know that it affects the tides.

2:01:05People theorize that it affects the tides.

2:01:08So this is footage from the space station.

2:01:10This is live footage from the space station.

2:01:13And I'm saying that that's lens curvature, and that what you're actually seeing...

2:01:17Why do you think that's lens curvature?

2:01:18What you're seeing is horizon.

2:01:20So what you're talking about is like a fisheye lens.

2:01:22I'm saying if I'm trying to provoke you, that's what I'm saying.

2:01:24Right. But let's not do that right now, because I don't want you to be

2:01:27completely fucking insane. Because this is a round body, just like the moon, just like

2:01:32Mars, just like Jupiter, just like Uranus.

2:01:34That appears to be a...

2:01:37But in your practical life experience, you have to accept a certain amount of faith,

2:01:42is what I'm getting at, at any moment.

2:01:44But they understand the procession of the equinoxes.

2:01:48Okay? Do you know that the procession of the equinoxes is how they measure the

2:01:51sky over a period of 26 ,000 years?

2:01:55I see right there a little stitching, like right there.

2:01:59So this would just keep going straight forever?

2:02:02Do you see that line?

2:02:02Yeah, that line. Do you see that line right there?

2:02:04What is that? What is that line?

2:02:06Yeah, what is that line?

2:02:07Well, that looks like stitching to me.

2:02:09It looks like they've stitched together and it crosses over there through that mountain range

2:02:12right there. That is weird, whatever that is.

2:02:15So by your very example, I'm just saying that you have to have a certain

2:02:19amount of faith in that.

2:02:20And on the surface, mundus volt des eppi.

2:02:22Okay, okay. You're freaking me out.

2:02:24Go back to that, Jamie.

2:02:27So what is the explanation?

2:02:28Go back a little bit.

2:02:29Yeah, what is the explanation of that line right there?

2:02:31Right, but how weird is that?

2:02:33That is weird that there's this line that's very clear.

2:02:35Right, because that in itself is a composite image, a cartoon, that has been put

2:02:39together for you to look at this apparent live imagery.

2:02:43So is this multiple images that are supposedly pieced together?

2:02:50Is that what they're— I'm saying that things fall into—like the way perspective works is

2:02:55that things appear to fall into the horizon.

2:02:58But now you use a—what is that camera?

2:03:00Is it a P200 camera where you can actually zoom in and lift things out

2:03:05of the horizon that have appeared to fall into the horizon?

2:03:08This live video feed from the International Space Station has been— Interrupted because you're watching

2:03:13too much. Due to either a change in the onboard camera configuration or a loss

2:03:18of signal with the communications network, the video will return when the connection is reestablished.

2:03:22So this is during the live feed.

2:03:24This isn't from NASA's YouTube channel.

2:03:26It's just down right now.

2:03:27It's just down right now.

2:03:28Okay. So you're saying that this is like a fisheye effect of a lens.

2:03:33Yeah, I'm saying that— Potentially.

2:03:34I'm saying that—and that we can even see that whenever they're up there shooting with

2:03:39cameras outside, you're like, oh, there's the— But do you know how many people— There's

2:03:43the curvature. And then every now and then the camera turns and it inverts for

2:03:47a moment. Then it goes back down.

2:03:48I've never seen that. I watch a lot of NASA stuff.

2:03:52And listen, I'm not saying that we're not living on a globe or at least

2:03:55an oblate spheroid, as Neil deGrasse Tyson says.

2:03:59But have you ever noticed how spasticated that guy gets whenever you throw out the

2:04:03word flat earth? He flips out like the way Robert De Niro flips out on—like

2:04:09irrationally he flips out. He flips out when you say that men can't be women,

2:04:14which is very weird. Yeah, exactly.

2:04:16And that they should be able to compete in women's sports, which is very weird.

2:04:20That's a very— Like for a man of science, that's bonkers.

2:04:22Or that they should be able to go to jail and that a sex offender—

2:04:26Yeah, fucking insane. Not just that, but rapists.

2:04:29Yeah. Like people have raped children.

2:04:30He's then put in jail with women and it's like— And then they have to

2:04:32pay for their electrolysis and breast augmentation, which is okay.

2:04:36At what point in time do you say that this is some sort of a

2:04:40bizarre agenda that you're trying to get us to accept something that doesn't make any

2:04:45fuck? So much so that you're willing to house male prisoners in with females because

2:04:51they say they're a male with an intact penis, and then even if they get

2:04:54female prisoners pregnant or rape them?

2:04:58We're all just trying to construct what reality is, and it tends to be a

2:05:03consensus of what it is.

2:05:06But there are fringes on the ends that don't believe with what the consensus says.

2:05:11I understand. Are they wrong?

2:05:12But do you know how many people would have to be involved to promulgate this

2:05:16idea that there's a flat earth, and you've got to cover up that thing and

2:05:21pretend it's round? And what's the motivation of covering up the fact that the earth

2:05:25is flat? I mean, if we're really fundamentally getting down to it, it's about God.

2:05:30And it's about what is this realm that we're in, and are we part of

2:05:34creation? But why would it be more likely God if it was flat?

2:05:40Every culture throughout recorded history draws us in this kind of flat, earthish environment with

2:05:48a dome, a firmament that covers it up until, like, when?

2:05:53The 1930s or so? Right, when they start making telescopes.

2:05:56Well, and— Right? I mean, so this is a grand conspiracy?

2:06:00Like, Galileo was wrong. Copernicus was wrong.

2:06:03All these people didn't know— Unrecorded history is wrong.

2:06:05And, I mean, the other option is that we are just specks of nothing floating

2:06:12around in an endless, vast nothing that goes on forever, and that you are completely

2:06:18insignificant, that you are not God's perfect creation, which I think you are.

2:06:22Well, that doesn't—they're not mutually exclusive.

2:06:25You know, just because we are in this vast cosmos that's almost impossible for mammal

2:06:31minds to grasp the magnitude of it doesn't mean that God's not real.

2:06:37It's exclusive to people who believe the Bible word for word.

2:06:41I'm not saying I do necessarily.

2:06:43I am—I would be considered apostate, you know, by most people.

2:06:50I've been reading the Bible a lot, and one of the problems that I find

2:06:54is it's clearly got the hand of man on it.

2:06:57Well, it's been edited. Yes.

2:06:58It's been edited, you know, the King James—or who was King James?

2:07:01He wrote Bible—he wrote books on demons as well.

2:07:05And so— Well, even the Old Testament.

2:07:07The Old Testament has the hand of man on it.

2:07:10Not just that, but it's also been translated so many different times.

2:07:13Like, ancient Hebrew, the letters double as numbers.

2:07:16There's no numbers in ancient Hebrew, so words have numerical value to them.

2:07:20And, you know, imagine translating such a complex language where, like, the word God and

2:07:27the word love, they have the same numerical value.

2:07:30I believe. I read—here's another thing.

2:07:32I've read that. I don't know if it's true.

2:07:33So let me find out if that's true.

2:07:35Put that into perplexity. There's a lot of weird stuff in the Bible.

2:07:39Oh. In Genesis, when the Nephilim come down and they find women comely, and so

2:07:46they're like, okay, what's actually going on there?

2:07:49These angels, or Nephilim, are coming down and they're taking women from men and having

2:07:57sex with them and then creating, you know, hybrid offspring.

2:08:02When Representative Anna Paulina Luna was here, she told me about the Book of Enoch.

2:08:06She's like, you have to read that.

2:08:07Have you ever read it?

2:08:08I don't know. So I read it.

2:08:10Holy— Have you seen The Carpenter's Son?

2:08:12The Nicolas Cage movie? No.

2:08:14Incredible. I just— What did I just have you look up, though, before I lose

2:08:17my train of thought? That King James Bible thing?

