WEBVTT

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See, I believe that all the mysteries of the

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universe, all the answers to life's questions

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can be found in a Spielberg film. I've been afraid

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for all of my life. Why doesn't somebody just

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shoot me in the head? Right up until the day

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I knew my life was ending. You look bad. No,

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man. You smell bad. I'm pretty fucking far from ok.

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Really, I feel like I'm sharing a very- Look at my shit. I had an affair- precious

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moment with you. There are no nations. There are

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no peoples. Are you threatening me, dick? You

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don't approve. Fake. Well, too bad. Totally fake.

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Did it seem fake- You look like a damn crackhead.

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when my best friend was bitten in half in front of me? I found this

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cover story I personally embarrassed myself. Plenty of sausage and pepperonis. Everything

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but the little fishies. Alrighty. Welcome to

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Everything But the Little Fishies. Welcome. I'm

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Evan. Welcome. I'm Mike. And today we're getting

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into Spielberg again. We're going to talk about

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his classic Close Encounters of the Third Kind

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from 1977. And then we're going to talk about

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his brand new film Disclosure Day, which just

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came out a couple days ago. Yesterday. June 13th

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today. So we're getting in there early. We're

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trying. I mean, I saw it on Thursday, though.

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I guess movies just come out a day before they

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really come out anymore, I guess. I guess so.

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That's some new thing. But yeah, today's June

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13th. We're going to get into it. June 13th,

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2026. This is the first time Mike and I have

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seen this movie, obviously, and we haven't talked

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about it at all before this point. So it's going

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to be very, very hard for me to not want to just

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immediately talk about Disclosure Day, but I

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guess we're going to. Start with Close Encounters

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to kind of just... Yeah, man, we gotta set the

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scene. That's how we do it, chronological. Sure,

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yeah. The only reason I was having a different

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feeling about this is because I watched Close

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Encounters the other week. I actually watched

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it twice, basically. I watched the director's

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cut and then the special edition. And I was really

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kind of disturbed by Close Encounters. I felt

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like there was a lot of weird questions and...

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There's a lot of things in it that feel very,

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not, like, sinister, but definitely cryptic or

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something. Like, I don't know. There's something

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weird about it. And I can't tell if that's just,

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like, because I kind of have this new way of

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looking at Spielberg movies and I have a hard

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time just, like, taking it at face value. Right.

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Because, like, when you take Close Encounters

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at face value, it's a relatively simple movie.

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It's a very simple story and it's very clear

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what the motivations are and kind of like it

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culminates in this big kind of epic thing. And

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it really does feel like an attempt to create

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wonder and awe and spectacle, which at the time

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was not nearly as common as it is today in cinema.

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You know, obviously Spielberg kind of is one

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of the biggest auteurs to create this type of

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movie. Taking it at face value, you can very

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much just imagine that Steven Spielberg is into

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aliens. He's just a wondrous, creative person

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who really wants to play around with the ideas

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that there's life on other worlds and wants to

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try and create this cinematic reality for that.

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Just something Spielberg's always been into is

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getting us closer and closer to these fantasies.

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We can experience all these things vicariously

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through his movies. all these wondrous, magical,

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fantastical events, like aliens showing up and

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dinosaurs being back. And obviously this is kind

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of just like the reputation that solidified for

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Spielberg, which we've discussed in previous

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episodes. I don't know if you want to retread

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that at all, but we've already kind of set the

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stage for how we feel like Steven Spielberg is

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not merely a slick commercial director, that

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he's not just a propagandic filmmaker putting

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out the sort of... approved colloquialisms of

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the day or whatever. And we've kind of had a

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change of heart about him and how he's actually

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a very intelligent, thoughtful filmmaker who

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makes films with lots of layers and he thinks

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about the choices he makes, or at the very least

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he feels the choices he makes in a way that is

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very intuitive and leads to a work that really

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lends to conspiracy theory thought, you know,

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in a way that Kubrick does or something. I mean,

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specifically Close Encounters, right? Which is,

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I mean, behind the scenes on the 4K disc, he's

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pretty straightforward about, like, at the time,

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I believed in aliens. And then also Watergate

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happened. So I kind of combined those things.

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He's pretty straightforward about it. And it

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is. Yeah, it's conspiracy theory minded. And

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so there is a lot of that stuff that is... evocative

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of something I get what you're saying that it's

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not necessarily something sinister but I do also

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read it as something sinister often yeah depending

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on how you look at it I mean so I guess like

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You brought up Spielberg in these interviews,

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right? Another thing Spielberg hasn't done very

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much is interviews. He doesn't really talk about

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his work very much. And when he does... I mean,

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if he does, they're all very curated. Yeah. Especially

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if you look at the press for Disclosure Day.

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He's doing all sorts of even just like YouTube

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channels and podcasts and whatnot. But... It's

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the exact same talking points and scripted, like,

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stories that he's telling. Is he talking about

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how his dad brought him out to see the meteor

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shower still? Yeah, yeah, yeah. He's talking

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about that in the Close Encounter stuff. He's

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talking about that in the Disclosure Day stuff.

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He's got very specific curated talking points

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that are just as sort of curated and cryptic

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as the movies themselves. You know what I mean?

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I would agree because, like... One of the things

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he's restated over and over about this movie

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is that if he had made it today, he would not

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have had Roy get onto the ship and abandon his

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family, right? Well, I mean, he doesn't necessarily

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say that, but he says that he doesn't feel like

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he's the filmmaker who would make that movie

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anymore. No, I know. You know what I mean? But

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that is essentially saying, like... If I made

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it today, it would be the exact same movie, but

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he wouldn't get on the ship. It's like, no, no.

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I think that it's just... I don't... I'm just

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saying the way he stated it, which is just like,

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I wouldn't have Roy abandon his family to go

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with the aliens. Like, that's just not a choice

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I would make right now because that's not who

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I am. But that is like what he identified with

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then, I think, if you also take his word at face

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value, which I don't know if we always can with

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Spielberg, but we can get to that later. I mean,

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we know that his dad did do this, right? And

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he didn't understand it at the time. Yeah. You

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can definitely see his own family life playing

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out in these movies and his kind of, you know,

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underbelly of the suburbs sort of Americana.

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That has become more and more clear as movies

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go on. But then now you look back and it's like,

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oh, man, I mean, it's always just been there.

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I mean, Close Encounters was very Fablemans.

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This is the first time I've watched Close Encounters

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and just saw so much Fablemans in it. The train

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set and all that stuff, and this idea that Roy

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is kind of like an adult child because he has

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some kind of trauma or thing that he's never

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really dealt with that's allowed him to accept

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his adult role in this life, and he's kind of

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just dreaming and hoping for some magic to happen,

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which is, you know. I think Spielberg also is

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pretty straightforward about how he identified

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with this character because at that time of his

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life, he was a guy shooting for his dreams. And

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he was a guy from a broken family who maybe didn't

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see the value in that. You know, like that was

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just trauma. That was just hurt. And I found

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my solace and my therapy in art. And I think

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like Roy, Spielberg grew up on Disney. I'm sure

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he saw Pinocchio when he was a kid too. Pinocchio

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is like, For a young boy, it's a story about

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finding yourself and becoming a real person.

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And becoming a real person... Something that

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Roy basically has not done. Yeah, yeah, yeah.

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And it's capped by this song, one of Disney's

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most famous songs, When You Wish Upon a Star.

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This statement of reaching towards your dreams.

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That things are possible. You can reach for the

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stars. That very much connects with this story

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of the shooting stars, the meteor shower that

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he went to see, and then the aliens and all the

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shooting stars in the movie and the aliens as

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stars. I mean, the behind -the -scenes doc, Three

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Kinds of Close Encounters, the one on the Blu

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-ray, ends with Spielberg saying, quote, I always

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thought the theme of the film was based on Jiminy

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Cricket singing When You Wish Upon a Star from

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the film Pinocchio, because that for me was the

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impetus. And that's how I found my story. That

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if you wish for something and if you use a star

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to wish upon, you will make your dreams come

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true. And I really thought that there was an

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element of this film that had a lot to do with

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wish fulfillment and about making the dreams

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that everybody around you say are impossible.

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I really thought those lyrics, when you wish

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upon a star, makes no difference who you are,

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was for me the very beginning of everything.

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That's the way he ends that doc. Totally. But

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like, if that's what's being... discussed here

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in close encounters where like roy is shooting

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for his dreams right like the idea that like

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he is dissatisfied in a middle class american

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life and it's uh it's empty and that like the

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truth is shooting for some kind of dream that

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this like this material reality is not the thing

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and that like right this whole thing where he

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starts to imagine devil's tower just seems like

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a metaphor for having like artistic inspiration,

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you know, just like you have a vision and then

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you're like, how do I make that happen? How do

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I get there? Like we kind of talked about this

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in our tenant episode, but the idea of like imagining

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a future or having a vision that you then work

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towards, that is the star, right? Like that is

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the dream that like comes more and more into

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focus or whatever. And that he's not the only

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one. There's many people on this planet who have

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the dream and are led towards their dream by

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these voices and visions in their head. Who knows

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where those come from in this movie? It's aliens,

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but I would say it's God in real life or whatever.

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The most logical metaphor for it is God or yourself

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as God, your conscious, whatever it is. Conscious

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is also a big part of it. Pinocchio as well.

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So I think like the movie does express this idea

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of the modern world and the materialist organizations

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and like the scientists and the government agencies,

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they are all kind of there to stop the dreamers

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from reaching their dreams. They are the ones

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that want to have like proprietary ownership

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over the dream, which is. The aliens, you know,

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like the meeting of the aliens and the connection

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to something godlike or spiritual or like beyond

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us. And I think the thing Spielberg regrets looking

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back on that is that like, nah, man, like I achieved

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my dreams and that's not the thing. Like making

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my movies, I love it, but like I wouldn't leave

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my family to do this. I'm like, Spielberg's one

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of the very fortunate people who gets to live

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his dreams and have a family and kind of like,

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He's really won at life. He's made an amazing

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life out of his trauma. But I think all of this

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goes back to what he's saying about his father

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in the meteor shower. I think what's important

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about telling that story is Steven Spielberg's

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not telling you this story because it inspired

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him to believe in aliens and the mysteries of

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the cosmos. He's telling this story because it's

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a time when his father... connected with him.

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Like at the time when his father did something

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that like connected him to wonder, I think that's

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like, what's more important about the story.

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This is father. And the fact that his father

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did this thing and it's less about, are there

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aliens up there? We're like, Ooh, what's out

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there. It's so interesting. How mysterious. I

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think, I think that what his father did was not

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something that is inherently beautiful. You know

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what I mean? I think that the movie is presenting

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this as sort of the benign aliens and, you know,

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the beauty of this sort of thing. But at the

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same time, like if you look at the behind the

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scenes stuff, like the original designs for the

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alien spaceships were like McDonald's and Chevron

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logos. They were specifically American consumerist

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symbols. And when you watch the movie, when they

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show up in the first place, they shine their

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light on a McDonald's sign. They're very much

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connected to McDonald's and these other logos

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that they cut to during the invasion sequences

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and stuff. And when they first show up, they

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show up through the toys, then they show up through

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the mail, then they show up through the electronics.

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and things. It's media. It's a media thing to

00:13:29.659 --> 00:13:32.120
me that I think that the aliens are representing.

00:13:32.360 --> 00:13:35.580
And I think that they're the ones that give all

00:13:35.580 --> 00:13:39.679
of these people this vision. When you say they're

00:13:39.679 --> 00:13:41.960
God that gives people inspiration or whatever,

00:13:42.220 --> 00:13:44.980
I think that's kind of like the narrative of

00:13:44.980 --> 00:13:47.059
the movie that I would feel good about in the

00:13:47.059 --> 00:13:48.539
end. You know what I mean? It's a positive sort

00:13:48.539 --> 00:13:51.039
of optimistic view of the movie. I think it's

00:13:51.039 --> 00:13:51.600
undercut by the fact that he leaves his family.

00:13:51.600 --> 00:13:53.340
I think that part of it is that these people

00:13:53.340 --> 00:13:57.039
are given their dreams by corporate America.

00:13:57.539 --> 00:14:00.820
And then, yeah, they, you know, try and climb

00:14:00.820 --> 00:14:02.720
to the top of this thing and become the number

00:14:02.720 --> 00:14:05.159
one baby boomer or whatever. But the thing that

00:14:05.159 --> 00:14:07.779
they're chasing is like something that's sold

00:14:07.779 --> 00:14:11.000
to them by corporate America and whatnot. Not

00:14:11.000 --> 00:14:14.740
so much God or something. beautiful because i

00:14:14.740 --> 00:14:17.419
i think and you know this is going to kind of

00:14:17.419 --> 00:14:20.860
end up being more repetitive stuff like you know

00:14:20.860 --> 00:14:22.779
we've talked in other episodes about how we think

00:14:22.779 --> 00:14:25.100
spielberg is like a kubrick and a real director

00:14:25.100 --> 00:14:27.580
not just a crass commercial director but also

00:14:27.580 --> 00:14:29.259
we've talked in other episodes about childhood's

00:14:29.259 --> 00:14:32.659
end and how important you know childhood's end

00:14:32.659 --> 00:14:35.399
is to 2001 a space odyssey and i would say how

00:14:35.399 --> 00:14:37.679
important childhood's end is to close encounters

00:14:37.679 --> 00:14:40.519
of the third kind i think that is kind of really

00:14:40.519 --> 00:14:43.909
what spielberg is doing here In the Spielberg

00:14:43.909 --> 00:14:47.409
HBO documentary, in reference to Close Encounters

00:14:47.409 --> 00:14:48.970
of the Third Kind, it's one of the only times

00:14:48.970 --> 00:14:52.370
he references Kubrick in that entire doc. But

00:14:52.370 --> 00:14:54.340
he says... he wanted Close Encounters of the

00:14:54.340 --> 00:14:57.580
Third Kind to go further than Kubrick did with

00:14:57.580 --> 00:14:59.879
2001. It wanted to be the next step beyond sort

00:14:59.879 --> 00:15:02.980
of 2001. And if you watch the movie, I think

00:15:02.980 --> 00:15:05.340
that there's no way of thinking that it went

00:15:05.340 --> 00:15:08.340
further than 2001 as far as like special effects

00:15:08.340 --> 00:15:11.220
or anything like that. It's not nearly as much

00:15:11.220 --> 00:15:12.940
of a spectacle of a movie. It doesn't look nearly

00:15:12.940 --> 00:15:15.759
as big budget. I know it was. I mean, like the

00:15:15.759 --> 00:15:18.019
biggest set ever constructed at the time, but

00:15:18.019 --> 00:15:21.639
it's just like a landing strip. Yeah. When you

00:15:21.639 --> 00:15:22.960
hear the production, it sounds like a heaven's

00:15:22.960 --> 00:15:26.039
gate. The amount of money and stuff being put

00:15:26.039 --> 00:15:28.980
into this is ridiculous. And so little of it

00:15:28.980 --> 00:15:33.200
shows up on screen. This does not look like an

00:15:33.200 --> 00:15:35.940
expensive movie. It was supposed to be a $2 million

00:15:35.940 --> 00:15:37.620
movie or something, and they just kept going

00:15:37.620 --> 00:15:40.240
deeper and deeper and deeper until it was more

00:15:40.240 --> 00:15:43.240
than... It costs like $20 million to make or

00:15:43.240 --> 00:15:45.779
something, which is a lot of the time. Yeah,

00:15:45.799 --> 00:15:48.279
it's more than 10 times the original budget.