2:08:21What? That's what I was trying to ask specifically.

2:08:23Which part did you want to ask about?

2:08:24No, what I asked you was ancient Hebrew, so the letters also double those numbers.

2:08:30Yeah, yeah, yeah, the letters double those numbers.

2:08:31That's what that movie Pi is all about.

2:08:32And that the word love and the word God have the same numerical value.

2:08:36I'm very, very certain that that's true, but I want to really double check.

2:08:41Well, numerology exists around us everywhere, and, you know, everything, you know, it seems to

2:08:46have a kind of— That's what the Aronofsky film Pi was kind of all about,

2:08:51is that— That was a great movie.

2:08:52Yeah, it's a very— There was also a really fascinating statement by this mathematician.

2:08:58We talked about it on a recent podcast, was that how strange is it that

2:09:04we find out that the universe is made out of math and that it's encoded

2:09:10in the universe itself? So a tool that we used that human beings created to

2:09:17measure the universe, it turns out that that tool is how the universe is actually

2:09:22encoded. Well, this gets back to what Elon is saying about the world being a

2:09:26simulation. You know, I mean, what is a simulation?

2:09:29A simulation is a— No, in ancient Hebrew, whatever that word is, gematria, no direct

2:09:36name of God shares the exact same numerical value as the word for love.

2:09:40So what is the basis of that rumor?

2:09:44Sacred name equals 26, a name for God equals 86.

2:09:49Okay. Is there a word for God?

2:09:53Elohim. Does that have the same— It's a name.

2:09:57Right. What is the value of—click on that below that, below that, where it says,

2:10:03what is the gematric—what is that word?

2:10:05I had to look it up.

2:10:06It's a— Gematria. Gematria. Primary Jewish mystic—oh, Kabbalah.

2:10:11Yeah. Religious studies to find hidden spiritual meanings in sacred texts.

2:10:15Okay. It is fascinating that there's numerical value in words.

2:10:19Like, there's no way you're going to get that when you translate it to Latin.

2:10:23So that is a— Or Greek.

2:10:25That is a value of 86.

2:10:26And what is love's value?

2:10:30What is the value—what is the ancient Hebrew word for love?

2:10:35What is the ancient Hebrew word for love?

2:10:42That's going to—that—what you mean by love is going to be very—you have to say,

2:10:47do you mean like love between two people?

2:10:48Okay. What is the gematria?

2:10:50Love that doggy in the window.

2:10:51Do you love your child?

2:10:52Yeah, yeah, yeah. That's a good point.

2:10:53That's a good point. I have different words for it.

2:10:55Definitely. So what is that?

2:10:57Click on that. What's the gematria value of a— Allah.

2:11:00Right there? Right there? Yeah.

2:11:03Click on that. It's 13.

2:11:08So that's a different number too.

2:11:11Interesting. 13 twice equals 26, the value of Yahweh.

2:11:17Huh. This movie, The Carpenter's Son, is all about the infancy of Jesus, I think

2:11:23is written by Matthew. And it's part of these, I may have this wrong, but

2:11:32Coptic texts. And it is like, Nicolas Cage is so good in this movie.

2:11:40So twice 13 equals 26, the value of Yahweh implying love mirrors or completes God's

2:11:49essence. Okay. So that's where that comes from.

2:11:51I was going to ask where it came from.

2:11:52Right. That's where it comes from.

2:11:54God is love. So God is love.

2:11:56So love twice is God.

2:11:59So here's a question. What happened?

2:12:03So go put... I understand.

2:12:06I understand. Go to ask a follow -up.

2:12:10So how was the numerical value of ancient Hebrew language lost when they translated it

2:12:19to Latin? To Greek. But to Greek first, right?

2:12:23How is the numerical value of ancient Hebrew words lost when they translated it to

2:12:36Greek? Because it seems like if the...

2:12:40It's not just context. Like, what is your word for that?

2:12:43Like, the word meant a different thing to them.

2:12:45You know, numerical values of ancient Hebrew words calculated via Dermatria were letters double as

2:12:55numbers was not preserved in Greek translations.

2:12:59Hebrew letters inherently carry fixed numerical values, enabling word sums.

2:13:07Greek letters have their own values, equivalents rarely match Hebrew sums exactly.

2:13:13So you're going to lose it.

2:13:14Like, you know, when you read, like, Russian translations of English or English to Russian,

2:13:19it gets, like, super screwy.

2:13:21For sure. For sure. Is this for sure, like, real?

2:13:23Ancient Spanish. What name is?

2:13:25It's incredibly difficult. Even... Gematria.

2:13:28All words mean another number that all have some sort of secret meaning?

2:13:33Runic writing from the Nordics is the same thing.

2:13:36And there is a striking resemblance between many of the runes with Hebrew.

2:13:41And so these ideas and these glyphs and symbols that Odin first saw while hanging

2:13:47upside down from the tree and learned language and how to speak are somewhat universal

2:13:53across the planet. Let's get to that for a second.

2:13:55But let's find out what Jamie's saying.

2:14:12What's interesting is, like, it's an older language, but doesn't that seem like a more

2:14:17complex language, a language that combines numerical value with words?

2:14:22Like, if you said something to me, it's not just implied by your tone or

2:14:29by the context of what you're saying that I understand what it means to you,

2:14:33but it's in the numerical value of the words.

2:14:36That seems like a better way to communicate than just nouns and verbs and adverbs.

2:14:42Rather than bifurcating numbers from...

2:14:44Yeah, numbers and letters together.

2:14:46It sounds like a way better move.

2:14:48I mean, doesn't it? It seems like if you can understand that and if you

2:14:52grew up with that, that seems like that would be a much richer and deeper

2:14:56way of communicating. Isaac Asimov wrote a book called Asimov on Numbers, which is fantastic,

2:15:02which talks about this. And he talks about Kalahari Bushmen, who have no concept of

2:15:05the number zero and how they process and understand concepts like, you know, when no

2:15:13one is around, you know, if the village is empty and things like that.

2:15:17And so, you know, just different people are just trying to figure out how to

2:15:22articulate everything. And, you know, computer programming is a language that utilizes numbers.

2:15:28It's weird when there's like certain languages that don't have a word for something.

2:15:33So people really grasp, they have a hard time grasping what the fuck you're trying

2:15:37to say. Like, what's the translation for this?

2:15:40It's like, we don't have a word for that.

2:15:41We don't understand the concept of empathy.

2:15:44Well, there's certain cultures that are like tribal cultures that can't understand the concept of

2:15:53maintenance. Yeah, yeah, yeah. They don't have it.

2:15:55I've heard that. Yeah, which is weird.

2:15:57Like, you think about it, like, oh, right.

2:15:58Why would they need maintenance?

2:16:00Right. Why would they need maintenance?

2:16:01If you live a subsistence lifestyle, you live off the land, you don't need maintenance.

2:16:04And then suddenly you're thrust into the 21st century and the Chinese are building highways

2:16:09for you. And the highways collapse.

2:16:12Yeah, and the highways just collapse because no one's maintaining it.

2:16:14Right. Yeah. It's interesting. But it's interesting when - To take people out of the

2:16:20Stone Age and dropping them into, or maybe the Iron Age, and dropping them suddenly

2:16:26into - So to take this back to this idea that we're missing a thousand

2:16:29years. So if we really are missing this one thousand - There's two things I

2:16:33want to get to. I want to get to that.

2:16:34Added. Added a thousand years.

2:16:35Yeah, yeah. Added a thousand years.

2:16:36I really want to get to that.

2:16:38And, well, I meant by missing, like, they don't exist in the real world.

2:16:43Right. Right. I want to get to that.

2:16:44And I want to get to, is there a conventional explanation for that stitching?

2:16:47Why that image? Like, what is the mainstream - Well, I got to dig up

2:16:52what we were even looking at.