00:15:50.560 --> 00:15:53.679
Basically, I like to think of 2001 as a remake

00:15:53.679 --> 00:15:57.620
of Childhood's End. And to spoil Childhood's

00:15:57.620 --> 00:15:59.879
End on another episode, once again, it's about

00:15:59.879 --> 00:16:03.470
aliens first coming to Earth. And they appear

00:16:03.470 --> 00:16:05.350
above all the cities on earth and they kind of

00:16:05.350 --> 00:16:08.590
take control. And they're benign and they're

00:16:08.590 --> 00:16:11.309
helping people be good to animals and they're

00:16:11.309 --> 00:16:13.769
helping people not be in wars and they're helping

00:16:13.769 --> 00:16:16.409
the economies and everything becomes more convenient.

00:16:16.590 --> 00:16:18.309
And the only thing that they're not doing is

00:16:18.309 --> 00:16:21.450
revealing themselves to us. And, you know, people

00:16:21.450 --> 00:16:23.570
are like, you know, come on, show us who you

00:16:23.570 --> 00:16:25.629
are and that'll make people happier. Like you

00:16:25.629 --> 00:16:28.129
haven't done anything wrong. Like we're all on

00:16:28.129 --> 00:16:29.409
your side. It's just that everyone would feel

00:16:29.409 --> 00:16:30.830
more comfortable if you would just show yourselves

00:16:30.830 --> 00:16:33.539
to us. And the aliens say, no, no, no, you're

00:16:33.539 --> 00:16:35.779
not ready. You're not ready. In 50 years, you'll

00:16:35.779 --> 00:16:38.220
be ready and we'll show ourselves to you. And

00:16:38.220 --> 00:16:41.620
then 50 years later, they reveal themselves and

00:16:41.620 --> 00:16:43.759
it turns out to be Satan. It turns out to be

00:16:43.759 --> 00:16:46.200
a demon with horns and that his right hand is

00:16:46.200 --> 00:16:49.179
seated, you know, a child who's openly embracing

00:16:49.179 --> 00:16:51.820
Satan because Satan has brought him 50 years

00:16:51.820 --> 00:16:54.299
of prosperity. So he doesn't, and there's no

00:16:54.299 --> 00:16:56.080
longer religion because that's been eliminated

00:16:56.080 --> 00:16:58.799
and all superstitions been eliminated and whatever.

00:16:58.960 --> 00:17:01.220
So when Satan appears, it's like, oh, well, that's

00:17:01.220 --> 00:17:03.090
just. satan he's on our side we were stupid to

00:17:03.090 --> 00:17:05.950
not trust him and that's kind of i think the

00:17:05.950 --> 00:17:07.849
thing is that this is a movie where we see the

00:17:07.849 --> 00:17:11.490
process of this guy just sort of getting on this

00:17:11.490 --> 00:17:14.349
ship um just sort of giving up his life and all

00:17:14.349 --> 00:17:17.569
of everything that has any value to just join

00:17:17.569 --> 00:17:20.619
this sort of satan you know what i mean i mean

00:17:20.619 --> 00:17:23.279
when that marionette alien comes out in the first

00:17:23.279 --> 00:17:26.039
place and the the music and the lens flares behind

00:17:26.039 --> 00:17:29.079
him and they're just like whoa it's like that

00:17:29.079 --> 00:17:32.519
is that is a vision of satan like if you ask

00:17:32.519 --> 00:17:35.220
me that's how it plays do you not feel the same

00:17:35.220 --> 00:17:38.759
way it's so dark there's so much that's just

00:17:38.759 --> 00:17:41.559
like weird and creepy about it but also a lot

00:17:41.559 --> 00:17:44.819
of it feels like downstream of weird production

00:17:44.819 --> 00:17:46.980
things and stuff like one of the weirdest things

00:17:46.980 --> 00:17:49.900
is how the aliens come out in like three sets

00:17:49.900 --> 00:17:51.900
there's like the first alien that you're talking

00:17:51.900 --> 00:17:53.039
about just basically because they couldn't figure

00:17:53.039 --> 00:17:54.779
out which one they're going to use yeah and they

00:17:54.779 --> 00:17:55.940
just use all of them and they're all different

00:17:55.940 --> 00:17:58.200
they're all different looking entirely it's like

00:17:58.200 --> 00:18:01.019
such a bizarre choice like it doesn't really

00:18:01.980 --> 00:18:04.359
Make a lot of sense. I think the incongruity

00:18:04.359 --> 00:18:07.559
of it is like part of what makes it feel otherworldly

00:18:07.559 --> 00:18:10.980
and give you the Unheimlichkeit sort of feeling.

00:18:11.680 --> 00:18:13.720
Exactly. It makes you feel uncomfortable. Like

00:18:13.720 --> 00:18:15.720
that's another thing that's. International community

00:18:15.720 --> 00:18:17.720
of aliens too. Like there's not all one type

00:18:17.720 --> 00:18:19.420
of alien in there. There's not only one type

00:18:19.420 --> 00:18:20.980
of creature in there. That's what Spielberg says

00:18:20.980 --> 00:18:23.299
about it. Yeah. Yeah. But it's also weird. It's

00:18:23.299 --> 00:18:26.039
like this weird marionette guy and then a bunch

00:18:26.039 --> 00:18:28.400
of 10 year old girls. Yeah. Then a bunch of girls.

00:18:28.660 --> 00:18:34.059
Yeah. It's like a weird satanic vision of a weird

00:18:34.059 --> 00:18:39.019
marionette guy and then cherubs and shit. And

00:18:39.019 --> 00:18:42.660
then a robot. And the robot. Yeah, the proto

00:18:42.660 --> 00:18:45.680
-ET. That was modeled after the little boy, Carrie.

00:18:45.920 --> 00:18:47.740
And it's like actually pretty evident when it

00:18:47.740 --> 00:18:49.559
smiles. It's very creepy. Yeah, it looks exactly

00:18:49.559 --> 00:18:51.700
like him. It's very creepy. Because again, that's

00:18:51.700 --> 00:18:53.519
like equating, like you have the little ones

00:18:53.519 --> 00:18:56.099
that are actually portrayed by little girls.

00:18:56.319 --> 00:18:58.680
And then you have that one that's equating the

00:18:58.680 --> 00:19:00.920
aliens with the little boy. So there is really

00:19:00.920 --> 00:19:04.140
something about these abductees all being children.

00:19:05.049 --> 00:19:07.029
And there is, yes, the one tall marionette one,

00:19:07.150 --> 00:19:09.869
but there's something weird about that. Well,

00:19:09.950 --> 00:19:11.509
and all the other abductees are adults. And at

00:19:11.509 --> 00:19:13.069
the same time, there's also the story about how

00:19:13.069 --> 00:19:16.349
Spielberg had to be convinced to hire Dreyfus.

00:19:16.950 --> 00:19:19.329
And basically, Dreyfus couldn't convince him,

00:19:19.329 --> 00:19:20.410
couldn't convince him. And the way that he convinced

00:19:20.410 --> 00:19:22.109
him in the end was by saying, like, look, look,

00:19:22.130 --> 00:19:24.490
you need a child. You need a child to play this

00:19:24.490 --> 00:19:27.809
role. And it's sort of like, oh, okay, that makes

00:19:27.809 --> 00:19:30.529
sense. And you got the role. And so I think that

00:19:30.529 --> 00:19:32.910
there's really something about like who they're

00:19:32.910 --> 00:19:35.750
abducting is children. No, they're also abducting

00:19:35.750 --> 00:19:40.329
like pilots from World War II and like all kinds

00:19:40.329 --> 00:19:42.450
of shit. Yeah, yeah, yeah. That's true. That's

00:19:42.450 --> 00:19:46.130
part of the history of the thing. Yeah. But I

00:19:46.130 --> 00:19:48.170
think that it's interesting that the design,

00:19:48.390 --> 00:19:50.750
two out of the three designs of the aliens that

00:19:50.750 --> 00:19:54.529
are used are specifically about being 10 -year

00:19:54.529 --> 00:19:57.950
-old kids. And then the other one's a weird marionette

00:19:57.950 --> 00:20:01.109
guy that looks like Satan. And has to do, obviously,

00:20:01.109 --> 00:20:03.529
with the puppet that is Pinocchio and everything.

00:20:03.809 --> 00:20:06.130
And obviously the only abduction we see in the

00:20:06.130 --> 00:20:10.470
movie is the abduction of the kid and the enticing

00:20:10.470 --> 00:20:12.450
of the kid and the making the kid feel comfortable

00:20:12.450 --> 00:20:14.809
and safe with the alien presence or whatever.

00:20:15.049 --> 00:20:17.029
And so he becomes the kid who gets in the van

00:20:17.029 --> 00:20:20.089
with strangers, you know? Right, right. And the

00:20:20.089 --> 00:20:21.630
fact that the kid isn't afraid of it because

00:20:21.630 --> 00:20:23.809
he's been brought up with it. Because it comes

00:20:23.809 --> 00:20:25.730
to him through the media and through his toys

00:20:25.730 --> 00:20:31.150
and things. And to me, that is the story of Childhood's

00:20:31.150 --> 00:20:33.210
End. That is like, yeah, well, it's the 50 years

00:20:33.210 --> 00:20:35.269
in which these aliens are kind of in control

00:20:35.269 --> 00:20:39.920
secretly. um and then it's not until kind of

00:20:39.920 --> 00:20:41.380
the end when they reveal themselves to you and

00:20:41.380 --> 00:20:42.559
when they reveal themselves to you you're just

00:20:42.559 --> 00:20:45.920
like oh well like i love you and like and then

00:20:45.920 --> 00:20:48.480
you get on you know and you walk straight into

00:20:48.480 --> 00:20:51.200
your you know death essentially or whatever it

00:20:51.200 --> 00:20:54.680
is you become a drone for that thing a zealot

00:20:54.680 --> 00:20:57.940
for and the thing is what is that thing like

00:20:57.940 --> 00:20:59.819
there's the there's the corporate america part

00:20:59.819 --> 00:21:02.119
of it or whatever but to me i think that it's

00:21:02.640 --> 00:21:05.740
not insignificant that this takes place at devil's

00:21:05.740 --> 00:21:10.279
tower yeah yeah no exactly and and to me it's

00:21:10.279 --> 00:21:12.440
also the first national monument in our country

00:21:12.440 --> 00:21:15.839
that's interesting that's interesting yeah but

00:21:15.839 --> 00:21:19.059
to me it's also it looks to me a lot like the

00:21:19.059 --> 00:21:23.640
the dollar eye pyramid you know what i mean the

00:21:23.640 --> 00:21:26.839
dollar it's the pyramid without the top of the

00:21:26.839 --> 00:21:28.960
pyramid that has the all -seeing eye on it it's

00:21:28.960 --> 00:21:30.920
the beginning of 2001 a space odyssey where you

00:21:30.920 --> 00:21:35.000
see No, that's true. The multi -eye pyramid without

00:21:35.000 --> 00:21:36.819
the eye. I mean, it kind of looks like the monolith,

00:21:36.819 --> 00:21:39.740
yeah. It kind of looks like the monolith from

00:21:39.740 --> 00:21:41.859
below shot that is the same shot that's on the

00:21:41.859 --> 00:21:44.960
dollar bill with the pyramid and the eye. I mean,

00:21:45.019 --> 00:21:47.859
even the poster. Instead of the sun or the moon

00:21:47.859 --> 00:21:50.920
rising from it, it's the alien spaceship rises

00:21:50.920 --> 00:21:52.599
from it. And there's a lot of emphasis, even

00:21:52.599 --> 00:21:54.279
in the special features of Spielberg saying,

00:21:54.480 --> 00:21:56.140
like, yeah, the spaceship, when it shows up,

00:21:56.160 --> 00:21:58.630
it does rise. even though that doesn't make any

00:21:58.630 --> 00:22:00.829
sense. I just, I did it because it like, it just,

00:22:00.869 --> 00:22:02.789
to me, it was a vision that appeared to me and

00:22:02.789 --> 00:22:04.369
I just had to do it that way and whatever. It's

00:22:04.369 --> 00:22:08.430
like, well, yeah, but also it's rising from the

00:22:08.430 --> 00:22:11.750
pyramid, just like the moon in 2001 and just

00:22:11.750 --> 00:22:13.809
like the eye of the pyramid and the all seeing

00:22:13.809 --> 00:22:16.069
eye that is the thing that this guy has been

00:22:16.069 --> 00:22:17.990
working towards who secretly implanted these

00:22:17.990 --> 00:22:20.170
ideas in the heads of these Americans and then

00:22:20.170 --> 00:22:22.069
through the media got them to do these things.

00:22:22.170 --> 00:22:24.809
It's like, these are all actually preexisting

00:22:24.809 --> 00:22:29.059
ideas that, are all part of like monarch slave

00:22:29.059 --> 00:22:33.259
MK ultra mind control like conspiracy theory

00:22:33.259 --> 00:22:36.000
shit sure let me just mention real quick that

00:22:36.000 --> 00:22:37.859
like people can be activated through the media

00:22:37.859 --> 00:22:42.960
and like all be like all of a sudden a part of

00:22:42.960 --> 00:22:44.839
some sort of it's like Manchurian candidate kind

00:22:44.839 --> 00:22:47.220
of shit yeah like Manchurian candidate kind of

00:22:47.220 --> 00:22:48.420
shit but also just as a quick aside in this case

00:22:48.420 --> 00:22:52.640
though it's just for pure consumerism yeah the

00:22:52.640 --> 00:22:54.819
front cover of the movie is also a road that

00:22:55.160 --> 00:22:58.119
makes a pyramid up to it glowing at the top like

00:22:58.119 --> 00:23:01.079
exactly yeah yeah there's a lot of that pyramid

00:23:01.079 --> 00:23:03.980
imagery and the eye is the spaceship and the

00:23:03.980 --> 00:23:07.859
spaceship is made after corporate logos and things

00:23:07.859 --> 00:23:12.359
and then like industrial you know uh well obviously

00:23:12.359 --> 00:23:16.579
they they got rid of the idea to make the spaceships

00:23:16.579 --> 00:23:21.200
logos but when you hear them talk about why they

00:23:21.200 --> 00:23:23.400
did that the reason they initially wanted to

00:23:23.400 --> 00:23:26.180
make the spaceships corporate logos is because

00:23:26.180 --> 00:23:28.619
they felt that would make them feel more comforting

00:23:28.619 --> 00:23:32.859
to humans right um right right just like just

00:23:32.859 --> 00:23:35.319
like the toys come to you that way to make you

00:23:35.319 --> 00:23:38.440
more comfortable yeah yeah but they scrapped

00:23:38.440 --> 00:23:40.640
it for who knows why but you're right like i

00:23:40.640 --> 00:23:42.140
don't i'm not sure there's a part where because

00:23:42.140 --> 00:23:44.559
it was too on the nose that's why that's a lot

00:23:44.559 --> 00:23:46.160
of these ideas that they scrapped because they're

00:23:46.160 --> 00:23:49.539
too on the nose i think um Some of them they

00:23:49.539 --> 00:23:50.859
keep, even though they're on the nose, like the

00:23:50.859 --> 00:23:53.420
10 -year -old girls and the alien that's based

00:23:53.420 --> 00:23:55.460
off of the 10 -year -old boy. I don't know if

00:23:55.460 --> 00:23:57.799
that feels... It's not on the nose unless you

00:23:57.799 --> 00:24:01.940
have a really weird conspiratorial vision of

00:24:01.940 --> 00:24:04.720
this movie as being creepy or sinister in some

00:24:04.720 --> 00:24:07.059
ways. It's just not something that would enter

00:24:07.059 --> 00:24:09.440
anyone's mind, watching this movie, because it

00:24:09.440 --> 00:24:12.619
is very successfully on its face, just like...

00:24:12.619 --> 00:24:17.809
Optimistic. Optimistic. And it applauds this

00:24:17.809 --> 00:24:20.069
guy for leaving his family and making out with

00:24:20.069 --> 00:24:23.069
this girl. Maybe that's a thing. It applauds

00:24:23.069 --> 00:24:25.609
him for all of his bad decisions because America

00:24:25.609 --> 00:24:27.269
applauds you for this. You know what I mean?

00:24:27.329 --> 00:24:28.930
It's because you're becoming a drone for corporate

00:24:28.930 --> 00:24:31.109
America. The other thing that's interesting,

00:24:31.289 --> 00:24:36.390
too, is I think Spielberg comes off as really

00:24:36.390 --> 00:24:41.250
sincere and a really nice guy. He doesn't honestly

00:24:41.250 --> 00:24:43.009
come off as someone that's super intellectual,

00:24:43.170 --> 00:24:46.089
even. He just seems like a really nice guy. Will

00:24:46.089 --> 00:24:48.029
Manor, like, he kind of seems like a kid himself

00:24:48.029 --> 00:24:50.630
sometimes. He's just very, like, he always seems

00:24:50.630 --> 00:24:52.589
turned on, like a kid is. He always just seems

00:24:52.589 --> 00:24:54.390
very, like, oh, yeah, that's cool. Oh, yeah,

00:24:54.450 --> 00:24:56.990
yeah. Like, he's always just, like, very affirmative,

00:24:57.029 --> 00:24:58.490
it seems, and stuff. And I don't know how he

00:24:58.490 --> 00:24:59.849
actually is, but this is the way he's present.

00:25:00.349 --> 00:25:02.450
That's, like, the way he always comes off. And

00:25:02.450 --> 00:25:04.470
he just does not seem like a cynical guy to me.

00:25:04.950 --> 00:25:06.650
He really doesn't. And that also just makes it

00:25:06.650 --> 00:25:09.230
really easy to, like, not have that reading on

00:25:09.230 --> 00:25:10.849
any of these movies, just assume that they're

00:25:10.849 --> 00:25:13.930
all optimistic. And so, like, you could say that...

00:25:14.220 --> 00:25:17.240
The thing is, I kind of feel like, depending

00:25:17.240 --> 00:25:19.500
on how you look at this movie, if you look at

00:25:19.500 --> 00:25:21.279
the optimistic... Part of it is him trying to

00:25:21.279 --> 00:25:23.559
empathize with this main character. Yeah. Part

00:25:23.559 --> 00:25:25.400
of it is him trying to understand why his dad

00:25:25.400 --> 00:25:27.799
left and empathize with it. Exactly. Yeah, yeah.

00:25:27.839 --> 00:25:30.299
Part of me is trying to do that and make sense

00:25:30.299 --> 00:25:32.700
of this thing that his dad did that doesn't make

00:25:32.700 --> 00:25:38.680
sense. What did his dad do? His dad worked for

00:25:38.680 --> 00:25:46.720
IBM. Yeah. Let's not get into that yet. His dad

00:25:46.720 --> 00:25:49.839
worked for the Dollar Eye Pyramid. That's what

00:25:49.839 --> 00:25:54.220
his dad did. Yeah, yeah, I know. His dad worked

00:25:54.220 --> 00:25:57.660
for, yeah. His dad helped out some evil people.

00:25:57.839 --> 00:26:01.279
His dad sold out to the people that killed his

00:26:01.279 --> 00:26:07.339
people. Basically, yes. That's, yep. So hold

00:26:07.339 --> 00:26:11.180
that in your back pocket for a minute. If you're

00:26:11.180 --> 00:26:13.019
going to assume if you're going to take it for

00:26:13.019 --> 00:26:16.039
face value, going back to those saying and that

00:26:16.039 --> 00:26:18.339
this is kind of an optimistic and empathetic

00:26:18.339 --> 00:26:23.440
exploration of, you know, why someone needs to

00:26:23.440 --> 00:26:25.420
move on or why someone needs to, like, chase

00:26:25.420 --> 00:26:29.420
their dreams and over any kind of materialistic

00:26:29.420 --> 00:26:32.619
responsibilities they have and that you're going

00:26:32.619 --> 00:26:34.680
to hurt people in your life to chase your dreams,

00:26:34.720 --> 00:26:36.559
become an artist. This is something he also explores

00:26:36.559 --> 00:26:39.160
in the fablements. And so, like, if you see it

00:26:39.160 --> 00:26:42.180
as that, it's pretty easy to understand why Spielberg

00:26:42.180 --> 00:26:44.240
would be disappointed now because he'd look back

00:26:44.240 --> 00:26:45.940
and just be like, you know what, I tried to empathize

00:26:45.940 --> 00:26:47.460
with that thing, but you know what, it's not

00:26:47.460 --> 00:26:51.259
right. Like, there's no good reason for me to

00:26:51.259 --> 00:26:53.160
leave my family. There's no good reason for him

00:26:53.160 --> 00:26:55.839
to do that. And maybe he, like, wasn't a good

00:26:55.839 --> 00:26:58.220
person. Maybe he doesn't need to be free. And

00:26:58.220 --> 00:27:00.000
I think if you look at the Fabelmans, neither

00:27:00.000 --> 00:27:02.339
of his parents are portrayed as good people.

00:27:02.480 --> 00:27:05.579
I mean, maybe they're not bad people, but they're...

00:27:06.140 --> 00:27:07.980
They're fucked up, man. They're fucked up kind

00:27:07.980 --> 00:27:12.160
of monsters. Yeah. His dad is barely a person,

00:27:12.220 --> 00:27:15.160
and his mom is similarly like— Too much of a

00:27:15.160 --> 00:27:19.960
person. So much. Too many people. Yeah, she's

00:27:19.960 --> 00:27:23.839
the manic pixie, you know, to the max. So, like,

00:27:23.859 --> 00:27:25.619
obviously he looks back and he's like, well,

00:27:25.779 --> 00:27:28.380
that wasn't it. That wasn't the right message,

00:27:28.500 --> 00:27:31.079
you know? Like, if I made this movie now— he

00:27:31.079 --> 00:27:33.220
would have to bring his family with him, make

00:27:33.220 --> 00:27:34.980
them understand, or he would have to, like, turn

00:27:34.980 --> 00:27:37.460
away from his dreams in order to be with his

00:27:37.460 --> 00:27:38.839
family. Maybe part of the point would have to

00:27:38.839 --> 00:27:40.740
be the banality of this guy would need to be

00:27:40.740 --> 00:27:44.279
underlined more. Yeah, yeah, exactly. Just like

00:27:44.279 --> 00:27:46.480
in the Fablemans, like, his father is portrayed

00:27:46.480 --> 00:27:50.559
as a totally banal, Eichmann -esque, nothing

00:27:50.559 --> 00:27:53.619
character. He can totally understand every, absolutely

00:27:53.619 --> 00:27:56.230
why his mom would cheat on this guy. Even if

00:27:56.230 --> 00:27:58.410
he's nice, he sucks so much he's not a real person.

00:27:58.410 --> 00:28:00.089
But in Close Encounters, you're right that this

00:28:00.089 --> 00:28:02.190
guy doesn't have a dream of his own. It was given

00:28:02.190 --> 00:28:03.849
to him. So that is an interesting distinction.

00:28:04.109 --> 00:28:06.170
He's a blue -collar worker. He's like an electrician.

00:28:06.710 --> 00:28:09.690
He didn't fucking shoot for his dreams, whatever

00:28:09.690 --> 00:28:12.420
they might have been. And maybe that's what he's

00:28:12.420 --> 00:28:14.059
dealing with, too, is the regret of not doing

00:28:14.059 --> 00:28:16.099
that and the idea that it's maybe not too late

00:28:16.099 --> 00:28:18.079
and whatever. Well, he's an engineer, though.

00:28:18.619 --> 00:28:21.059
You say he's a blue -collar worker, but he's

00:28:21.059 --> 00:28:24.000
working for the power company in some sort of

00:28:24.000 --> 00:28:27.220
engineering capacity. He's going out there to

00:28:27.220 --> 00:28:30.380
restore power because it's all going out. That's

00:28:30.380 --> 00:28:32.720
not that far from what his dad's doing, right?

00:28:34.039 --> 00:28:37.359
You know what I mean? Actually, his job is...

00:28:37.769 --> 00:28:41.109
If it all was a metaphor for just joining the

00:28:41.109 --> 00:28:43.650
state and doing computer work or whatever, I

00:28:43.650 --> 00:28:46.769
guess he is kind of somewhere along that chain.

00:28:46.990 --> 00:28:48.410
He's working on power. He's working on electricity

00:28:48.410 --> 00:28:51.950
and circuits and systems that hold the grid together

00:28:51.950 --> 00:28:54.490
and all this stuff. Right. He's working on the

00:28:54.490 --> 00:28:57.250
grid completely. And he's a component of it.

00:28:57.349 --> 00:29:00.470
His job is to hold together the grid. And he

00:29:00.470 --> 00:29:03.690
got fired with no real explanation or conversation

00:29:03.690 --> 00:29:08.960
the day after. for just like not showing up during

00:29:08.960 --> 00:29:11.779
a crisis. That's how quickly you got cut out.

00:29:11.920 --> 00:29:13.500
It's just a cog in the system. But I also do

00:29:13.500 --> 00:29:15.920
think if we, if we go back to your kind of interpretation,

00:29:16.059 --> 00:29:17.920
which hasn't been totally fleshed out yet, but

00:29:17.920 --> 00:29:20.660
you sort of ended on this note of like, actually,

00:29:20.700 --> 00:29:22.240
what are these aliens? What do they represent?

00:29:22.380 --> 00:29:25.859
And like, they represent this kind of, if they

00:29:25.859 --> 00:29:27.839
do represent the sort of corporate world, the

00:29:27.839 --> 00:29:32.420
like materialist realm of power. Novus Ordum

00:29:32.420 --> 00:29:35.200
Seclorum. Yes. But if they do represent that,

00:29:35.299 --> 00:29:38.410
then. Spielberg looking back on that and being

00:29:38.410 --> 00:29:41.130
like, yeah, I was more cynical then, and I made

00:29:41.130 --> 00:29:44.990
a cynical movie about this guy getting absorbed

00:29:44.990 --> 00:29:48.869
by the devil, basically. It's a tragedy. This

00:29:48.869 --> 00:29:52.250
person was seduced, and they get taken in. And

00:29:52.250 --> 00:29:54.930
I don't know if I would make a movie that cynical

00:29:54.930 --> 00:29:57.329
anymore. I mean, if not the devil, at least a

00:29:57.329 --> 00:29:59.869
false idol. Yeah, sure. Someone on Earth who

00:29:59.869 --> 00:30:03.440
has... A bunch of children that they've abducted.

00:30:03.460 --> 00:30:05.299
A false idol, yeah. Like something to believe

00:30:05.299 --> 00:30:07.700
in because he doesn't believe in anything. He's

00:30:07.700 --> 00:30:11.740
clearly godless and all that. There's very little

00:30:11.740 --> 00:30:16.140
religion in this movie. There's only like one

00:30:16.140 --> 00:30:18.279
scene. There's one, and that's the religion of

00:30:18.279 --> 00:30:21.349
Walt Disney. What? There's one religion, and

00:30:21.349 --> 00:30:23.170
that's the religion of Walt Disney. It's Pinocchio.

00:30:23.170 --> 00:30:25.509
It's When You Wish Upon a Star. That's the American

00:30:25.509 --> 00:30:28.349
religion. It's also really important that it

00:30:28.349 --> 00:30:29.890
gets connected to that and that there actually

00:30:29.890 --> 00:30:32.109
is an interpolation of When You Wish Upon a Star

00:30:32.109 --> 00:30:35.309
in the soundtrack when he's entering the ship.

00:30:35.490 --> 00:30:39.930
Not in the final director's cut, right? I'm pretty

00:30:39.930 --> 00:30:42.690
sure. Oh, it's only in the special edition. I

00:30:42.690 --> 00:30:44.529
went and I did the special edition, and it's

00:30:44.529 --> 00:30:46.609
in the special edition when he's on the spaceship.

00:30:47.380 --> 00:30:49.279
There's the When You Wish Upon a Star music cue.

00:30:49.279 --> 00:30:50.380
Oh, it's on the spaceship. You're right. It's

00:30:50.380 --> 00:30:53.380
not in the director. And it was not in any part

00:30:53.380 --> 00:30:56.500
of the original version, at least in the director's

00:30:56.500 --> 00:30:59.079
cut version. I don't know if it's in the theatrical

00:30:59.079 --> 00:31:00.619
because I haven't watched the theatrical again.

00:31:01.660 --> 00:31:04.640
But that music cue in the special edition where

00:31:04.640 --> 00:31:06.519
it says When You Wish Upon a Star. I don't know,

00:31:06.519 --> 00:31:10.839
man. I'm pretty sure that music cue is kind of

00:31:10.839 --> 00:31:13.980
woven into the score when he's getting on the

00:31:13.980 --> 00:31:15.940
ship. It's just much more subtle. That's cool.

00:31:16.039 --> 00:31:20.519
That's cool. But I mean, he's not a guy who's

00:31:20.519 --> 00:31:24.880
worked a ton with Disney properties, right? He

00:31:24.880 --> 00:31:28.660
was Universal and Warner Brothers and Columbia.

00:31:28.980 --> 00:31:32.619
I don't know. I thought it was strange that Spielberg

00:31:32.619 --> 00:31:35.680
was referencing Disney. Is the BFG a Disney movie?

00:31:37.200 --> 00:31:39.980
Is that a Disney movie? I don't know. Is it?

00:31:41.539 --> 00:31:45.180
Yeah. I don't know, man. I don't... Either way,

00:31:45.220 --> 00:31:47.619
neither of these movies are Disney movies. And

00:31:47.619 --> 00:31:49.420
that's why it's strange to me that he would be

00:31:49.420 --> 00:31:53.720
referencing Walt Disney's Pinocchio in a way

00:31:53.720 --> 00:31:56.400
that even included a music cue and everything.

00:31:57.220 --> 00:31:59.779
Yeah, and so if you're going to be... But then

00:31:59.779 --> 00:32:02.220
what's crazy is that happened at the Disclosure

00:32:02.220 --> 00:32:04.619
Day too. Oh, see, we're going to talk about this.

00:32:04.779 --> 00:32:06.720
See, I'm trying to avoid this. Why'd you say

00:32:06.720 --> 00:32:11.240
that? We will get around to it. We'll get there.

00:32:12.080 --> 00:32:19.359
But I also think that Spielberg, as a Jew, might

00:32:19.359 --> 00:32:22.579
have had a complex relationship with Walt Disney.