2:16:53Right. It was not the NASA channel we were looking at.

2:16:56I don't, you know, I can dig down that rabbit hole.

2:16:58What were we looking at?

2:16:59I've tried to pick up a video of live - You know, the globe imagery

2:17:03that - Oh, hold on a second.

2:17:04So that image might not have been an official image?

2:17:07That might have been something that someone created?

2:17:08I'm not saying that. Well, let me retract so words aren't taken out of context.

2:17:13I'm just saying it was - It seemed like a live video.

2:17:16It was live on YouTube.

2:17:18Oh, but it could have been AI horse shit.

2:17:21Yeah, I have to go back to look at the chart.

2:17:22I'm working fast over here.

2:17:24No, I get it, dog.

2:17:25I get it. Jamie, you do the job of 15 dudes, so I appreciate what

2:17:30you're doing. I found a video from 11 years ago on Vimeo that is from

2:17:34SpaceX, so it's not NASA.

2:17:36It's someone else, and it's up and down of the rocket.

2:17:39You can argue all day that it's got curvature.

2:17:41It doesn't have curvature. When you see a rocket launch, what does it do?

2:17:44It goes kind of sideways across the sky.

2:17:48We've now seen that pretty regularly, and that's because they're really not going above the

2:17:52troposphere. Well, I watched the SpaceX launch live.

2:17:57I was there. It went straight up in the air.

2:17:59And then it curves, and it travels sideways across the sky until it meets the

2:18:02horizon. Well, it gets to a certain orbit, and then it traveled and dropped off

2:18:06in Australia 35 minutes later.

2:18:08But out of your view?

2:18:09No. I watched the entire thing from the command center.

2:18:14I watched it from like 24 different cameras.

2:18:17But how high did it go?

2:18:18Did it go above the troposphere?

2:18:21Not likely. Like, this is not above the...

2:18:23What is the troposphere? This is like...

2:18:25How many miles is that up?

2:18:26This is low Earth orbit.

2:18:28Right. But at low Earth orbit, Jesus Christ, that looks like a globe, huh?

2:18:33But watch as the camera rotates.

2:18:34This is also an edited video.

2:18:36I don't want to get stuck in this fucking space.

2:18:38Right, right. Like, this... As Elon would say, it's real because it looks fake.

2:18:43Or when it looks fake, that's when you know it's real.

2:18:45Say that about Bigfoot then, bitch.

2:18:49Because Bigfoot looks fake as fuck, and it's definitely not real.

2:18:53You know what's real? That Turkish sharpshooter.

2:18:55That dude was a G up in the corner.

2:18:57Sure. Press play. See what this is supposed to be.

2:19:00It cuts. It cuts. Yeah.

2:19:02Okay. Oh, I see. I see.

2:19:04Yeah, so it cuts a bunch of different images.

2:19:06See, now you can actually see an inversion occurring on the horizon right there.

2:19:11Oh, you're only seeing a small piece of it.

2:19:12Correct. But the lens distortion on the side of the frame is causing the horizon

2:19:17there... To go the opposite way.

2:19:18...to invert, and that's because of lens distortion.

2:19:20I see what you're saying.

2:19:21It is. And the fact of the matter is, even at the height that these

2:19:26are orbiting at, and I'm not saying, like, presuming a globular planet, and even the

2:19:33word planet, plane, it's like a plane, you know, or the horizon is horizontal, like,

2:19:40you know, even presuming that, the height that they're at right now, you would still

2:19:46only see, you know, a circular, you'd see the limit of your vision, which has

2:19:53a... Right. Because it's so massive.

2:19:54Yeah, because it's so massive.

2:19:56You're still high enough, you're still not high enough to truly see curvature.

2:20:00If we are in a simulation, and if consciousness, it affects the reality of things,

2:20:06and they are only real if we are experiencing them, that's when things get really

2:20:11squirrely. The testimony of your eyes.

2:20:13Like, I know that I am here right now.

2:20:15Not just the testimony of your eyes, but your consciousness interacting with reality is what

2:20:21creates it. Correct. I mean...

2:20:23That's where things get super squirrely.

2:20:25How do you know gravity exists, for example?

2:20:27Well, gravity's not clearly defined, right?

2:20:29Correct. We understand the numbers.

2:20:31Gravity is a concept, and it's a truly non -provable concept, because you can prove

2:20:36the exact same thing through density and buoyancy.

2:20:39You know, the density and buoyancy, you know, make a lot of...

2:20:42How come the oceans, you know, react to the way they do and don't...

2:20:48You know, it's not necessarily provable, but it's believable.

2:20:54You come to a certain point where you're like, okay, faith takes over at this

2:20:58point. My faith in gravity, my faith in the globe, because that's what's been told

2:21:05to me since I was a baby, at a certain point that just takes over.

2:21:09Not just that, but also...

2:21:10And you accept that as a fundamental piece of what reality is, because we want

2:21:14to believe we understand the universe.

2:21:16What I'm saying is, we don't understand jack shit about the universe.

2:21:20We don't know anything. And all we do is we believe what they tell us,

2:21:26and they is just the cumulative understanding of how things are.

2:21:30But in ancient times, they had a different understanding of things.

2:21:34And that was how it was back then.

2:21:36And so, because they had no other way to describe what it was.

2:21:39Right. But even then, they built things based on where the sun was going to

2:21:45be during the solar equinox.

2:21:47They also were aware of the procession of the equinoxes, which is the wobble of

2:21:52Earth's orbit. So Earth spinning around doesn't spin perfectly.

2:21:56There is a 26 ,000 year wobble, and you can predict it by the night

2:22:01sky. And somehow, Polaris remains centered in the sky, and all stars rotate around it.

2:22:07That's extraordinary. If we're traveling...

2:22:09What do you mean? So during the procession of the equinoxes over a 26 ,000

2:22:13year cycle, Polaris remains in the exact same spot?

2:22:14No, it has remained in the exact same spot.

2:22:17And supposedly, that's where we're flying towards as a solar system, as we travel through

2:22:22the galaxy in this complex dance of planets.

2:22:24Right. But with the procession of the equinoxes, this wobble, over a 26 ,000 year

2:22:28period, it will move in the sky.

2:22:30Well, the point of Polaris will always remain where it is directly to the north.

2:22:36The point, but our perspective of it will vary depending upon where we are in

2:22:40this 26 ,000 year cycle.

2:22:42It undergoes a kind of penumbra of sorts, a kind of motion of sorts.

2:22:48It changes. A figure eight motion through time.

2:22:50It changes. It changes. Look at it.

2:22:52It says right here, due to the 26 ,000 year axial procession cycle, the north

2:22:57star changes over millennia. While Polaris is the current north star, other stars have held

2:23:03this position, including Thuban, 3000 BC, and future stars will include Arai, Alderman, and Vega.

2:23:14So it's not the same star.

2:23:16It's just what is dependent upon where we are in the procession of the equinoxes.

2:23:22That's why. Well, there it is.

2:23:24It's not that the earth is flat.

2:23:25I know it's true because it's on Google.

2:23:26But it's not just that.

2:23:27We know where... They've been able to accurately predict the motion of the precession of

2:23:32the equinoxes based on the constellations, which are clearly mapped out.

2:23:36So we understand this wobble.

2:23:38And this wobble may be responsible for cycles of Earth's climate, how things change and

2:23:45be dependent upon where the equator sits and where these poles sit and how it

2:23:50wiggles around. Remember when we were younger, the sun was kind of yellow and orange,

2:23:54and now it's just like white?

2:23:56Like reality is changing. I mean, things change.

2:23:59The sun looks exactly the same to me.

2:24:01Does? You think the sun is the same?