00:32:23.119 --> 00:32:28.430
Of course, yeah. even if he's openly embracing

00:32:28.430 --> 00:32:31.029
this we've talked about before in the fablemans

00:32:31.029 --> 00:32:33.490
and in other episodes that he's often embracing

00:32:33.490 --> 00:32:36.089
something putting it on a pedestal in a in a

00:32:36.089 --> 00:32:38.789
way to kind of take it down or whatever and i

00:32:38.789 --> 00:32:41.630
think that there's no more perfect thing than

00:32:41.630 --> 00:32:44.329
when you wish upon a star to represent the disease

00:32:44.329 --> 00:32:47.789
that that roy has you know what i mean i don't

00:32:47.789 --> 00:32:50.910
know that this is an open you know uh embrace

00:32:50.910 --> 00:32:53.829
of of sort of those ideas well although you know

00:32:53.829 --> 00:32:56.630
like i mean hook was also using the Disney, Peter

00:32:56.630 --> 00:32:58.950
Pan. Yeah, exactly. You're right, you're right,

00:32:58.950 --> 00:33:01.670
yeah. There's a Disney -ness to Hook, but there

00:33:01.670 --> 00:33:05.230
is also a weird sinister -ness to Hook. Yeah,

00:33:05.250 --> 00:33:08.569
we kind of cover that too. So this is kind of

00:33:08.569 --> 00:33:10.029
just getting highlighted more and more in his

00:33:10.029 --> 00:33:12.069
movies. And yeah, you can either have a cynical

00:33:12.069 --> 00:33:16.529
read or a more good faith one. That Spielberg

00:33:16.529 --> 00:33:20.670
cares about kids for the right reasons and is

00:33:20.670 --> 00:33:24.910
focused on childhood for the right reasons. And

00:33:24.910 --> 00:33:28.190
not the wrong ones. But one of the things is

00:33:28.190 --> 00:33:31.589
how much is intention? How much do you take Spielberg

00:33:31.589 --> 00:33:33.410
at face value? Because one of the things that

00:33:33.410 --> 00:33:38.150
we've covered about 2001 is that Kubrick often

00:33:38.150 --> 00:33:40.750
deals with this idea of there's a cover story

00:33:40.750 --> 00:33:43.269
and then there's a real... narrative underneath

00:33:43.269 --> 00:33:45.789
this is kind of expressed with the literal cover

00:33:45.789 --> 00:33:48.630
story that's happening in 2001 regarding the

00:33:48.630 --> 00:33:52.450
right the chemical moon base the moon base is

00:33:52.450 --> 00:33:55.809
like um quarantined right for some reason that's

00:33:55.809 --> 00:33:58.470
not really true because of an outbreak some outbreaks

00:33:58.470 --> 00:34:00.650
as quarantine this also happens in close encounters

00:34:00.650 --> 00:34:04.880
right they say They say there's a fake outbreak

00:34:04.880 --> 00:34:09.059
around Devil's Tower. Take power. And so this,

00:34:09.139 --> 00:34:11.159
like, it seemed, and also, you know, obviously

00:34:11.159 --> 00:34:14.460
Spielberg loved Kubrick. He didn't know Kubrick

00:34:14.460 --> 00:34:17.159
at this time when he was making this movie, but

00:34:17.159 --> 00:34:21.659
clearly was, you know, Kubrick was... He overtly

00:34:21.659 --> 00:34:25.380
says in his doc about himself that he was trying

00:34:25.380 --> 00:34:28.400
with Close Encounters to go further than Kubrick

00:34:28.400 --> 00:34:30.400
went with 2001. Yeah, yeah, yeah. He was trying

00:34:30.400 --> 00:34:32.960
to take the next step. And so a lot of this is

00:34:32.960 --> 00:34:34.940
like, that was his overt. A lot of this is built

00:34:34.940 --> 00:34:36.900
on the ground of our analysis of these filmmakers.

00:34:37.380 --> 00:34:41.920
But like, even at the age of 31, you seem to

00:34:41.920 --> 00:34:43.599
be very convinced that Spielberg was already

00:34:43.599 --> 00:34:46.179
working at a level that he still is now that

00:34:46.179 --> 00:34:48.179
he already kind of arrived and he's always been

00:34:48.179 --> 00:34:50.420
doing this. Like this was only his like third

00:34:50.420 --> 00:34:53.300
or fourth movie. I think Jaws was before this.

00:34:53.880 --> 00:34:56.679
I mean, it depends on where you start. Like if

00:34:56.679 --> 00:34:59.380
you, if you just say like Jaws is his first big,

00:35:00.059 --> 00:35:02.860
recognized movie this is a second and he already

00:35:02.860 --> 00:35:04.559
had such a huge name at this point like this

00:35:04.559 --> 00:35:06.840
was a movie that people were looking forward

00:35:06.840 --> 00:35:09.500
to that had a lot of press and so that ties into

00:35:09.500 --> 00:35:12.780
2001 as well like one thing i was thinking watching

00:35:12.780 --> 00:35:16.039
close encounters this time like even like halfway

00:35:16.039 --> 00:35:19.039
through the movie i was just like why should

00:35:19.039 --> 00:35:23.860
i think this movie is about aliens what has this

00:35:23.860 --> 00:35:27.239
movie shown me that gives me any inclination

00:35:27.239 --> 00:35:31.079
to think it's about aliens You know why? Because

00:35:31.079 --> 00:35:33.340
it's called Close Encounters of the Third Kind

00:35:33.340 --> 00:35:35.480
and there's an alien ship on the front cover

00:35:35.480 --> 00:35:40.460
and it's always been pushed as a movie about

00:35:40.460 --> 00:35:43.480
aliens even before it initially came out. That's

00:35:43.480 --> 00:35:44.860
just something you put in people's heads and

00:35:44.860 --> 00:35:46.079
then they watch the movie. It's about aliens.

00:35:46.320 --> 00:35:48.340
That's exactly what's happening with Disclosure

00:35:48.340 --> 00:35:52.079
Day. There's new UFO movies coming out. Steven

00:35:52.079 --> 00:35:54.820
Spielberg's making another alien movie. Spielberg

00:35:54.820 --> 00:35:57.760
and aliens. He loves these guys. And I don't

00:35:57.760 --> 00:35:58.920
really want to talk about all those other alien

00:35:58.920 --> 00:36:00.579
movies right now, but I think like his other

00:36:00.579 --> 00:36:03.199
alien movies reinforced the idea that like basically

00:36:03.199 --> 00:36:05.400
none of his movies about aliens are about aliens.

00:36:06.019 --> 00:36:08.719
They're about something else. Maybe Crystal Skull

00:36:08.719 --> 00:36:12.539
is. Maybe Crystal Skull is. Maybe Crystal Skull

00:36:12.539 --> 00:36:16.219
is. Yeah, exactly. I redid it recently and that's

00:36:16.219 --> 00:36:18.440
a really, it's the same writer. It's the same

00:36:18.440 --> 00:36:20.639
writer as Disclosure Day and War of the Worlds

00:36:20.639 --> 00:36:22.840
and a bunch of them and Jurassic Park and shit.

00:36:23.179 --> 00:36:26.710
David Cope. I think he's used as more of a tool

00:36:26.710 --> 00:36:28.510
by Spielberg. But I agree. I think that at least

00:36:28.510 --> 00:36:30.750
most of his movies about aliens are not about

00:36:30.750 --> 00:36:33.590
aliens. And I think that if we're talking about

00:36:33.590 --> 00:36:37.550
Crystal Skull, Spielberg, while he's making Crystal

00:36:37.550 --> 00:36:40.250
Skull, he does one of these behind -the -scenes

00:36:40.250 --> 00:36:42.969
Close Encounters things. And on that one is when

00:36:42.969 --> 00:36:44.809
he's talking about, like, I used to believe in

00:36:44.809 --> 00:36:46.750
this shit. I don't believe in this shit anymore.

00:36:46.949 --> 00:36:50.510
Yeah. So, well, he's making Crystal Skull is

00:36:50.510 --> 00:36:51.929
specifically when he's saying, like, I don't

00:36:51.929 --> 00:36:53.750
believe in this shit anymore. So if Crystal Skull

00:36:53.750 --> 00:36:56.530
is about aliens, it's about aliens in a way that

00:36:56.530 --> 00:36:58.989
Spielberg doesn't believe in anymore. It's like

00:36:58.989 --> 00:37:01.449
the most, like, 50s. But none of the other ones

00:37:01.449 --> 00:37:02.849
are about aliens. It's like the most, like, 50s

00:37:02.849 --> 00:37:07.789
pop culture, like, cereal box adventure vision

00:37:07.789 --> 00:37:11.010
of aliens. I don't know. Yeah, no, but it's also,

00:37:11.090 --> 00:37:13.789
it's researched. The thing about Crystal Skull

00:37:13.789 --> 00:37:16.820
is it's researched. Just, it's exactly, it's

00:37:16.820 --> 00:37:18.960
like Disclosure Day. It's like, these are all

00:37:18.960 --> 00:37:22.360
real research incidents and whatever. Like any

00:37:22.360 --> 00:37:24.320
of the Indiana Jones movies, too, and stuff.

00:37:24.460 --> 00:37:26.579
It's like, oh, none of this is made up. Like,

00:37:26.579 --> 00:37:28.340
literally nothing is made up for this movie.

00:37:28.940 --> 00:37:30.880
And that's what's cool about it. It's all actual,

00:37:30.980 --> 00:37:34.239
like, esoteric, like, occult kind of stuff. Yeah.

00:37:34.260 --> 00:37:36.599
Yeah, yeah, yeah. Just like Wikipedia deep dive

00:37:36.599 --> 00:37:38.559
shit. Well, I think Spielberg understands that

00:37:38.559 --> 00:37:41.039
stuff. You know that he's the type of guy that...

00:37:41.309 --> 00:37:44.429
goes on those conspiracy theories. Like, you

00:37:44.429 --> 00:37:46.449
know what I mean? If he's this into UFO shit,

00:37:46.610 --> 00:37:50.010
like, and real UFO shit, like, he's also watching

00:37:50.010 --> 00:37:54.849
2012 Project Blue Beam, End of the World, like,

00:37:54.889 --> 00:37:56.610
whatever shit. You know what I mean? Yeah, yeah,

00:37:56.610 --> 00:37:59.630
yeah. He, like, he's into, because that pops

00:37:59.630 --> 00:38:02.469
up in the same algorithm, too. But definitely

00:38:02.469 --> 00:38:05.210
in Indiana Jones, but definitely in Close Encounters,

00:38:05.250 --> 00:38:06.710
I would say. Yeah, yeah. I think that that's,

00:38:06.710 --> 00:38:08.409
like we're talking about, you're saying, like,

00:38:08.469 --> 00:38:10.289
what makes us think this is about aliens? Well,

00:38:10.309 --> 00:38:12.480
like, Even in the behind -the -scenes stuff,

00:38:12.619 --> 00:38:15.280
overtly, he says half of this is about aliens,

00:38:15.460 --> 00:38:17.840
but the other half of this is about the government

00:38:17.840 --> 00:38:22.059
and Watergate. And that, I think, is just as

00:38:22.059 --> 00:38:25.980
much what that movie is about and what the aliens

00:38:25.980 --> 00:38:30.440
actually are. Let's get into that. How do we

00:38:30.440 --> 00:38:33.500
see it as a thing about Watergate? Well, I just

00:38:33.500 --> 00:38:37.099
think the paranoid idea of the government. You

00:38:37.099 --> 00:38:40.250
know what I mean? You can't trust them. Yeah.

00:38:40.369 --> 00:38:43.369
That they're sneaky. They have spies. They're

00:38:43.369 --> 00:38:46.369
going to come up with something like a fake virus

00:38:46.369 --> 00:38:50.670
to, you know, wrest control away from the people

00:38:50.670 --> 00:38:54.030
to shake hands with Satan in the middle of the

00:38:54.030 --> 00:38:57.809
desert or something, you know? Yeah. Which is

00:38:57.809 --> 00:38:59.630
what a lot of these movies are about. Indiana

00:38:59.630 --> 00:39:03.730
Jones and Oppenheimer and whatever. So it's about

00:39:03.730 --> 00:39:11.889
Israel. I do think it's really telling that the

00:39:11.889 --> 00:39:14.670
organization that's trying to find the aliens

00:39:14.670 --> 00:39:19.289
is basically the UN in collaboration with some

00:39:19.289 --> 00:39:24.150
French scientists or something like that. Yeah,

00:39:24.190 --> 00:39:27.150
well, I mean, these are kind of based on... What's

00:39:27.150 --> 00:39:30.789
the scientist's name? Well, J. Allen Hynek, who

00:39:30.789 --> 00:39:32.710
I wanted to get into as well. Yeah, who came

00:39:32.710 --> 00:39:34.750
up with the Close Encounters name. Yeah, who

00:39:34.750 --> 00:39:39.920
came up with the... Which I always, I always,

00:39:39.980 --> 00:39:42.920
I think somebody told me the wrong thing when

00:39:42.920 --> 00:39:45.679
I was a kid. Where I like asked, I'm sure I asked

00:39:45.679 --> 00:39:47.199
my parents or something. Like what does Close

00:39:47.199 --> 00:39:48.960
Encounters of the Third Kind mean? And they just

00:39:48.960 --> 00:39:52.420
like made something up on the spot. That I just

00:39:52.420 --> 00:39:54.659
thought was true my whole life. But it's like

00:39:54.659 --> 00:39:57.059
the Close Encounter of the First Kind would be

00:39:57.059 --> 00:39:59.300
talking to a person. And the Close Encounter

00:39:59.300 --> 00:40:01.139
of the Second Kind would be talking to an animal.

00:40:05.400 --> 00:40:09.460
And it literally wasn't until I was watching

00:40:09.460 --> 00:40:11.480
the behind the scenes for this. And I was like,

00:40:11.500 --> 00:40:13.320
Oh, that's totally not true. That's just something

00:40:13.320 --> 00:40:15.280
that like, I probably asked too many questions

00:40:15.280 --> 00:40:18.360
someday when I was five. And somebody just said

00:40:18.360 --> 00:40:21.360
that some teacher or parent or something was

00:40:21.360 --> 00:40:23.280
just like, here's your answer. This is why it's

00:40:23.280 --> 00:40:26.159
important to be honest. Just like misinformation

00:40:26.159 --> 00:40:30.349
for most of your life. Yes. No, a close encounter

00:40:30.349 --> 00:40:32.989
of the first kind is like... It means visual.

00:40:33.070 --> 00:40:35.369
It means you see something. You see some kind

00:40:35.369 --> 00:40:37.730
of visual... Yeah, you see something. Second

00:40:37.730 --> 00:40:40.670
kind is like communication. No, no, no. The second

00:40:40.670 --> 00:40:43.570
one is physical evidence. The third one is contact.

00:40:44.909 --> 00:40:47.050
Evidence. Okay. And the third one is actually

00:40:47.050 --> 00:40:49.010
like... When you meet him, is how Spielberg said

00:40:49.010 --> 00:40:51.829
it. When you meet him. Interesting way to put

00:40:51.829 --> 00:40:56.869
it, too. I guess the other part... Going back

00:40:56.869 --> 00:41:00.909
to the UN and the French thing, I guess I wasn't

00:41:00.909 --> 00:41:04.210
looking enough into this stuff, but that is something

00:41:04.210 --> 00:41:06.030
I thought was interesting that I didn't quite

00:41:06.030 --> 00:41:09.530
have figured out. Why is this kind of a UN thing?

00:41:10.050 --> 00:41:14.510
It's not the United States. I do think there

00:41:14.510 --> 00:41:16.429
is something going on here, especially because

00:41:16.429 --> 00:41:19.889
the first scene is them finding these planes

00:41:19.889 --> 00:41:22.869
from 1945 out in the middle of the desert, and

00:41:22.869 --> 00:41:25.630
they're like, how did they get here? What are

00:41:25.630 --> 00:41:28.929
they doing here? And, um, I don't know. It's

00:41:28.929 --> 00:41:31.409
just kind of like when you think about, I mean,

00:41:31.449 --> 00:41:34.349
that's 45. So that's when the war ended. Right.

00:41:34.449 --> 00:41:36.289
And not too long after that, you get the creation

00:41:36.289 --> 00:41:40.010
of the CIA and the creation of Israel. And, um,

00:41:40.230 --> 00:41:42.389
they are this thing out in the middle of the

00:41:42.389 --> 00:41:44.469
desert. It's like, why is this here? You know?

00:41:45.650 --> 00:41:48.769
Well, sure. Sure. And it's the start of, it is

00:41:48.769 --> 00:41:50.750
the start of the, um, the birth of the deep state,

00:41:50.869 --> 00:41:54.469
like CIA Mossad and, the beginning of this kind

00:41:54.469 --> 00:41:58.510
of like domain of spies or whatever, that kind

00:41:58.510 --> 00:42:00.909
of control things behind the scenes and that

00:42:00.909 --> 00:42:02.789
they're the true international community. Like

00:42:02.789 --> 00:42:05.510
they keep secrets from the FBI and whatever,

00:42:05.590 --> 00:42:08.329
but I guess like it's, this is when you have

00:42:08.329 --> 00:42:10.949
like really paranoid conspiracy movies coming

00:42:10.949 --> 00:42:13.050
out and whatnot, like three days of the condor

00:42:13.050 --> 00:42:15.429
and stuff where it's like all about just, yeah,

00:42:15.489 --> 00:42:18.469
nobody, nobody trusts any of this anymore. And

00:42:18.469 --> 00:42:22.519
yeah, there's a secret CIA inside the CIA. And

00:42:22.519 --> 00:42:24.940
I don't know that Spielberg is pointing the finger

00:42:24.940 --> 00:42:28.260
at Israel, and I just have to believe that Spielberg,

00:42:28.340 --> 00:42:30.900
as he went through his career, learned a lot

00:42:30.900 --> 00:42:32.920
more about the world and had a much more refined

00:42:32.920 --> 00:42:36.860
view of it as opposed to when he made Jaws and

00:42:36.860 --> 00:42:39.579
Close Encounters. I think that's true. I think

00:42:39.579 --> 00:42:43.380
that a lot of Jaws is the result of improvising

00:42:43.380 --> 00:42:46.260
during a car accident. Yeah, exactly. And I think

00:42:46.260 --> 00:42:48.559
the Close Encounters, it's very clear that is

00:42:48.559 --> 00:42:52.280
a lot of that as well. And I think that it was

00:42:52.280 --> 00:42:54.599
very successful for him. These like huge things

00:42:54.599 --> 00:42:56.579
that went way over budget and whatever, but then

00:42:56.579 --> 00:42:59.699
exploded. So he did so well. But then, yeah,

00:42:59.780 --> 00:43:03.179
after this comes 1941 stuff and it's less cute.

00:43:03.940 --> 00:43:06.679
Yeah. So he ends up being a much tighter filmmaker.

00:43:07.769 --> 00:43:10.170
Down the line. I'm sure, you know, Disclosure

00:43:10.170 --> 00:43:14.110
Day, I don't think there were six months of improvising

00:43:14.110 --> 00:43:17.809
what the alien might look like. No, sure. Disclosure

00:43:17.809 --> 00:43:20.650
Day feels like planned out and they shot it.

00:43:20.730 --> 00:43:23.250
It's all planned out and shot in like two weeks.

00:43:23.789 --> 00:43:27.090
Yeah, yeah, yeah. It's not his most ambitious

00:43:27.090 --> 00:43:28.769
movie cinematically or anything. There is something

00:43:28.769 --> 00:43:30.389
to be said for the alchemy that was being done

00:43:30.389 --> 00:43:34.170
on the set of Close Encounters. A huge burning

00:43:34.170 --> 00:43:38.679
of all of this wealth to create this movie. Watching

00:43:38.679 --> 00:43:40.199
the behind the scenes, it really feels to me

00:43:40.199 --> 00:43:44.780
like this is a decadent new Hollywood disaster

00:43:44.780 --> 00:43:49.000
of so much money being spent for no reason. This

00:43:49.000 --> 00:43:51.440
should be a low budget movie. The effects are

00:43:51.440 --> 00:43:53.320
all just like lights coming through a door with

00:43:53.320 --> 00:43:57.730
smoke. the ships with their halos they're explaining

00:43:57.730 --> 00:43:59.369
like yeah well there's the halos through the

00:43:59.369 --> 00:44:01.690
fog then there's also like a lens flare that

00:44:01.690 --> 00:44:03.570
you get when there's no fog and that's overlaid

00:44:03.570 --> 00:44:04.670
and then there's like a different type of lens

00:44:04.670 --> 00:44:06.250
flare you get from like a different lens and

00:44:06.250 --> 00:44:07.949
that's overlaid so it's like a bunch of different

00:44:07.949 --> 00:44:09.949
types of overlaid and it's like yeah that's kind

00:44:09.949 --> 00:44:13.090
of it's i like that i like that i mean dude it

00:44:13.090 --> 00:44:16.679
looks really good it's It looks really cool.

00:44:16.840 --> 00:44:18.659
Like, I agree. It looks really cool. I mean,

00:44:18.659 --> 00:44:20.699
like, that stuff is, like, tech stuff that, like,

00:44:20.699 --> 00:44:22.980
I do think matters. Like, I think he cares about

00:44:22.980 --> 00:44:25.159
that stuff and that matters. Because all that

00:44:25.159 --> 00:44:26.760
stuff is, like, it's the simple little things

00:44:26.760 --> 00:44:28.619
where he's, like, I mean, in previous movies,

00:44:28.719 --> 00:44:31.360
people would always know a special effects shot's

00:44:31.360 --> 00:44:33.739
coming up because the grain would change. You

00:44:33.739 --> 00:44:35.360
know, and he made sure that didn't happen in

00:44:35.360 --> 00:44:36.940
this movie. You know, like, there's, like, a

00:44:36.940 --> 00:44:38.659
lot of little things. Yeah, but that's, I mean,

00:44:38.739 --> 00:44:44.489
Kubrick fixed that on 2001. Think of the movement

00:44:44.489 --> 00:44:48.949
of the camera. I'm just saying that I understand

00:44:48.949 --> 00:44:52.130
what you mean, but I also think the movie looks

00:44:52.130 --> 00:44:56.889
great. I think all the special effects sets don't

00:44:56.889 --> 00:45:00.389
look dated. They look good. I agree. I agree.

00:45:00.550 --> 00:45:03.130
And that's because they look weird in a way that's

00:45:03.130 --> 00:45:05.630
unique to them. But also tangible. They just

00:45:05.630 --> 00:45:09.210
feel real in a way. Yeah, I agree. I agree. There's

00:45:09.210 --> 00:45:11.909
nothing else really like it. It does not feel

00:45:11.909 --> 00:45:14.630
dated. The car feels of its own. Gravity. It

00:45:14.630 --> 00:45:18.989
doesn't necessarily feel real, but it feels convincing

00:45:18.989 --> 00:45:21.750
like nothing else. Like, you know what I mean?

00:45:21.789 --> 00:45:25.269
Like that alien, the robot alien head, like,

00:45:25.269 --> 00:45:28.070
yeah, it doesn't look real, but that looks so

00:45:28.070 --> 00:45:32.599
good. Like that looks so cool. i think like i

00:45:32.599 --> 00:45:35.179
mean it's i agree you've said that like at the

00:45:35.179 --> 00:45:37.280
same time like the the idea that they just like

00:45:37.280 --> 00:45:40.219
had to get the biggest set in the world for this

00:45:40.219 --> 00:45:44.099
landing strip yeah it's like what so that you

00:45:44.099 --> 00:45:46.260
can just why don't you just go out to the desert

00:45:46.260 --> 00:45:48.059
i don't like you've literally just got a bunch

00:45:48.059 --> 00:45:50.960
of trailers out in the middle of the desert and

00:45:50.960 --> 00:45:52.539
it's like well they needed to be able to control

00:45:52.539 --> 00:45:54.610
the environment it's like for what like Just

00:45:54.610 --> 00:45:56.710
for those little details, he was being really,

00:45:56.769 --> 00:45:59.949
really... Yeah, for a couple of shots. No, they

00:45:59.949 --> 00:46:01.309
really needed to control it so that they could

00:46:01.309 --> 00:46:02.949
try all these things that they didn't end up

00:46:02.949 --> 00:46:06.190
using. Yeah, exactly. The kids walking in fast

00:46:06.190 --> 00:46:08.869
motion, like bumblebees buzzing around. They

00:46:08.869 --> 00:46:10.929
wanted to experiment. All these different light

00:46:10.929 --> 00:46:13.369
things and all these crazy experiments that none

00:46:13.369 --> 00:46:14.989
of them went... If they knew what they were going

00:46:14.989 --> 00:46:16.449
to do going into it, it's like, oh, you don't

00:46:16.449 --> 00:46:17.889
need a stage for this. Let's just go shoot that

00:46:17.889 --> 00:46:21.190
on location in the middle of the desert. And

00:46:21.190 --> 00:46:25.380
it would cost a three -day... shoot. You know

00:46:25.380 --> 00:46:27.699
what I mean? It seems pretty convincing that

00:46:27.699 --> 00:46:30.320
that final sequence of Close Encounters is one

00:46:30.320 --> 00:46:34.280
of the most difficult things Spielberg ever had

00:46:34.280 --> 00:46:38.320
to create. It seems pretty obvious that they...

00:46:40.440 --> 00:46:42.960
He didn't exactly know what was going to work

00:46:42.960 --> 00:46:45.219
or what he needed. You know what I mean? That's

00:46:45.219 --> 00:46:49.920
why. That's why it's difficult is because he

00:46:49.920 --> 00:46:52.440
didn't know what he was doing going in. And that's

00:46:52.440 --> 00:46:56.079
why so much money was spent in that set, I'm

00:46:56.079 --> 00:46:59.159
sure. Like, they're burning huge amounts of money

00:46:59.159 --> 00:47:01.719
every day just to, like, be like. well, I got

00:47:01.719 --> 00:47:05.480
an idea. What if we try and sync this up this

00:47:05.480 --> 00:47:08.980
way? All that stuff is important. Later, we'll

00:47:08.980 --> 00:47:10.980
figure out from the footage what might work or

00:47:10.980 --> 00:47:12.239
what might not. All this stuff is important,

00:47:12.420 --> 00:47:15.400
though, because if you make a movie where you're

00:47:15.400 --> 00:47:17.739
just like, okay, we have a budget and we need

00:47:17.739 --> 00:47:19.659
to know what the budget's going to be, it's like,

00:47:19.679 --> 00:47:22.400
well, use CGI because we know exactly how long

00:47:22.400 --> 00:47:24.780
it takes to generate computer images, yada, yada,

00:47:24.780 --> 00:47:26.719
yada. You can do it all out in this mathematical

00:47:26.719 --> 00:47:29.880
way. But if you want to create a new special

00:47:29.880 --> 00:47:33.610
effect, That's like R &D. You've got to do research

00:47:33.610 --> 00:47:35.429
and development. That's the thing. I think that

00:47:35.429 --> 00:47:38.809
the R &D that's done on the set of Close Encounters,

00:47:38.889 --> 00:47:41.670
I'm sure, continued to pay off for the people

00:47:41.670 --> 00:47:43.469
that were there. Do you know that the special

00:47:43.469 --> 00:47:44.750
effects artist... I'm sure Spielberg learned

00:47:44.750 --> 00:47:50.829
a lot of things on those weeks and weeks of kind

00:47:50.829 --> 00:47:54.329
of wasting time, but also becoming a better director.

00:47:54.449 --> 00:47:57.690
The special effects supervisor on Close Encounters

00:47:57.690 --> 00:48:00.980
was Douglas Trumbull, who did... 2001 with Kubrick.

00:48:01.179 --> 00:48:05.199
Yeah, yeah, yeah. And he invented that, like,

00:48:05.260 --> 00:48:08.079
smoky water tank effect that they ended up using

00:48:08.079 --> 00:48:09.539
in lots of movies after that. Yeah, yeah, yeah.

00:48:09.639 --> 00:48:11.599
Like in Ghostbusters, just the cloud effect.

00:48:12.039 --> 00:48:14.260
He invented that for this movie. Apparently.

00:48:14.920 --> 00:48:19.320
I mean, his technician did or something. Right.

00:48:19.900 --> 00:48:24.099
So, yeah, I, like, earlier when I said there's

00:48:24.099 --> 00:48:25.739
not really much religion in this movie and you

00:48:25.739 --> 00:48:27.760
said, no, there is, the religion of Walt Disney.

00:48:28.329 --> 00:48:29.949
I was just going to say that there is actually

00:48:29.949 --> 00:48:32.630
like, as far as I can tell, there might be another

00:48:32.630 --> 00:48:34.590
instance, but the only mention of religion in

00:48:34.590 --> 00:48:38.130
this movie is near the end, all the people who

00:48:38.130 --> 00:48:39.869
are going to go onto the ship with the aliens

00:48:39.869 --> 00:48:41.730
in their orange jumpsuits are kind of read their

00:48:41.730 --> 00:48:43.469
rights or something. Like there's a priest there

00:48:43.469 --> 00:48:45.789
and they all kind of go in there to have like

00:48:45.789 --> 00:48:48.230
this little religious ceremony before they go

00:48:48.230 --> 00:48:50.929
on the ship. And I mean, maybe it's just the

00:48:50.929 --> 00:48:53.130
kind of thing that like soldiers do before they

00:48:53.130 --> 00:48:55.309
go to war, like that kind of thing. And he kind

00:48:55.309 --> 00:48:57.250
of just like, in case something happens, let's.

00:48:57.779 --> 00:49:00.219
pray or I don't know but I did think it was interesting

00:49:00.219 --> 00:49:02.639
that like that was the only mention of it in

00:49:02.639 --> 00:49:04.699
the movie and it's like very much connected to

00:49:04.699 --> 00:49:07.340
the scientists but then I also wanted to get

00:49:07.340 --> 00:49:09.539
into J. Allen Hynek because to keep doing this

00:49:09.539 --> 00:49:12.579
2001 connection like I said about like why should

00:49:12.579 --> 00:49:14.019
I think this movie is about aliens well a lot

00:49:14.019 --> 00:49:16.199
of it's about the propaganda and about the like

00:49:16.199 --> 00:49:18.980
narrative shaping that makes you go into the

00:49:18.980 --> 00:49:21.000
movie and not be surprised right like this is

00:49:21.000 --> 00:49:22.900
not a movie people go into being like what's

00:49:22.900 --> 00:49:25.460
this about and then like the alien scene happened

00:49:25.460 --> 00:49:29.369
right right I really like the inclusion of J.

00:49:29.449 --> 00:49:30.989
Allen Hynek in this. And I didn't know who he

00:49:30.989 --> 00:49:33.349
was when I was watching the movie. And during

00:49:33.349 --> 00:49:35.889
the end scene, there's like a shot of him. He

00:49:35.889 --> 00:49:38.010
like pops out in his blue suit and he's smoking

00:49:38.010 --> 00:49:39.889
a pipe. And then it cuts away. He doesn't have

00:49:39.889 --> 00:49:41.969
a line. He just shows up. And I'm just like,

00:49:42.050 --> 00:49:44.849
what the fuck? Is he wearing, he's like, he's

00:49:44.849 --> 00:49:46.869
an older man. He looks like Colonel Sanders or

00:49:46.869 --> 00:49:48.130
something. He looks authoritative and he's wearing

00:49:48.130 --> 00:49:49.949
glasses. Yeah, and he has a pipe. Yeah. I was

00:49:49.949 --> 00:49:52.039
wondering. On my last viewing, who that was.

00:49:52.159 --> 00:49:53.519
Me too. I was just like, who the fuck is that

00:49:53.519 --> 00:49:55.880
guy? He looks like he's the one who's actually

00:49:55.880 --> 00:49:58.860
in charge of everything. And it's not Truffaut.

00:49:58.960 --> 00:50:02.199
It's actually this guy. That occurred to me when

00:50:02.199 --> 00:50:05.519
I watched it last time. But he actually kind

00:50:05.519 --> 00:50:08.539
of is the guy from real life, huh? Yeah. So J.

00:50:08.639 --> 00:50:12.679
Allen Hynek was an astronomer, professor, and

00:50:12.679 --> 00:50:15.820
a ufologist. How do you say that? Ufologist?

00:50:16.159 --> 00:50:21.300
Ufologist? I guess. But he was involved in all

00:50:21.300 --> 00:50:24.119
the, he was the scientific advisor to the U .S.

00:50:24.119 --> 00:50:28.579
Air Force under the three UFO projects from like

00:50:28.579 --> 00:50:31.280
the 40s to the 60s. So like the first one was

00:50:31.280 --> 00:50:35.280
Project Sign from 47 to 49. The next one was

00:50:35.280 --> 00:50:39.440
Project Grudge from 49 to 51. And then Project

00:50:39.440 --> 00:50:44.159
Blue Book from 52 to 69. And so. He developed

00:50:44.159 --> 00:50:46.880
the close encounter classification system, yada,

00:50:46.880 --> 00:50:49.800
yada, yada. The thing that I think is important

00:50:49.800 --> 00:50:53.380
about this character is that his narrative is

00:50:53.380 --> 00:50:57.400
that he was a scientific man, a skeptic, who

00:50:57.400 --> 00:51:01.880
became a believer. That his job for the U .S.