2:24:02To me, it's— I think pollution has affected it somewhat, especially if you live in

2:24:06L .A. Well, there used to be more pollution, and so maybe that's an excuse

2:24:09of why the sun would be more yellow.

2:24:12But I've lived all over the world.

2:24:13Did you see Epstein talking about gravity?

2:24:14Oh, boy. Oh, here we go.

2:24:16It's interesting. Here we go.

2:24:17Be with it. It's not—I don't know.

2:24:19It's very—I'll just say— What does he have to say?

2:24:21It's fine. It's only 45 seconds.

2:24:23I just let it go.

2:24:26So someone's pushing the ball.

2:24:28Because I know that—I am confident that the only thing that gets something to move

2:24:32is with a force that pushes.

2:24:34So there's a force that's pushing the ball down.

2:24:37In fact, he called it gravity.

2:24:42He measured how fast it was pulled, but never was able to explain why it

2:24:50happened. How is it—what is gravity?

2:24:53It's this—everybody says, well, why did the ball fall to the ground?

2:24:56Because gravity took it. But what's gravity?

2:24:59That's—as Feynman would say, that's the name of the thing.

2:25:01We have no idea what it is.

2:25:04That's the end of that clip.

2:25:05It's real long way. Or it's just density and buoyancy.

2:25:07He was really into this topic, apparently.

2:25:09Apparently. He knew a lot about it.

2:25:11You know who you should have on is Eric Dubé.

2:25:13Do you know who this guy is?

2:25:14Oh, he's the flat -earth guy.

2:25:15Yeah, he's the flat -earth guy.

2:25:17And he's written a book called A Hundred Proofs.

2:25:19And in order to prove something, you also have to prove things wrong.

2:25:22You went down some rabbit holes, Roger Avery.

2:25:24Well, I—look, I'm a screenwriter, and so I'm always looking for things like this to

2:25:28write stuff about. And so it's— So in order to prove— I take it all—

2:25:31I take it all— In order to prove what?

2:25:33Whenever you have a proof, you also have to disprove.

2:25:35And so, you know, he wrote a book called A Hundred Proofs about, you know,

2:25:41the nature of, you know, the earth and how it is.

2:25:46And it has explanations for many of the things you're talking about.

2:25:51Hasn't he debated people that actually understand how you can prove that the earth is

2:25:56round? He does it very calmly, and it infuriates people.

2:26:00Right, but I don't think he's done well.

2:26:02Actually, it's very enjoyable to watch because it's really funny.

2:26:04But to people that are actual cosmologists, he's not performed well in these.

2:26:08Well, the cosmologists will say things that still need to be—if you're making statements, they

2:26:15still need to be—you still need to disprove the other, you know, the other proofs.

2:26:20Right, but there's plenty of people that have disproven that the earth is flat.

2:26:26All I'm saying is experience the Joe Rogan experience throughout life.

2:26:32You are really—like, when you go up into an airplane, I do not see the

2:26:35curvature of the earth. Well, you can't because of perspective because you're so tiny.

2:26:39Correct, correct, because we're so tiny.

2:26:40So all I'm saying is that through experience, that the testimony of your eyes, you

2:26:46will never experience a globular earth.

2:26:49You can't— But you do experience the effect of an earth that's a globe if

2:26:55you go to the other side of the earth and it's dark out when it's

2:26:59sunny in California. They've made models of how that could work on the flat.

2:27:04Oh, dorks have. Dorks have made models.

2:27:06But it doesn't line in with our understanding of cosmology.

2:27:09It doesn't line in with our understanding of our orbit around the sun.

2:27:12That's assuming you believe that we orbit around the sun.

2:27:14Listen, I'm not saying that we don't orbit around the sun.

2:27:17I'm not saying we don't live on a globular earth.

2:27:18But if you do— But the numbers match.

2:27:19Don't take me wrong. But the numbers match.

2:27:22If you do assume that they're correct, that we orbit around the sun, their calculations

2:27:27are completely accurate. If they make the calculations on their flat earth model as well,

2:27:32then you still have to prove that wrong.

2:27:34Right, but is NASA doing that?

2:27:36Is MIT doing that? NASA, like of all people to believe, the ones who are

2:27:40digitally stitching shit and saying, that's a government agency.

2:27:46You went so deep with this, boy.

2:27:48No, all I'm saying is my experience.

2:27:52You know, when I get on the plane later today and I'm flying back and

2:27:56I look outside, I'm going to see a flat horizon, a horizontal horizon before me.

2:28:05And when I land and, you know, it's—everything else is faith -based.

2:28:13Well— That's all I'm saying.

2:28:14It's not, though. It's science -based.

2:28:17It's based on data. It's based on our understanding.

2:28:20The word science means observation.

2:28:22It means testimony of the eyes.

2:28:24Which is data, which I'm talking about, the measurements, data.

2:28:27The data is so far removed, one, from my ability to understand, but from most

2:28:32people's ability to understand. But you can understand the circumference of the earth, right?

2:28:36You can understand the numbers.

2:28:37Sure. And the numbers line up exactly with how much time it would take for

2:28:41the earth to go around in a day.

2:28:43Sure. And— And it works.

2:28:45And what other experiment can you show me where water clings to a spinning ball?

2:28:50Like, that's kind of the classic flat -earther thing that they'll ask you.

2:28:56Like, well, show me any other example of that.

2:28:59Well, show me a fucking ball that's 24 ,000 miles wide.

2:29:01And the answer to that is gravity.

2:29:03And what he's talking about in that clip that you just showed is gravity is

2:29:07just sort of this idea that we came up with to justify that.

2:29:10But there's clearly a force that does that, right?

2:29:13That's density. Just density? There's—yeah, density.

2:29:17Well, then how come these two things will fall at the same time if I

2:29:19drop them when this is far heavier?

2:29:21How come? I do not have an answer for that.

2:29:24Right. But gravity does, right?

2:29:27Gravity is—like he said, it's just a measurement.

2:29:29It's a measurement of how things fall.

2:29:31Right. And so— But that measurement— And the word that they invented, gravity, is just

2:29:37an explanation for how objects are pulled downward.

2:29:41Right. But those objects— How come— If it was just density, wouldn't a heavier object

2:29:46drop faster? Well, when a...

2:29:50There's two balls. There's a bowling ball and feathers dropping in a vacuum, and they're

2:29:53falling at the exact same time.

2:29:55How weird. Vacuum, no density.

2:29:58They both fall at the same time because of gravity, or whatever the force we

2:30:01call gravity is. But there is some sort of a force that we call gravity

2:30:06that could be measured in a vacuum.

2:30:08Look how excited they all are.

2:30:09Yeah, Brian Cox would be pissed if he was here right now.

2:30:12He'd be shitting. Oh, no, he'd be...

2:30:13I'm not... Listen, I'm not...

2:30:14All I'm saying is that my experience in the world...

2:30:17Of course, but your experience is based on perspective of being a tiny little thing

2:30:21on an enormous thing. Correct.

2:30:23Yeah. That is correct. Yeah.

2:30:24That is correct. There's a few YouTube channels that have broken down all of those

2:30:27flat earth ideas, too. A ton.

2:30:29I wanted to watch those.

2:30:30I tried years ago, and I gave up.

2:30:32It is absolutely a rabbit hole, but what's interesting about it is that if you

2:30:40extract, like, the faith that you have in these kind of ideas and you supplement

2:30:50it with the faith of, you know, these other ideas, they're exchangeable.

2:30:56They're only exchangeable if you don't understand the data and if you don't understand what's

2:31:00actually been measured or if you don't understand the path of satellites or if you

2:31:04don't understand how many different people would have had to lie about this shit and

2:31:08not achieve the same observational results that all these different space agencies have, that the

2:31:14idea that they're all in collusion, that Japan and India and even countries that hate

2:31:19each other, they're all in collusion on this lie that the earth is round.