00:51:02.019 --> 00:51:05.239
Air Force was mostly to discredit and debunk

00:51:05.239 --> 00:51:08.659
and find the scientific explanations for these

00:51:08.659 --> 00:51:15.059
miraculous events. The story is that he just

00:51:15.059 --> 00:51:18.980
became more and more convinced by the more miraculous

00:51:18.980 --> 00:51:22.820
explanations as time went on. And that when he

00:51:22.820 --> 00:51:25.480
made close encounters, he was already a believer.

00:51:26.000 --> 00:51:29.840
So he would have been seeing this whole thing

00:51:29.840 --> 00:51:33.440
as a wish fulfillment. You know, like a, they're

00:51:33.440 --> 00:51:35.239
really out there, let's make this movie that

00:51:35.239 --> 00:51:37.019
tries to show a true vision of what it would

00:51:37.019 --> 00:51:40.309
be like to meet the aliens. It is like Hynek's

00:51:40.309 --> 00:51:44.409
propagandic vision of the reality that there

00:51:44.409 --> 00:51:47.070
are actual beings out there that for some reason

00:51:47.070 --> 00:51:49.409
they're interested in us and they can fly light

00:51:49.409 --> 00:51:52.650
years. One of his observations when he was a

00:51:52.650 --> 00:51:55.969
skeptic is just like, why would all these things

00:51:55.969 --> 00:51:59.329
just be flying around here checking us out? You

00:51:59.329 --> 00:52:01.050
know what I mean? All these different looking

00:52:01.050 --> 00:52:03.829
things. I don't know. Maybe there's something

00:52:03.829 --> 00:52:05.230
I don't understand, but there just seems to be

00:52:05.230 --> 00:52:07.150
a fallacy at the core of this of just like, why

00:52:07.150 --> 00:52:08.929
the hell would this even be happening in the

00:52:08.929 --> 00:52:14.389
first place at all? What would be the goal or

00:52:14.389 --> 00:52:17.550
intent or interest? Writers have bent over backwards

00:52:17.550 --> 00:52:19.449
to find plenty of motives for why aliens would

00:52:19.449 --> 00:52:23.849
be here. But if you're looking at physics, what

00:52:23.849 --> 00:52:25.889
we understand to be the laws of physics. If you

00:52:25.889 --> 00:52:28.250
look at South America, thousands of people disappear

00:52:28.250 --> 00:52:32.829
every day. And you know where they go? The past.

00:52:33.070 --> 00:52:37.289
You got it. UFOs that are really... That's right.

00:52:37.369 --> 00:52:40.170
Time machines, yeah. Time machines. Well, yeah,

00:52:40.210 --> 00:52:43.190
that's the idea, though. To me, part of the thing

00:52:43.190 --> 00:52:45.269
is the idea of disappearing people being connected

00:52:45.269 --> 00:52:47.130
to this is interesting. No, no, I think the idea

00:52:47.130 --> 00:52:49.190
of disappearing people is connected for sure.

00:52:49.449 --> 00:52:53.389
And obviously we know that now that there are

00:52:53.389 --> 00:52:56.269
definitely crazy human trafficking rings all

00:52:56.269 --> 00:52:58.130
over the place and that the elite are involved

00:52:58.130 --> 00:53:00.559
in them. And that some of them involve children.

00:53:00.780 --> 00:53:02.980
A lot of them do, you know, women and children.

00:53:03.219 --> 00:53:06.960
It makes it stranger that there is this one giant,

00:53:07.079 --> 00:53:09.860
you know, Pinocchio puppet guy and then just,

00:53:09.920 --> 00:53:12.360
yeah, a bunch of 10 -year -old girls and a robot

00:53:12.360 --> 00:53:15.119
boy that's also a 10 -year -old boy. A robot

00:53:15.119 --> 00:53:18.760
boy. That makes that strange that there's all

00:53:18.760 --> 00:53:20.519
this weird government conspiracy surrounding

00:53:20.519 --> 00:53:22.219
that. There is another Spielberg movie about

00:53:22.219 --> 00:53:24.960
a robot boy with a Pinocchio complex, isn't there?

00:53:25.179 --> 00:53:28.679
Yeah. Anyway, so I kind of see this thing as,

00:53:28.719 --> 00:53:31.900
like, about Hynek is, like, the way Spielberg

00:53:31.900 --> 00:53:35.519
describes this in his narrative is almost like,

00:53:35.659 --> 00:53:38.260
well, Spielberg describes himself as being someone

00:53:38.260 --> 00:53:40.659
who went the opposite direction, right? Like,

00:53:40.739 --> 00:53:44.039
I was a believer who became a skeptic. Right.

00:53:44.099 --> 00:53:46.760
And his reasoning for becoming a skeptic is basically,

00:53:46.900 --> 00:53:49.119
like, yeah, ever since cell phones could take

00:53:49.119 --> 00:53:51.739
videos and, like, there's not any. good evidence

00:53:51.739 --> 00:53:55.820
which is like but he's he's gone a little bit

00:53:55.820 --> 00:53:58.219
back and forth on it in the more recent press

00:53:58.219 --> 00:54:00.480
tour thing is man now he's been talking more

00:54:00.480 --> 00:54:03.199
just like yeah i believe in a higher thing and

00:54:03.199 --> 00:54:06.010
whatever even in close encounters I forget what

00:54:06.010 --> 00:54:07.750
the scene is, but there's a journalist who says,

00:54:07.789 --> 00:54:10.309
like, photographs are being taken everywhere

00:54:10.309 --> 00:54:12.710
all the time. Like, how would these not have

00:54:12.710 --> 00:54:14.829
been photographed by now? Like, that's something

00:54:14.829 --> 00:54:16.349
that's, like, brought up. And he says, we've

00:54:16.349 --> 00:54:18.409
never been able to take a picture of a car crash

00:54:18.409 --> 00:54:19.610
as it happens. Exactly, yeah, yeah, yeah. Or

00:54:19.610 --> 00:54:21.769
a plane crash. Yeah, which is good. He's like,

00:54:21.849 --> 00:54:23.449
yeah, but now we can. Yeah, but now we can. We

00:54:23.449 --> 00:54:25.070
see that all the time. Exactly, yeah, yeah, yeah.

00:54:25.090 --> 00:54:26.829
You have to turn that off to avoid it in your

00:54:26.829 --> 00:54:31.110
feed, so. Also, the Cotopaxi was found in 2020.

00:54:31.789 --> 00:54:33.909
Yeah, yeah. I mean, it was found in the 80s,

00:54:33.909 --> 00:54:37.349
right? It was identified. Yeah. But those five

00:54:37.349 --> 00:54:42.030
planes from 45 are still missing. So I like this

00:54:42.030 --> 00:54:44.389
thing of like J. Allen Hynek was going one way

00:54:44.389 --> 00:54:46.710
and Spielberg was going the other way. But there's

00:54:46.710 --> 00:54:49.030
this other part of the story where like this

00:54:49.030 --> 00:54:52.090
writer named John French wrote about how this

00:54:52.090 --> 00:54:54.150
entire narrative about Hynek is just not true.

00:54:54.269 --> 00:54:57.010
That like he's always been a believer and that

00:54:57.010 --> 00:55:00.030
this was just a narrative that got created to...

00:55:01.869 --> 00:55:05.190
legitimize UFOs as a narrative. Okay. And so

00:55:05.190 --> 00:55:11.869
if Jayon Hynek was never a skeptic, what if Spielberg

00:55:11.869 --> 00:55:13.889
was never a believer and that's his narrative?

00:55:15.610 --> 00:55:17.610
That would lend a lot of credit to him being

00:55:17.610 --> 00:55:22.329
like way more cynical and deeply thought through

00:55:22.329 --> 00:55:24.909
when it comes to this movie. Right. And just

00:55:24.909 --> 00:55:27.030
connects to Kubrick and the cover stories and

00:55:27.030 --> 00:55:31.119
the promo and all this stuff. Right. And the

00:55:31.119 --> 00:55:35.280
fact that J. Allen Hynek is the UFO expert, quote

00:55:35.280 --> 00:55:37.960
unquote, who was brought onto the movie to give

00:55:37.960 --> 00:55:40.719
Spielberg all the information about UFOs, right?

00:55:41.579 --> 00:55:45.900
Very 2001, very interstellar, very, you know.

00:55:46.119 --> 00:55:49.519
Right. So... He's basically the modern version

00:55:49.519 --> 00:55:53.380
of, yeah, Wernher von Braun. Exactly. Helping

00:55:53.380 --> 00:55:58.010
out Kubrick. Yeah. Interesting. There's a lot

00:55:58.010 --> 00:56:00.429
here, and I think more is going to come up as

00:56:00.429 --> 00:56:02.269
we get into Disclosure Day. So do you want to

00:56:02.269 --> 00:56:05.570
move on to that? Well, yeah, but there's the

00:56:05.570 --> 00:56:09.510
other part of it that I really dig. What's happening

00:56:09.510 --> 00:56:12.050
in the very end during the actual encounter,

00:56:12.489 --> 00:56:16.010
I just think it's like we've been talking a lot

00:56:16.010 --> 00:56:19.050
about this being a conversation of Spielberg's

00:56:19.050 --> 00:56:22.519
father. leaving and whatnot. But I also feel

00:56:22.519 --> 00:56:23.820
like this is Spielberg talking about himself.

00:56:24.079 --> 00:56:27.179
And I think that the idea that the way that you

00:56:27.179 --> 00:56:31.659
talk to these aliens is through, you know, light

00:56:31.659 --> 00:56:35.980
and music. Or the way that they speak to us is

00:56:35.980 --> 00:56:38.139
through light and music. And that sort of thing

00:56:38.139 --> 00:56:40.159
I think is very interesting because that to me,

00:56:40.179 --> 00:56:43.179
that connects to the idea of what Spielberg is

00:56:43.179 --> 00:56:46.679
doing as his career for, yeah, the Dollar Eye

00:56:46.679 --> 00:56:50.360
Pyramid. You know? You trying to make a case

00:56:50.360 --> 00:56:52.840
that he's, like, working for the government?

00:56:53.019 --> 00:56:54.500
That he creates propaganda for them or something?

00:56:54.940 --> 00:56:59.179
Well, I think that it's interesting to choose

00:56:59.179 --> 00:57:04.579
Truffaut to be this sort of government guy. Yeah,

00:57:04.579 --> 00:57:06.539
definitely. Because, I mean, obviously there's

00:57:06.539 --> 00:57:08.840
the French New Wave -ness of, you know, the politics

00:57:08.840 --> 00:57:10.719
of that side of things and whatnot not being,

00:57:10.780 --> 00:57:14.869
you know. g -men sort of people but it's also

00:57:14.869 --> 00:57:20.210
just like the truffaut is such a kind soul seemingly

00:57:20.210 --> 00:57:23.070
or at least like you know what i mean um his

00:57:23.070 --> 00:57:25.969
movies are so empathetic there's something extremely

00:57:25.969 --> 00:57:30.710
soft about it um and goofy and there's something

00:57:30.710 --> 00:57:33.530
that i think spielberg admires in that but i

00:57:33.530 --> 00:57:37.090
also feel like he's like a spielberg presence

00:57:37.090 --> 00:57:38.650
in this movie or at least something that spielberg

00:57:38.650 --> 00:57:41.250
aspires to that's why that's why he chose him

00:57:41.250 --> 00:57:43.489
yeah for sure yeah he's putting him in a position

00:57:43.489 --> 00:57:46.269
earlier i mean he's putting him in a position

00:57:46.269 --> 00:57:48.650
kind of like kubrick puts that lookalike in the

00:57:48.650 --> 00:57:51.070
position in in the in the moon base sequence

00:57:51.070 --> 00:57:53.869
he's taking the photos who's also the propagandist

00:57:53.869 --> 00:57:55.550
for the government like you know what i mean

00:57:55.550 --> 00:57:58.309
he's he's putting the the filmmaker director

00:57:58.309 --> 00:58:03.730
guy here who's talking to ufos and whatever There's

00:58:03.730 --> 00:58:07.070
some weird resonance there. It's like Spielberg

00:58:07.070 --> 00:58:10.710
has to be the one to deliver the message. I mean,

00:58:10.710 --> 00:58:15.389
honestly, I saw Bob Balaban as the Spielberg

00:58:15.389 --> 00:58:18.289
with his baseball cap and his beard. He's the

00:58:18.289 --> 00:58:20.130
one who kind of looks the most like Spielberg.

00:58:20.389 --> 00:58:22.429
And he's the translator. He's the one who has

00:58:22.429 --> 00:58:28.590
to translate between the government and Truffaut

00:58:28.590 --> 00:58:31.909
and the natives and Truffaut. It's funny. I can

00:58:31.909 --> 00:58:34.920
even hear his accent. I can barely speak French

00:58:34.920 --> 00:58:37.019
and I can still be like, oh, Bob Barabian has

00:58:37.019 --> 00:58:41.800
an American accent. He cannot speak French fluently.

00:58:42.019 --> 00:58:44.000
Which is funny. And then Truffaut couldn't speak

00:58:44.000 --> 00:58:46.920
English. His lines actually are pretty hard to

00:58:46.920 --> 00:58:49.639
understand. I had to rewind to get that one line

00:58:49.639 --> 00:58:51.539
where he's like, it is an event sociological.

00:58:51.980 --> 00:58:54.239
Yeah, it's the best. I love that line. It's an

00:58:54.239 --> 00:58:57.119
event sociological. Yeah, so I mean, I think

00:58:57.119 --> 00:59:00.949
including Truffaut makes it... very connected

00:59:00.949 --> 00:59:03.650
to a conversation about filmmaking as well and

00:59:03.650 --> 00:59:06.250
what filmmaking is and maybe there is this kind

00:59:06.250 --> 00:59:09.369
of passing of the torch from true foe to a much

00:59:09.369 --> 00:59:15.630
more sticky hard to navigate and keep your morals

00:59:15.630 --> 00:59:19.150
kind of environment that spielberg is now you

00:59:19.150 --> 00:59:23.010
know has the dominion of and uh is he the right

00:59:23.010 --> 00:59:26.440
person for the job can he continue to put the

00:59:26.440 --> 00:59:28.639
right things out there? Or is he kind of just,

00:59:28.679 --> 00:59:30.099
like, putting the wrong things out there? And

00:59:30.099 --> 00:59:34.739
it's hard to say, man. It is. Well, to me, it's

00:59:34.739 --> 00:59:37.059
interesting because there's a big part of this

00:59:37.059 --> 00:59:39.579
movie that you could kind of say is connected

00:59:39.579 --> 00:59:41.960
to, like, predictive programming. Sure, yeah.

00:59:42.360 --> 00:59:44.679
And MKUltra, like you said, and just, like, all

00:59:44.679 --> 00:59:49.320
those kind of secret 50s... What do you call

00:59:49.320 --> 00:59:54.099
this? The study of, like, parapsychology? That

00:59:54.099 --> 00:59:56.420
kind of stuff? Yeah, yeah, yeah, like the Jedi

00:59:56.420 --> 00:59:58.800
Knights and whatever. Hynek was into that shit.