2:31:25Well... It seems much more likely that there's a bunch of people with schizophrenia that

2:31:28think that the earth is flat and they make these YouTube videos where they're very

2:31:31compelling because they're articulate and they use great words and they say it all in

2:31:35a nice way without being challenged by real facts along the way by someone who

2:31:40actually has studied this their whole life.

2:31:42Right. I still saw digital stitching on your example.

2:31:46Yeah, it wasn't my example.

2:31:47It was some shit Jamie randomly pulled offline.

2:31:50That was weird, though. And that's perfect for this world that we live in, to

2:31:54have sort of a glitch like that.

2:31:56But that's kind of what I'm getting at is there's so much out there that

2:32:01it just falls to faith.

2:32:03And also, what does it really matter?

2:32:06That's kind of what I'm getting at, ultimately, is what does all of that really

2:32:10matter? What does it matter to anybody that there's a cabal of 8 ,000 -plus

2:32:15people who are secretly controlling the world and doing occultism and drinking baby blood?

2:32:21What does it really matter as long as you can just have your daily pint?

2:32:25This is a very different subject now.

2:32:26We've shifted. You've moved away from the concept of the earth being flat, and it's

2:32:31a giant lie that's promoted by a huge group of people that aren't even connected

2:32:36in any way, shape, or form to evil people that are involved in cult -like

2:32:41rituals, which has, by the way, always existed.

2:32:44And this is why it's very difficult for people to imagine today that some of

2:32:49the things that you're hearing from the Epstein files, like the potential that they were

2:32:51eating children or killing children or that they use that sulfuric acid to boil bodies.

2:32:58We don't want to believe in evil that is that deep.

2:33:02But in my opinion, if you can find out that evil is real, right?

2:33:06Evil most certainly is real.

2:33:08There's evil acts that we have documented all throughout the world.

2:33:12There's evil that the cartel does.

2:33:13I just watched a video where the cartel chopped this guy's head off and put

2:33:16it on a drone and flew it over to where the other cartel was.

2:33:20They probably thought that was funny.

2:33:21They probably thought it was funny.

2:33:22Having a good time. That's clearly evil.

2:33:26There's plenty of evil. Do you believe in demons?

2:33:29I believe in the concept of demons.

2:33:32I mean, demons don't materialize before us necessarily.

2:33:35They rest upon the shoulders of men and whisper into their ears.

2:33:39I believe... And then people do evil things.

2:33:41This is what I believe.

2:33:42I believe that if I was a demon or if demons were real, they would

2:33:47get people to do things which are verifiably true, that they have done.

2:33:53If you were a demonic idea and you got into Oppenheimer's head or Patton's head

2:34:01or anybody's... And you wanted them to do something horrific to a bunch of innocent

2:34:06people and you could say, this is because we're at war.

2:34:10So we're going to drop a nuclear bomb on Hiroshima.

2:34:13Like, that's a demonic act.

2:34:15It's a demonic act of eliminating hundreds of thousands or 100 ,000 plus people off

2:34:21the face of the earth who did nothing.

2:34:23They're just citizens that are unfortunately involved in a country that is in a conflict

2:34:28with some people that they don't even know and then they just got vaporized like

2:34:32that. That seems demonic. You've just expired 150 ,000 souls.

2:34:38But there are people who would argue that the war would have continued.

2:34:40I've heard this argument before.

2:34:41I've heard that argument too.

2:34:42That the war would have continued and so many more would have died.

2:34:44Well, if I was a demon, I would want to propagate that idea.

2:34:47I would want you to think that you have to do it.

2:34:50And so, like, is evil justification of things?

2:34:57Certainly. Of actions? If you wanted to find a way where a demon...

2:35:04Just like assume that demons are real.

2:35:07How would demons best be able to enact demonic things on earth?

2:35:15Would they do it by saying, I'm a demon and, you know, this is what

2:35:20you should do and this is horrible and evil?

2:35:22Or would you creep into someone's head and find justifications for doing a demonic thing?

2:35:30Like, there's a lot of things, like, clearly.

2:35:32Well, you would creep into someone's head.

2:35:33Right. And you would, you know, you would boil the frog slowly.

2:35:36Like, let's imagine this is the AIDS crisis and you know that AZT is killing

2:35:42people. But you also... But you also know that you are making an insane amount

2:35:48of profit off of killing people with AZT.

2:35:51And you have already established a narrative.

2:35:54And Fauci said this publicly, that the reason why they only...

2:35:57I have AZT. AZT is the only thing that is both safe and effective.

2:36:02He literally used the same language that he used during the COVID crisis.

2:36:05He's been doing this for a long time.

2:36:06He has. If I was a demon, I'd want to get in that guy's head

2:36:10and I'd want to get him to keep doing it and say, look how much

2:36:13money they're making. You got to keep this money.

2:36:15There's a way to justify this.

2:36:17You're the purveyor of information.

2:36:19You are the gatekeeper of the truth.

2:36:21You just find a way to dance around these numbers.

2:36:24You do not know what you are talking about.

2:36:27This is not gain of function.

2:36:29Just what he did there that was evil.

2:36:32By taking a virus, funding it, even though it was illegal to fund it in

2:36:37the United States, by doing it through EcoHealth Alliance and then farming it out to

2:36:42them, they do it at the Wuhan lab.

2:36:44You are, in fact, doing gain of function research on a virus designed for human

2:36:50beings to make it more deadly and more contagious.

2:36:53That's demonic. You don't have a cure.

2:36:57There was a researcher in Canada at the Manitoba Level 4 lab, Dr.

2:37:02Kui, I think is how you pronounce her name.

2:37:05She was the one who solved Ebola.

2:37:07She had come up with the vaccine for Ebola, which is manufactured by a California

2:37:12company that is basically a Chinese company.

2:37:16And like a rock star, she had made a, like, it was like a hit.

2:37:22She had a hit, a huge hit.

2:37:24And just like a rock star, everybody's asking you, what comes next?

2:37:27What comes next? And so she started actively working, working really, really hard at coming

2:37:35up with that next thing.

2:37:37And, you know, like most people, you don't want to stand in line.

2:37:40And these Level 4 labs, you know, they have to, whenever you move your research

2:37:45from one lab to another, you have to go through all sorts of stuff in

2:37:49order to do that, because it's all patented.

2:37:51All of these microbes and viruses and Ebola strains and whatnot, it's all patented.

2:37:58And so, for example, there was this one kid who was working at the lab

2:38:02in Canada. And he was moving, I think, to the one in Atlanta.

2:38:07And so he was crossing the border.

2:38:09And he didn't want to, like, you know, have to reproduce all of his work.

2:38:12And so he just put it into a thermos inside of a thing and tried

2:38:15to cross the border. And he got caught.

2:38:16Well, she got caught in 2019 by the Royal Canadian Mounted Police, basically moving stuff

2:38:24from Canada via Air Canada Freight from Manitoba, from Winnipeg.

2:38:30This is the Winnipeg lab to Wuhan.

2:38:34And they were moving everything.

2:38:35And I tracked where those were, because I was writing a screenplay about it.

2:38:40And so I tracked, like, where did that come from?

2:38:43Well, it's like the cutter, or maybe it was Abu Dhabi.

2:38:46I can't remember the lab there.

2:38:48And then that went through, in order to get around it, got sent to the

2:38:51one in Amsterdam, and that got sent to her.

2:38:52And she was able to do all this stuff.

2:38:54And she was basically just shipping, you know, everything, Hanta and all these patented things

2:39:00to Wuhan, you know, in order to do it.

2:39:03And the Royal Canadian Mounted Police basically, you know, stopped it.

2:39:08And she got like walked out of the laboratory and everything, because they were like,

2:39:12is there a misappropriation of money going on here?

2:39:15Like, what are all these flights that are occurring?

2:39:17And they redacted who her financer was.

2:39:21And we still don't know who her financer was.

2:39:23But it's one of three people.

2:39:25And it's the people you probably can guess, you know, these people who have an

2:39:29interest in this. But her thing was just ambition.

2:39:37It was just like anybody.

2:39:39She was just wanting to have that next hit.

2:39:42And she would do anything to, you know, to do it, to repeat what she

2:39:46did with Ebola. So she was helping to engineer viruses?

2:39:51Yeah, they were engineering stuff.

2:39:53And then she would ship them via Air Canada freight from Winnipeg to directly to

2:39:58Wuhan on literally on Air Canada flights.

2:40:00So you're flying on Air Canada to Wuhan and down below in cargo, there's all

2:40:05this like, you know, some shit that leprosy and yeah, some horrible strain of something.

2:40:10It's something that's patented. And then they're just shipping it over to and you know,

2:40:14none of this has come out.

2:40:16Like, some papers in Canada, you know, like the Winnipeg Free Press or something was

2:40:22trying to cover it. But you know, it just gets kind of buried.

2:40:24That was one of the weird things that I had also seen that I don't

2:40:28know if it's true in the Epstein files, that there was talk about engineering a

2:40:33pandemic. Yeah, yeah. Was it?

2:40:36Did you? Yeah, I read that too.

2:40:37I read that too. That they were like actively working on it, like, you know,

2:40:42running models and figuring it out.

2:40:45And you know, well, if we do this, then this will happen.

2:40:47And you know, they were pretty successful at that.

2:40:49But why would Epstein be involved if he's a financier?

2:40:53He was involved in everything.

2:40:54Right. He was involved in everything.

2:40:56It was like amazing the energy that that guy had.

2:40:58Who has the energy to be like doing all this stuff like all over the

2:41:03world and like, oh, in Nigeria, we're doing this.

2:41:05And in Yemen, we're doing this.

2:41:07And here we're doing that.

2:41:08But and at the same time, trafficking all these girls and, you know, and young

2:41:13children and like all this stuff.

2:41:17Right. It's so much energy to do that.

2:41:19It says no credible evidence in the recently released Epstein files links Jeffrey Epstein or

2:41:23his associates to engineering the COVID -19 pandemic.

2:41:26Claims stem from a misinterpreted 2017 email referencing routine pandemic preparedness discussions, not a plot.

2:41:36So what was the claim?

2:41:37The original claim? Go down.

2:41:39I didn't ask it about COVID -19.

2:41:40Right. You just asked it about engineering a pandemic.

2:41:43So what is the pandemic claims?

2:41:45Scroll up a little so I can read that.

2:41:47That's all. Scroll down a little.

2:41:48There it goes. So 2017 email originally from 2015 discussions to Bill, widely assumed to

2:41:55be Gates, forwarded to Epstein, proposed recommendations and technical specifications for pandemic modeling of various

2:42:04strains. It focused on healthcare data, simulations for preparedness, and neurotechnology.

2:42:11No. creating or engineering a virus gates foundation later ran public event 2001 in 2019

2:42:19a standard exercise with john hopkins and who predating covid reports that whole public event

2:42:272001 is fucking weird event 2001 is weird uh context and debunking pandemic simulations are

2:42:36common public health tools for the like those for sars or flu right but why

2:42:42is jeffrey epstein involved in these discussions involved in everything he's involved in gravity but

2:42:48how fucking weird is that how weird a pandemic a pandemic was reportedly mentioned in

2:42:55the epstein files running the world years before running the world well this is what

2:43:00my friend eddie and creating the illusion in the meantime galene maxwell is uh running

2:43:05the reddit forum on world news like she's literally shaping the world news reddit forum

2:43:10reddit forum she was yeah she was running the world news forum on reddit yeah

2:43:15she was and it all went dark the minute she got picked up her uh

2:43:18her person but she was like the the main contributor did thousands of uh posts

2:43:24like all day long posting world news shaping our perception of things one email was

2:43:29a subject preparing for pandemics was sent by a person whose name was redacted by

2:43:36the way the um did you see that why would they redact the person who

2:43:40sent that that's not a victim you're supposed to redact i think they just they

2:43:44did like supposedly they just did massive redacting but sometimes you can see like oh

2:43:49the name is short it's probably bill and then the one that comes after that

2:43:54if it's a little longer it might be clinton and if it's a little shorter

2:43:57it might be gates you know like you could kind of but again that's just

2:44:01you know it's like there's no found it's like plausible deniability until until they release

2:44:08all these names did you notice that um uh jeffrey epstein's fortnite account yes suddenly

2:44:14became active in uh tel aviv and that somebody is playing under his right after

2:44:20his supposed death right suddenly he's playing fortnite again yeah he doesn't even have the

2:44:25decency to make a new account yeah well he wants to keep all of his

2:44:28like you know stats stats wants to keep all that stuff yeah and he's safe

2:44:33in uh you know in another country so do you think they just like did

2:44:37those that's another thing there was another reddit thread about some guy who said that

2:44:42he was a guard it was a 4chan for it was a 4chan yeah so

2:44:46it was a 4chan thread where this guy said that he was a guard at

2:44:50the facility and he posted this before epstein was killed he was a guard they

2:44:55uncovered using whatever way they do it but using phone records or whatever from 4chan

2:44:59they discovered he was a guard and he was like a legit guy he got

2:45:02caught basically talking about it that they snuck they they use a decoy body there

2:45:08was an unscheduled uh ambulance arrival that night they never logged in and you're always

2:45:14supposed to log in there's footage of like you know orange uh people in orange

2:45:19moving through the facility on the um you know just glimpses of it so you

2:45:24think he's alive somewhere it's it's not impossible it's not impossible it's probable also didn't

2:45:34it's a probability it made whatever it's more than a possibility the guy who did

2:45:38the autopsy did anything happen to him the guy who he committed suicide yeah let's

2:45:45find that out that would be fucking crazy because that happened to the guy who

2:45:50did the autopsy on andrew breitbart didn't he wind up dying shortly after that like

2:45:55andrew breitbart yes and who's the guy who said that podesta alarming amount of people

2:45:59commit suicide alarming who are yeah doing this stuff or die of something real reason

2:46:04to do so yeah suddenly they do it i saw people in jail who committed

2:46:08suicide and they didn't commit suicide they got killed by their celly nobody bothered checking

2:46:12in on that yeah that makes sense um the guy who did the autopsy for

2:46:18jeffrey epstein did anything happen to him uh i mean it was a woman a

2:46:22woman chief new york chief medical examiner dr barbara samson and she just resigned uh

2:46:28like a couple years ago okay so nothing happened to her you're talking about evil

2:46:31you know who the devil was in the exorcist who uh well they say it's

2:46:38like pazuzu and we're presented with an actual devil but when you actually watch the

2:46:42movie there's kind of evidence that uh and and people have talked about this that

2:46:47uh you know there's evidence within the film that uh it's it's it's more than

2:46:55just demonic possession that the demonic possession comes from some place and by the way

2:46:59jeffrey epstein was uh doing also funding research in uh how trauma uh affects like

2:47:07clairvoyance and telepathy and things like that how you're able to invoke those out of

2:47:13uh traumatic out of trauma and in the exorcist there's uh you know you have

2:47:19uh reagan who's uh linda blair and uh there's that party scene and you remember

2:47:25in the exorcist they're making a movie within the movie you know they're they're actually

2:47:29shooting a movie the the character of the mother is uh um she's acting in

2:47:35a film inside of the movie and there's a director in that film and they

2:47:39have a big party scene after it and the director uh you know he's he's

2:47:44basically yelling at the the butler her her house man you know calling him a

2:47:51nazi and stuff like that and he's i bet you went bowling with goebbels and