00:59:58.980 --> 01:00:01.019
The ministeric goats. What if they did figure

01:00:01.019 --> 01:00:03.920
out parapsychology and we're all living in the

01:00:03.920 --> 01:00:06.300
movie they created? That kind of thing. Like,

01:00:06.300 --> 01:00:07.900
they just have the knowledge. They figured it

01:00:07.900 --> 01:00:10.000
out, and that's why they get to control us, and

01:00:10.000 --> 01:00:12.280
they just keep it hidden from us. Whatever the

01:00:12.280 --> 01:00:14.940
truth is, whatever the secret, that secret is

01:00:14.940 --> 01:00:17.860
what's going to give you power, and they're definitely

01:00:17.860 --> 01:00:20.719
afraid of people having that secret. That's,

01:00:20.719 --> 01:00:22.619
like, the absolute vibe I get from Disclosure

01:00:22.619 --> 01:00:25.880
Day as well. Oh, sure. Disclosure Day, I think,

01:00:25.880 --> 01:00:29.519
continues a lot of this conspiracy theory vibe

01:00:29.519 --> 01:00:33.739
stuff and many steric goat stuff to an extreme.

01:00:33.960 --> 01:00:36.320
Yeah. But I think it like completely already

01:00:36.320 --> 01:00:39.280
is there in Close Encounters of the Third Kind,

01:00:39.380 --> 01:00:43.199
which is a movie about somebody having a 180

01:00:43.199 --> 01:00:46.619
degree like stopping caring about their family

01:00:46.619 --> 01:00:49.829
and leaving, which like. Also, like, is just

01:00:49.829 --> 01:00:52.050
a baby boomer, right? Like, it is just sort of

01:00:52.050 --> 01:00:54.429
like the hippie movement or at least the self

01:00:54.429 --> 01:00:56.489
-improvement movement or whatever, which is also

01:00:56.489 --> 01:00:58.690
where the ministerial government stuff all comes

01:00:58.690 --> 01:01:00.530
out of and whatnot. It's all new around that

01:01:00.530 --> 01:01:02.349
time. I would argue that he was already that

01:01:02.349 --> 01:01:04.849
before he gets the idea, though. You know, before

01:01:04.849 --> 01:01:07.409
the aliens beam him or whatever. He seems very

01:01:07.409 --> 01:01:08.849
just like he doesn't want to help us some of

01:01:08.849 --> 01:01:10.650
this homework. He doesn't like he just wants

01:01:10.650 --> 01:01:12.329
to play with his toy trains. He wants to bring

01:01:12.329 --> 01:01:14.030
everyone to see Pinocchio. That's because he's

01:01:14.030 --> 01:01:16.329
already American and his religion is Pinocchio

01:01:16.329 --> 01:01:18.170
and whatnot. But that's like. something that

01:01:18.170 --> 01:01:20.590
then can be switched on in him that can allow,

01:01:20.730 --> 01:01:23.929
like, it's all about the like predictive program.

01:01:24.150 --> 01:01:27.050
Yeah. Like the media that he's been fed his entire

01:01:27.050 --> 01:01:30.489
life. So when the moment comes that you need

01:01:30.489 --> 01:01:32.909
to be turned on, like the mentoring candidate.

01:01:33.230 --> 01:01:37.130
Yeah, I got you. Exactly. And like, if you, that

01:01:37.130 --> 01:01:40.070
monarch slave sort of thing, that idea that's

01:01:40.070 --> 01:01:42.309
been around, that's, you know, the, there's no

01:01:42.309 --> 01:01:46.809
place like home thing. I don't know. There's,

01:01:46.809 --> 01:01:49.420
there's, This is in a lot of Spielberg's movies,

01:01:49.579 --> 01:01:53.119
but there's the Wizard of Oz, Monarch, Slavery,

01:01:53.340 --> 01:01:57.440
MKUltra, you know, look up those phrases on Google

01:01:57.440 --> 01:02:00.480
and they're like connected to this shit. Yeah.

01:02:00.739 --> 01:02:03.679
Scary stuff to consider. But let's take a break

01:02:03.679 --> 01:02:05.360
and move on to Disclosure Day and we can keep

01:02:05.360 --> 01:02:07.280
like talking about just both of them together.

01:02:07.599 --> 01:02:10.099
Sounds good. Sounds good. Well, I guess you've

01:02:10.099 --> 01:02:15.159
noticed something with the little stream of the

01:02:15.159 --> 01:02:31.530
dead. It's okay. I'm still there. I can't describe

01:02:31.530 --> 01:02:39.730
it, what I'm feeling. Why do you walk? I just

01:02:39.730 --> 01:02:42.630
want to know that it's really happening. Cool,

01:02:42.650 --> 01:02:45.800
cool, cool. All right, back from the break. Really

01:02:45.800 --> 01:02:48.119
enjoy talking about Spielberg. It's exciting

01:02:48.119 --> 01:02:54.659
to find more meaning and longevity and permanence

01:02:54.659 --> 01:02:56.840
and importance to all these projects that were

01:02:56.840 --> 01:02:59.719
the things that initially got me into movies.

01:03:00.280 --> 01:03:03.960
And man, he's really just taken us on a journey.

01:03:04.940 --> 01:03:06.980
Especially if the stuff we're gleaning from these

01:03:06.980 --> 01:03:10.179
movies is what we're supposed to. It feels like

01:03:10.179 --> 01:03:13.039
it's very important that you find things on your

01:03:13.039 --> 01:03:16.239
own that you're not told. And I think that's

01:03:16.239 --> 01:03:18.480
a big part of Disclosure Day and Spielberg's

01:03:18.480 --> 01:03:21.519
philosophy. We kind of talked to him as being

01:03:21.519 --> 01:03:24.920
sort of an improviser. You've also talked about

01:03:24.920 --> 01:03:27.880
how he doesn't really make storyboards a lot

01:03:27.880 --> 01:03:31.440
of the time. He will kind of show up to set and

01:03:31.440 --> 01:03:33.539
look at the location and be like, okay, we should

01:03:33.539 --> 01:03:36.320
put the camera here and we'll do this. He's capable

01:03:36.320 --> 01:03:39.940
of creating a vision, and then that vision tells

01:03:39.940 --> 01:03:42.510
him what he needs to do in the moment. Even if

01:03:42.510 --> 01:03:45.030
he doesn't totally understand it, I really do

01:03:45.030 --> 01:03:47.170
think Spielberg is a guy working on a level where

01:03:47.170 --> 01:03:51.090
he is becoming an antenna to God or something.

01:03:51.150 --> 01:03:54.110
He's becoming an antenna to something spiritual

01:03:54.110 --> 01:03:56.630
that he doesn't fully understand, but he trusts

01:03:56.630 --> 01:04:00.630
in it and follows it. I just find that that's

01:04:00.630 --> 01:04:04.170
probably the philosophy he has based on everything

01:04:04.170 --> 01:04:06.829
we know about the way he works and the filmmakers

01:04:06.829 --> 01:04:11.110
he aspires to. or like the time period of filmmaking,

01:04:11.309 --> 01:04:13.829
the style of filmmaking that he was inspired

01:04:13.829 --> 01:04:16.650
by. You know, just like talking about him like

01:04:16.650 --> 01:04:19.510
he is a new Hollywood filmmaker, like he is one

01:04:19.510 --> 01:04:22.630
of these filmmakers who really was trying to

01:04:22.630 --> 01:04:25.730
make art in the way that the filmmakers of the

01:04:25.730 --> 01:04:29.789
60s did, but do it in this technically seductive

01:04:29.789 --> 01:04:33.710
way. Makes him more like a Bertolucci than it

01:04:33.710 --> 01:04:38.269
does a Godard or whatever. But I really see this

01:04:38.269 --> 01:04:41.369
in the character of Margaret Fairchild. Definitely.

01:04:41.409 --> 01:04:45.789
It's so crazy that this comes after The Fablemans

01:04:45.789 --> 01:04:49.210
and Ready Player One. I know that West Side Story

01:04:49.210 --> 01:04:50.570
is thrown in there, too. And there might be more

01:04:50.570 --> 01:04:52.630
significance to that than I'm realizing. But

01:04:52.630 --> 01:04:57.449
these movies just feel so end of career. I'm

01:04:57.449 --> 01:05:01.760
giving you guys my parting words. Talking about

01:05:01.760 --> 01:05:03.840
what my career has been, especially starting

01:05:03.840 --> 01:05:06.119
with Ready Player One. Yeah, I felt like Ready

01:05:06.119 --> 01:05:09.179
Player One could have been his last movie. And

01:05:09.179 --> 01:05:10.940
then he made The Fablemans. It's like, oh, well,

01:05:11.119 --> 01:05:13.920
no, this is your last movie. And now this is

01:05:13.920 --> 01:05:18.659
even more. Oh, actually, no, this is it. This

01:05:18.659 --> 01:05:21.099
is the movie that ties back to Close Encounters

01:05:21.099 --> 01:05:24.000
and the beginning of his career and tracks the

01:05:24.000 --> 01:05:28.449
change in him over his life, I think. There might

01:05:28.449 --> 01:05:30.769
be a more cynical read, but I just don't believe

01:05:30.769 --> 01:05:33.230
that Spielberg would make Close Encounters again

01:05:33.230 --> 01:05:36.570
for no reason. It's very clear that this is a

01:05:36.570 --> 01:05:39.590
spiritual successor and it has so many of the

01:05:39.590 --> 01:05:43.130
same kinds of sequences and there's so many things

01:05:43.130 --> 01:05:45.809
that rhyme and there's a lot of mirrors and stuff

01:05:45.809 --> 01:05:47.489
like that. But I don't think it's saying the

01:05:47.489 --> 01:05:50.030
same thing. No, I don't think so either. I think

01:05:50.030 --> 01:05:54.030
it's closer in its conversation to... something

01:05:54.030 --> 01:05:56.070
like War of the Worlds or something, than it

01:05:56.070 --> 01:05:58.969
is even to the conversation in Close Encounters.

01:05:59.070 --> 01:06:01.449
Yeah, and I think we're trying to give Spielberg

01:06:01.449 --> 01:06:03.309
a lot of credit, even at his young age, that

01:06:03.309 --> 01:06:05.829
maybe the aliens in Close Encounters really do

01:06:05.829 --> 01:06:10.280
represent something. Well, he claims now that

01:06:10.280 --> 01:06:14.599
he absolutely did believe back then. Now, if

01:06:14.599 --> 01:06:16.480
he's talking about believing in aliens, maybe

01:06:16.480 --> 01:06:18.079
that's what he's talking about. Or if he's talking

01:06:18.079 --> 01:06:19.840
about believing in the corporate America that

01:06:19.840 --> 01:06:23.079
he was being seduced by and becoming sort of

01:06:23.079 --> 01:06:26.219
a spokesperson for through light and music and

01:06:26.219 --> 01:06:29.360
whatnot, then it's that. You know what I mean?

01:06:29.460 --> 01:06:32.159
Yeah, but I also think he has embraced light

01:06:32.159 --> 01:06:35.309
and music, and I don't think... He believes that

01:06:35.309 --> 01:06:38.190
light and music, art, technology, I don't think

01:06:38.190 --> 01:06:40.010
he believes these things are inherently evil.

01:06:41.030 --> 01:06:44.929
I, as an artist and a person who uses technology

01:06:44.929 --> 01:06:48.429
to make my art, can't believe that either. I

01:06:48.429 --> 01:06:51.250
like to believe that these are just tools. It's

01:06:51.250 --> 01:06:54.329
a spectacle, though. It's a tool. It's a spectacle,

01:06:54.469 --> 01:06:57.429
but it's for a purpose. Yeah, it's a spectacle,

01:06:57.590 --> 01:07:00.449
but it's for a purpose. Purpose is communication.

01:07:00.570 --> 01:07:04.340
The technology can create more and more. effective

01:07:04.340 --> 01:07:07.219
ways of communicating essentially right and all

01:07:07.219 --> 01:07:10.320
these technologies and even art can also be like

01:07:10.320 --> 01:07:12.599
described in mathematics i think is something

01:07:12.599 --> 01:07:16.480
that's very important too because music can be

01:07:16.480 --> 01:07:18.519
broken down to numbers and mathematics for sure

01:07:18.519 --> 01:07:21.119
if you're confused about this watch donald and

01:07:21.119 --> 01:07:27.940
math magic land yeah that's a formative great

01:07:27.940 --> 01:07:31.039
it's a great uh disney cartoon about pythagoras

01:07:31.039 --> 01:07:34.929
and uh freemasonry Not for sure, but yeah, so

01:07:34.929 --> 01:07:38.150
I ultimately like to believe that these things

01:07:38.150 --> 01:07:42.469
are tools. I ultimately agree with you that these

01:07:42.469 --> 01:07:47.489
things, when left to kind of amorally develop

01:07:47.489 --> 01:07:51.409
on their own terms because of materialistic goals,

01:07:51.750 --> 01:07:54.610
it can become a tool of evil. It can become a

01:07:54.610 --> 01:07:56.489
tool of propaganda and all this kind of stuff.

01:07:57.119 --> 01:07:58.599
But like, I guess the point is like propaganda

01:07:58.599 --> 01:08:01.039
can be used for good theoretically. And like

01:08:01.039 --> 01:08:03.760
if Spielberg is like putting a good message out

01:08:03.760 --> 01:08:07.079
there, then that's not a bad thing in my opinion

01:08:07.079 --> 01:08:10.059
or whatever. But it seems to me like Spielberg

01:08:10.059 --> 01:08:13.800
doesn't exactly put the message that he wants

01:08:13.800 --> 01:08:17.680
you to hear up front. You know, like it feels

01:08:17.680 --> 01:08:19.239
like the message that you're supposed to get

01:08:19.239 --> 01:08:21.079
out of the movie is something that. you have

01:08:21.079 --> 01:08:23.560
to work for a little bit. It's not just like

01:08:23.560 --> 01:08:26.260
given to you. You have to kind of like think

01:08:26.260 --> 01:08:28.960
about the movie. And honestly, he's made the

01:08:28.960 --> 01:08:31.460
access points easier and easier. Like his movies

01:08:31.460 --> 01:08:33.659
are so much less seductive now. So they almost

01:08:33.659 --> 01:08:36.659
become surreal and beg for interpretation. Like

01:08:36.659 --> 01:08:39.399
for one thing, like while I was watching disclosure

01:08:39.399 --> 01:08:42.460
day, I have to say I was absolutely bewildered.

01:08:42.970 --> 01:08:44.810
Like I had no idea what the fuck was going on

01:08:44.810 --> 01:08:46.750
the entire movie. And I found the plot to be

01:08:46.750 --> 01:08:49.550
like incoherent. And it's like the most like

01:08:49.550 --> 01:08:53.430
lazy movie as far as like, well, she just like

01:08:53.430 --> 01:08:55.229
knows where she needs to go because it's in her

01:08:55.229 --> 01:08:56.670
head. Like it's just all this kind of stuff where

01:08:56.670 --> 01:08:58.109
it's like all this stuff would be considered

01:08:58.109 --> 01:09:00.729
kind of the most like lazy writing trips or whatever.

01:09:01.530 --> 01:09:03.409
And I'm just like, okay, so eventually you're

01:09:03.409 --> 01:09:04.170
going to explain. It's not the type of movie

01:09:04.170 --> 01:09:06.329
that I would take seriously by somebody else

01:09:06.329 --> 01:09:08.869
enough to find anything. Exactly. That, I think,

01:09:08.869 --> 01:09:11.689
is part of the thing. Like Tenet, too. If this

01:09:11.689 --> 01:09:15.109
was a no -name person making this movie, I would

01:09:15.109 --> 01:09:17.270
kind of be like, okay, well, this is lazy and

01:09:17.270 --> 01:09:19.250
it's probably not about anything. But it's very

01:09:19.250 --> 01:09:22.439
different when a person... who is Spielberg,

01:09:22.520 --> 01:09:25.460
is making a movie that's talking about the things

01:09:25.460 --> 01:09:28.640
that this movie is talking about. A large part

01:09:28.640 --> 01:09:32.819
of this is what the metatextual stuff adds to

01:09:32.819 --> 01:09:36.159
the movie and allows you to find within the movie.