2:47:55things like that well for a while he vanishes from the party and we later

2:48:02see like reagan afterwards like completely flipped out like laying in bed and then after

2:48:06that she comes and then he's leaving the party and he turns to the mother

2:48:11and he's like i have to tell you something i have to tell you something

2:48:18fuck it and he leaves and so and then after that reagan comes down and

2:48:24she looks to the astronaut guy and you're gonna die up there and then she

2:48:28pisses on the floor and everybody's like shit and from that moment on there's all

2:48:33this like highly sexualized devil speaking through her with a british accent and the guy

2:48:39the director is a british guy and so the implication and then he is for

2:48:43some reason left with reagan and then gets thrown out of the uh the balcony

2:48:48and his head is twisted all the way around and he's he dies as a

2:48:51character um so the implication is that the director is the one who has raped

2:48:56reagan and thus invoking this demonic presence into her and it turns out that i

2:49:04thought it was a some totem that they found and it was possessed there there

2:49:09all of that stuff is there the ouija board is there and everything but it

2:49:12turns out that william peter blatty uh actually made a movie called um john goldfrapp

2:49:19your life is blah blah blah i can't remember the exact title of the film

2:49:23and he made that movie with shirley mclean and the director of the film is

2:49:28this guy jaylee thompson british director who looks exactly like the uh the actor in

2:49:33that and so the idea is that uh reagan's mother is shirley mclean and uh

2:49:41reagan is her daughter sasha and the british director is jaylee thompson and when you

2:49:47start looking at his movies they're a little strange you know there's like you know

2:49:50he directed the original cape fear and which has a kind of strange pedophilic thing

2:49:57going on in it so does the second one and yeah yeah they they all

2:50:00do and then uh you know especially they they amplify it yeah with juliette lewis

2:50:05and robert de niro this movie kingite with uh bronson and that all has kind

2:50:09of like a weird pedophilic thing he did this movie the reincarnation of peter proud

2:50:13where peter proud dies and then uh or he rather uh peter proud remembers his

2:50:20reincarnation he remembers his iteration of his other self who was murdered then he hunts

2:50:25down the woman who maybe did it and then starts sleeping with her daughter which

2:50:30is basically sleeping with his daughter because he's reincarnated so this guy as a filmmaker

2:50:35has done all and so the the question and and so william peter blatty worked

2:50:40on that film with shirley mclean and shortly thereafter wrote the book the exorcist and

2:50:45sasha in her you know uh autobiography even mentions uh you know god the person

2:50:52on the cover of the book looked a lot like me and everyone's just saying

2:50:54oh it's just a coincidence and uh you know well i never walked down the

2:50:59stairs on all fours and i never vomited uh you know pea soup or whatever

2:51:03that none of that ever happened to me but there's a pretty dark implication behind

2:51:08the whole film and i brought it up with william friedkin hey is this meant

2:51:13to be jaylee thompson it did this like is this a way to talk about

2:51:17that that actually happened you know in real life he said i cannot talk about

2:51:22that but i'm not saying you're wrong whoa and uh and and so you know

2:51:27and there's actually a moment where uh reagan is talking to her mother and she's

2:51:32like well do you like him do you like him like you like daddy and

2:51:35so there's this idea that he's been coming over and they've been having this affair

2:51:39and then all of a sudden she says to her daughter and it kind of

2:51:42jumped out at me when i re -watched it uh she says to her daughter

2:51:45well uh i like pizza but i wouldn't marry one and i was like oh

2:51:51my god there's like a pizza reference like in the middle of this in the

2:51:54middle of everything that's happening how long is that that's periola but uh ben swan

2:52:00brought up during the whole pizzagate thing that got him fired but how long has

2:52:04the term pizza been used well it jumped out at me and the exorcist is

2:52:10in the early 70s and uh and so what is it 1971 and that movie

2:52:15that he did with shirley mclean who is effectively that's the movie that's shooting inside

2:52:20of the movie and so this was a way for peter benchley i mean it's

2:52:23not peter benchley yeah william peter blatty to uh to kind of transcode all of

2:52:30that and the astronaut in the film shirley mclean talks about the the i can't

2:52:35remember it was her husband or boyfriend that she remarried who was an astronaut and

2:52:39in her autobiography she talks about he how he was cloned he came back from

2:52:44space and a different person that he was cloned and she kind of everybody kind

2:52:48of laughed it off like oh it was just kind of a joke that i

2:52:51wrote into my autobiography but it's kind of weird real weird yeah it's really strange

2:52:57so people speak through movies and they they hide information in in films and so

2:53:05i think some more than others yeah william peter blatty kind of who was doing

2:53:09all sorts of uh ouija stuff with uh shirley mclean who was really into that

2:53:14kind of thing back in the in the late 60s and early 70s and uh

2:53:19you know he he sits down to write his book and what's he writing about

2:53:24well he's writing that movie's about shirley mclean her daughter her daughter sasha um sachi

2:53:31i'm sorry sachi and uh um you know the astronaut and you know it's all

2:53:37and jaylee thompson who basically he eviscerates within the film but in a way that

2:53:44nobody really connects it it all happens off camera but but the implication is is

2:53:51that she was raped by that director and from and from that moment on has

2:53:55a kind of you know she's speaking with a british accent as the devil it's

2:54:01his voice actually that's coming out of her she's talking about you know being but

2:54:06it's raped by a crucifix that actor that's his voice is that what you're saying

2:54:09yeah that's what i'm saying it's like the the voice of of i think his

2:54:13name is uh gowan and he was uh he died like shortly after the film

2:54:18was made also shortly after the exorcist was made well we know that people have

2:54:23encoded very bizarre things like kubrick was famous for it yeah well that's uh kubrick

2:54:28everybody does it i do it everybody does it i mean motion pictures are a

2:54:33kind of magic spell and you know when you write you're hearing i i hear

2:54:40voices and they come through me and they land on the page and i don't

2:54:44know where they come from but it is it is a kind of uh in

2:54:49invite to possession and that these things come into you and that you put it

2:54:54on the page and then you make this movie and everybody like i said sits

2:54:58in a theater in the dark and watching a flicker of this thing and it's

2:55:02telling you both our myths and traditions but it's also predictive programming everybody and so

2:55:08jesus dude have you seen have i seen what well actually i was thinking about

2:55:16like that uh where the daily wire uh thing but you know media comes from

2:55:21a lot of different places now uh we you know we you don't know where

2:55:25you're gonna find your uh your next entertainment right and there's this show that uh

2:55:31i really like that show rome did you see rome no i never saw it

2:55:34okay i loved rome it was uh i watched the first episode and i thought

2:55:38it was flat i love because it told the story of ancient rome through you

2:55:43know uh through shakespeare and through history and through uh plato and you know all

2:55:49these uh kind of um ideas of ancient rome or socrates and all these ideas

2:55:55of ancient rome and it then it told a very ground level story from the

2:56:00perspective of like handmaidens and centurions and still has mark anthony and cleopatra and everything

2:56:05going on in it but it tells a very you know soap opera like drama

2:56:09through it and so there was this other show and it had been out like

2:56:13three seasons when i started watching it and it did the exact same thing nobody

2:56:19had ever like nobody was talking about it nobody had ever heard about it most

2:56:22people don't even know about it it's the chosen do you know this show what

2:56:26was that it does the exact same thing but it does it with the gospels

2:56:29and it's all about christ and it's like a low budget uh or it was

2:56:35low budget crowdfunded story of jesus and it just basically like rome tells this historical

2:56:42tale and about jesus and okay so i'm watching i've seen every movie about jesus

2:56:50ever made i've seen king of kings of both versions i've seen you know uh

2:56:55the zeffirelli film i've seen last temptation of christ i've seen uh the passion of

2:57:00the christ i've seen all of them i've seen the jeremy sistow uh jesus movie

2:57:06i've seen everything i worked with paul verhoven on his jesus uh film that was

2:57:12unproduced and so like i've had a lot of experience in it and i never

2:57:16really got it to be perfectly honest i never really understood the story this show

2:57:21i started watching it i was like okay i've got a chip on my shoulder

2:57:24let's see and it's really cheap it's like rocks are made out of styrofoam they

2:57:29can't afford a uh you know um uh house and so they just use blankets

2:57:34and a gourd hanging and so it's like it's really really inexpensive and the the

2:57:38script is even a little bit contemporary and which almost becomes like a joke as

2:57:43you're watching it it's kind of funny but lo and behold i'm watching it and

2:57:47there came a moment by about episode three where it was like ding i get

2:57:52it like jesus is kind of punk rock he's he's basically saying there are no

2:57:57rules to anything like you know you can commit miracles on the sabbath you know

2:58:04there are no rules anybody is like all you need to be is wanting of

2:58:07salvation and it was like a third eye opened up to me and this show

2:58:12is fantastic and it breaks all the rules it's outside of the pharisees of hollywood

2:58:17you know they uh one guy this guy dallas jenkins who's absolutely my favorite uh

2:58:24modern filmmaker right now i think this guy's brilliant he's directed every single episode of

2:58:30this show and they've got like seven seasons out and you can watch it for

2:58:33free it's on what on anything like if you have an apple tv you can

2:58:38just look up their the chosen app and boop up comes the uh the chosen

2:58:42app and so it's an app thing or you can watch it on youtube or

2:58:46you can watch it i think netflix eventually i think it was netflix eventually bought

2:58:49it now they're showing it basically you can see it anywhere they give it away

2:58:53the way the gideons give away the bible and um and you know it i

2:58:59thought it was fantastic and then season two came around and suddenly they had all

2:59:02this money and they're doing all these like uh you know they've got this ancient

2:59:06judea set with cobblestone streets and you know like this detailed set and roman colonnades

2:59:12and stuff like that and i was like wow like they really got a big

2:59:15budget and then i looked it up and i was like oh no they're using

2:59:18the mormons have all these standing sets for their biblical productions in utah and they're

2:59:23incredible these sets are unbelievable if i had known it's like chinichitta in utah it's

2:59:28uh it's it's absolutely fantastic and um and the characters are like they only have

2:59:34money for like three romans like costumes probably and so they're kind of like making

2:59:40do with what they have but they've got this guy playing the legate there who

2:59:43is hilarious he's in in the first season he is absolutely hilarious and the show

2:59:49is great and then like proper television you're watching it and you're starting to love

2:59:53these characters and you're starting to like it's and it's you know what it is

2:59:58the bread and butter of hollywood is revenge and wrath like that's what makes that's

3:00:03the the fuel that that pushes most hollywood movies it is much more difficult and

3:00:09and requires much more maturity to make a movie about forgiveness and this kid dallas

3:00:14jenkins i call him a kid but he's not a kid that's an insult he's

3:00:17uh he's super great he um uh he is making every single episode is effectively

3:00:25because it's the gospels about forgiveness and he has done this magnificent unbelievable achievement and

3:00:32the show is huge now they've got like seven seasons they built a studio you

3:00:37know like outside of dallas fort worth on a salvation army property that they've built

3:00:41the sound stages and everything and it is um i think and and like and

3:00:47that's like you can get it anywhere you can watch it anywhere and they're making

3:00:51programming that should have been on hbo it should have been produced by hbo you

3:00:55the way Rome was and instead it's just it's coming out of the ether and

3:01:00it's almost like with the inattention given to you know most modern or rather the

3:01:10the way that people are making things that they're focused on wrath and revenge like

3:01:16this other thing like the pendragon cycle and the chosen have kind of risen out

3:01:22of out of the vacuum that those other that the studios have and broadcasters have

3:01:27kind of created because they're not no longer making that kind of product at least

3:01:31not as much and so i think this is actually one of the most exciting

3:01:36times in in media and television yeah i definitely think it's a very unusual time

3:01:42where the normal people that are producing things don't have a complete monopoly on what

3:01:51people see and that many of the times these alternative things have gotten much larger

3:01:55than the mainstream things i am i find it like almost impossible to get a

3:01:59movie going like i'm uh you know i'm like an independent filmmaker i go out

3:02:03there and i usually i work on a script and then i figure out the

3:02:06budgets and i figure out that and i go out and i hit the pavement

3:02:09and it's like really hard part probably because i'm a flat earther kidding i am

3:02:13not a flat earther i just like to provoke people but um uh you know

3:02:18i go out there and i try to get this stuff made and it's like

3:02:21almost impossible and then i built a technology company over the last year and uh

3:02:28basically making ai movies and all of a sudden boom like that money gets thrown

3:02:33at it and all of a sudden just by attaching the word ai and that

3:02:37it's a technology based company all of a sudden investors you know came in and

3:02:43we're in production on three films now ai's not right now three i know that's

3:02:47the crazy thing is that it was so easy for me to get that going

3:02:50and so difficult for me to get a traditional movie going through the traditional route

3:02:54like going to you know a24 blah blah blah trying to like you know hit

3:02:58the pavement oh i have to go to europe to gather together financing and everything

3:03:02like that no just put ai in front of it and all of a sudden

3:03:04you're in production on three features and we're making a christmas movie that a family

3:03:09christmas movie that'll be in theaters this uh this holiday season we're making a faith

3:03:14-based film for next easter and then we're making a kind of big romantic war

3:03:19epic and like as classical movies and we have like a proprietary stack of technology

3:03:23that we use for our process and i partnered with this company massive studios ai

3:03:30and uh for my company which is general cinema dynamics and i'm based here in

3:03:36texas now and uh or my company is and i'm slowly transitioning nice and it's

3:03:44like it's actually kind of i think you know so many people are against ai

3:03:48like guillermo and you know love him but he's like fuck ai fuck ai but

3:03:53all it is is visual effects and i have experience like with that beowulf movie

3:03:57doing it and what used to be a million dollars a minute is now five

3:04:00thousand dollars a minute and so to do it really really well like it looks

3:04:04kind of amazing actually and so i think for independent cinema and for the future

3:04:11of film and television production these are super exciting times all right roger we just

3:04:16burned through three hours plus really oh my god yeah it's already four o 'clock

3:04:20figure this out okay share it with you all right so what i pulled up

3:04:23is this this is nasa right this is proper proper nasa so this is a

3:04:27far tv they're pulling in multiple feeds there's three different boxes at the bottom as

3:04:31you can see this one in the middle says offline so as i showed you

3:04:34also i pulled up the nasa feed which is this it says it's offline when

3:04:39that is offline this channel adds a 3d model showing where the satellite currently is

3:04:45so that you can still follow along 30 minutes ago it wasn't offline and it

3:04:49was showing a different feed and i wish i could have showed to you then

3:04:51but i didn't interrupt so got it there is a flat earth youtube or a

3:04:56reddit asking this exact thing what is that and the people on the flat earth

3:05:02reddit gave me the answer yeah those the crazies the crazies have come out to

3:05:07uh mm -hmm okay there you go so that was what that was well i'm

3:05:13glad we put that so just as the video description switch to a simulation with

3:05:17the iss above the earth when the connection is lost aka i was gonna point

3:05:21that out because you can see the stars in there and you can't normally see

3:05:23the stars while you can see the earth i'm glad we can be comforted by

3:05:26at least one thing that is secure and stable in our understanding of reality roger

3:05:32that was very fun though thank you very much let's do this really a pleasure

3:05:35it was a good time really super pleasure thank you brother appreciate you very much

3:05:38all right bye everybody you

#2452 - Roger Avary