01:09:36.579 --> 01:09:38.380
But what I was going to say is that the entire

01:09:38.380 --> 01:09:40.560
movie I was bewildered and confused, and I can't

01:09:40.560 --> 01:09:43.220
even say I was actually loving it because I was

01:09:43.220 --> 01:09:46.399
really alienated. It just felt like one of the

01:09:46.399 --> 01:09:49.699
clunkiest Spielberg movies in a while. Definitely

01:09:49.699 --> 01:09:52.520
not like a return to his kind of Jurassic Park

01:09:52.520 --> 01:09:54.460
vibe or like the kind of thing it's being pitched

01:09:54.460 --> 01:09:56.399
as. It feels much more like the movies he's been

01:09:56.399 --> 01:10:00.300
making the past five years. It feels a lot to

01:10:00.300 --> 01:10:03.000
me like The Post. Yeah, exactly. Where it's about

01:10:03.000 --> 01:10:05.680
just like a release of, you know, hidden government

01:10:05.680 --> 01:10:08.420
information. And the action scenes and stuff

01:10:08.420 --> 01:10:12.439
feel really like pointless. Perfunctory. Profunctory,

01:10:12.460 --> 01:10:15.939
yeah, exactly. Yeah, dude, like that train sequence

01:10:15.939 --> 01:10:19.000
where the car, like it's like, why is this even,

01:10:19.100 --> 01:10:20.420
this isn't even the type of movie where this

01:10:20.420 --> 01:10:22.739
happens. It feels like, it's like if you put

01:10:22.739 --> 01:10:25.960
this train sequence in the middle of The Post.

01:10:26.300 --> 01:10:30.260
Or even Close Encounters, man. Yeah, exactly.

01:10:30.659 --> 01:10:34.000
It felt, yeah, I agree. And I felt similarly

01:10:34.000 --> 01:10:37.000
about some of the action sequences in my rewatch

01:10:37.000 --> 01:10:39.760
of Crystal Skull. Yeah, yeah, they're really

01:10:39.760 --> 01:10:42.090
perfunctory and like, They're not his best action

01:10:42.090 --> 01:10:45.449
scenes either because they also... They don't

01:10:45.449 --> 01:10:47.369
feel like it's what he's interested in. Yeah,

01:10:47.409 --> 01:10:48.369
it doesn't feel like what he's interested in.

01:10:48.369 --> 01:10:50.350
They don't feel like he's interested in the action

01:10:50.350 --> 01:10:53.489
scenes. They feel like he's doing them as a like,

01:10:53.550 --> 01:10:56.329
I guess this is the scene where, okay, you're

01:10:56.329 --> 01:10:58.609
doing this. It's the spectacle, man. Instead,

01:10:58.829 --> 01:11:02.670
it's like interesting for some sort of other

01:11:02.670 --> 01:11:06.449
reason or something other than the action. I'm

01:11:06.449 --> 01:11:08.109
surprised people are responding to it so well

01:11:08.109 --> 01:11:10.649
because... It is not. Well, I think that's what

01:11:10.649 --> 01:11:12.510
we're talking about right now is the people who

01:11:12.510 --> 01:11:14.729
have seen it in the first day that it's been

01:11:14.729 --> 01:11:16.529
out. Exactly. People are going to turn against

01:11:16.529 --> 01:11:18.890
the people who are responding to it. Well, maybe

01:11:18.890 --> 01:11:22.210
I don't see this becoming a super successful.

01:11:23.289 --> 01:11:25.350
spielberg movie i think it'd be really interesting

01:11:25.350 --> 01:11:28.329
if it was i've been shocked by the types of things

01:11:28.329 --> 01:11:31.210
that have become successes in recent times so

01:11:31.210 --> 01:11:33.090
well like backgrounds you know things like poor

01:11:33.090 --> 01:11:36.029
things winning best picture or something like

01:11:36.029 --> 01:11:39.010
is you know insane yeah well i mean back rooms

01:11:39.010 --> 01:11:40.949
yeah no that doesn't really surprise me that's

01:11:40.949 --> 01:11:44.029
uh but um yeah i think you're right that like

01:11:44.029 --> 01:11:47.449
i haven't seen um back rooms i know you have

01:11:47.449 --> 01:11:51.550
but i would imagine that like disclosure day

01:11:51.550 --> 01:11:54.460
coming out like The Week After by Spielberg.

01:11:54.880 --> 01:11:56.960
I feel like for most people, it's just not going

01:11:56.960 --> 01:11:59.420
to read as a movie of the moment. It's going

01:11:59.420 --> 01:12:01.859
to read as an out -of -touch boomer sentiment

01:12:01.859 --> 01:12:05.680
or something. Yeah, I think partly it does feel

01:12:05.680 --> 01:12:08.159
like an old -fashioned conversation. It doesn't

01:12:08.159 --> 01:12:10.100
feel to me like the conversation of the moment,

01:12:10.220 --> 01:12:12.800
even though it is trying to be. Well, I think

01:12:12.800 --> 01:12:14.739
it is very much about the moment, ultimately.

01:12:14.979 --> 01:12:17.380
But we'll get there. No, yeah, yeah, yeah, sure.

01:12:19.000 --> 01:12:21.760
But I think that it's... It's the understanding

01:12:21.760 --> 01:12:24.359
of a boomer of the current moment that I don't

01:12:24.359 --> 01:12:27.720
know that he is completely in touch with or has

01:12:27.720 --> 01:12:31.600
the same sort of status in that he used to. No,

01:12:31.619 --> 01:12:34.100
he doesn't. Basically, he's not the guy who can

01:12:34.100 --> 01:12:37.119
actually deliver the message, and people have

01:12:37.119 --> 01:12:40.220
not caught on to what he's doing, and they just

01:12:40.220 --> 01:12:44.239
see him as being this overly sentimental boomer

01:12:44.239 --> 01:12:48.579
who has a very simple, happy, rich guy view of

01:12:48.579 --> 01:12:51.609
the world or whatever. Because another thing

01:12:51.609 --> 01:12:53.970
I like, like I said, while I was watching this

01:12:53.970 --> 01:12:56.430
movie, I honestly like wasn't enthralled by it.

01:12:56.510 --> 01:12:59.630
I found it to be like kind of boring and like,

01:12:59.689 --> 01:13:01.649
yeah, not action packed, not a lot of movement,

01:13:01.710 --> 01:13:03.750
a lot of scenes where characters talk, but like

01:13:03.750 --> 01:13:06.609
it doesn't feel natural. The dialogue's pretty

01:13:06.609 --> 01:13:10.289
clunky and it feels like everything is actually

01:13:10.289 --> 01:13:14.130
like very upfront. Like the whole entire sequence

01:13:14.130 --> 01:13:16.729
where basically he shows Jane the truth, like

01:13:16.729 --> 01:13:19.319
he shows her the videos of the Martians. The

01:13:19.319 --> 01:13:20.840
first thing I thought was like, huh, he just

01:13:20.840 --> 01:13:23.479
went with little green men, huh? Why would he

01:13:23.479 --> 01:13:26.420
do that? You know, it's just like it's not a

01:13:26.420 --> 01:13:28.460
thing that's going to wow anybody. It's just

01:13:28.460 --> 01:13:30.640
going to be like, oh, like this is a fucking

01:13:30.640 --> 01:13:35.199
50s alien thing. Like, what the fuck? You know

01:13:35.199 --> 01:13:36.600
what I mean? Well, that's because all of the

01:13:36.600 --> 01:13:38.819
stuff that he's using is just real eyewitness

01:13:38.819 --> 01:13:42.300
testimony stuff and real. He didn't make up anything

01:13:42.300 --> 01:13:45.720
for this movie. Like all the examples of alien

01:13:45.720 --> 01:13:48.899
things. Yeah, yeah. These ideas are all out there.

01:13:48.939 --> 01:13:51.340
All these things are at least rumored or some

01:13:51.340 --> 01:13:54.279
documented story or narrative or whatever it

01:13:54.279 --> 01:13:56.020
is. It's all part of the archives because he

01:13:56.020 --> 01:13:59.460
is interested in UFO archives. The actor who

01:13:59.460 --> 01:14:01.859
played Daniel on the press tour said that he

01:14:01.859 --> 01:14:05.760
got into UFO stuff on this movie and would share

01:14:05.760 --> 01:14:08.380
some piece of information he learned excitedly

01:14:08.380 --> 01:14:09.819
to Spielberg. And Spielberg would just be like,

01:14:09.880 --> 01:14:12.279
yeah, I know. Yeah. That's the reason it's like

01:14:12.279 --> 01:14:16.739
Nixon showed Jackie Gleason the bodies of the...

01:14:16.739 --> 01:14:19.840
Nixon and Gleason. Every single one of these

01:14:19.840 --> 01:14:22.039
incidents are known incidents that you can look

01:14:22.039 --> 01:14:25.899
up on Wikipedia or whatever and find stuff. It's

01:14:25.899 --> 01:14:30.800
an exaggeration of something we know because

01:14:30.800 --> 01:14:34.079
all we know about Gleason is that he was just

01:14:34.079 --> 01:14:38.069
a guy who was very interested in UFOs. was pals

01:14:38.069 --> 01:14:41.390
with Nixon, so Nixon... He was rumored to have

01:14:41.390 --> 01:14:44.750
been... He's rumored to have shown Gleeson UFO

01:14:44.750 --> 01:14:49.170
files and then was inspired or pressured by Gleeson

01:14:49.170 --> 01:14:50.869
to release some of them publicly or whatever.

01:14:51.130 --> 01:14:54.329
That's that story. But, like, it's then turned

01:14:54.329 --> 01:14:56.590
into this, like, heightened thing where, like,

01:14:56.630 --> 01:14:59.510
Gleeson is literally being shown the bodies of

01:14:59.510 --> 01:15:02.909
Martians in a morgue, which doesn't connect with

01:15:02.909 --> 01:15:05.699
what Daniel says moments later. Because he says

01:15:05.699 --> 01:15:07.779
that presidents have become civilians themselves,

01:15:07.979 --> 01:15:10.500
like they're in the dark about all this. But

01:15:10.500 --> 01:15:12.159
maybe he just means that... Yeah, yeah, but that's

01:15:12.159 --> 01:15:16.000
since then. Since then, yeah. Since 70... I forget

01:15:16.000 --> 01:15:18.100
what year he says, but he says since then his

01:15:18.100 --> 01:15:20.220
organization was created. Since 77, probably.

01:15:21.079 --> 01:15:25.420
Or 76, since Watergate. Yeah, yeah, yeah. And

01:15:25.420 --> 01:15:28.560
after that, they were kind of the secret CIA

01:15:28.560 --> 01:15:32.640
within the CIA until he saw these torture videos

01:15:32.640 --> 01:15:36.390
is when he decided to... go rogue well that's

01:15:36.390 --> 01:15:38.770
the other thing like what is ward x and i don't

01:15:38.770 --> 01:15:41.189
think spielberg is trying to specifically say

01:15:41.189 --> 01:15:43.449
they are any specific thing but i do think they

01:15:43.449 --> 01:15:46.369
basically represent the cia and massad and israel

01:15:46.369 --> 01:15:49.869
and palantir and palantir sure all the data collection

01:15:49.869 --> 01:15:53.409
yeah and the mapping out and the invasion of

01:15:53.409 --> 01:15:56.550
privacy and what is her powers in this movie

01:15:57.239 --> 01:16:00.359
the power that she just like knows things about

01:16:00.359 --> 01:16:02.319
everyone yeah she knows things that you could

01:16:02.319 --> 01:16:04.939
totally find through like a recording of their

01:16:04.939 --> 01:16:08.079
tv or their cell phone or anything and the type

01:16:08.079 --> 01:16:10.100
of thing that palantir could have an ai program

01:16:10.100 --> 01:16:13.220
totally interpret and tell you to say like already

01:16:13.220 --> 01:16:15.539
like everything in this movie actually that's

01:16:15.539 --> 01:16:17.020
the thing that like really stood out to me on

01:16:17.020 --> 01:16:21.500
on rewatch is like remember how in ai kubrick

01:16:21.500 --> 01:16:23.659
and spielberg's ai artificial intelligence he's

01:16:23.659 --> 01:16:26.420
he's talking to the computer and he has to like

01:16:26.810 --> 01:16:29.229
reframe his question in all these different ways

01:16:29.229 --> 01:16:31.310
to get the ai program to respond to him in the

01:16:31.310 --> 01:16:32.829
right way and that really feels like somebody

01:16:32.829 --> 01:16:36.109
who like actually had interacted with modern

01:16:36.109 --> 01:16:39.390
ai like it's like that's that is it weirdly feel

01:16:39.390 --> 01:16:41.590
and and you know minority report has that thing

01:16:41.590 --> 01:16:44.050
with the touch screens and stuff i feel like

01:16:44.050 --> 01:16:47.350
we're gonna feel that way about her powers that

01:16:47.350 --> 01:16:50.369
her powers in this are something that like spielberg

01:16:50.369 --> 01:16:54.060
is you know depicting here but There's nothing

01:16:54.060 --> 01:16:59.380
actually that her powers have that an AI program

01:16:59.380 --> 01:17:03.199
that has access to like Palantir's database wouldn't

01:17:03.199 --> 01:17:07.239
have. Sure. Like they know what's going on this

01:17:07.239 --> 01:17:09.739
morning with you, why you're upset, where you've

01:17:09.739 --> 01:17:11.899
come from, where you've gone, whatever. And sure,

01:17:11.979 --> 01:17:13.800
up until this point, we haven't had the ability

01:17:13.800 --> 01:17:15.640
to interpret that data in any sort of meaningful

01:17:15.640 --> 01:17:18.760
way or even download that data. But like now

01:17:18.760 --> 01:17:21.279
at this point, like there is something that is

01:17:21.279 --> 01:17:23.939
out there that could do every single thing that

01:17:23.939 --> 01:17:26.560
we're talking about being the superpowers in

01:17:26.560 --> 01:17:29.539
this movie Disclosure Day. And that's something

01:17:29.539 --> 01:17:31.579
that came out in the past couple of years. That

01:17:31.579 --> 01:17:34.119
she's in conversation with an AI model that's

01:17:34.119 --> 01:17:36.300
telling her where to go and what to do because

01:17:36.300 --> 01:17:39.520
it can see everything. Well, that at least, yeah,

01:17:39.659 --> 01:17:42.779
whatever's feeding her information or whatever.

01:17:42.920 --> 01:17:45.359
That's not information that nobody would have

01:17:45.359 --> 01:17:48.159
access to except for the Lord. It used to be.

01:17:48.569 --> 01:17:50.850
It used to be something like that sort of supreme

01:17:50.850 --> 01:17:52.649
being used to be the type of thing that only

01:17:52.649 --> 01:17:56.170
existed in the Bible or whatever. But like now

01:17:56.170 --> 01:17:58.210
you want to show people actual supreme beings

01:17:58.210 --> 01:18:03.670
and like. Now I see that. I can totally see how

01:18:03.670 --> 01:18:05.750
that could all be a metaphor for AI. But I do

01:18:05.750 --> 01:18:10.550
think. And Satan. Just like I would say Close

01:18:10.550 --> 01:18:12.970
Encounters and a lot of other things you've been

01:18:12.970 --> 01:18:16.449
talking about. That, yeah, AI and Satan. You

01:18:16.449 --> 01:18:18.270
think both movies are saying the same thing then,

01:18:18.350 --> 01:18:22.430
ultimately? Well, I don't know that Close Encounters

01:18:22.430 --> 01:18:24.590
is necessarily about AI. I think that there is

01:18:24.590 --> 01:18:26.250
a... Well, no, not AI, but it's just another

01:18:26.250 --> 01:18:28.329
version of the same thing. The thing that's trying

01:18:28.329 --> 01:18:31.189
to consolidate power and control over our reality

01:18:31.189 --> 01:18:35.970
or whatever. The aliens? No, AI. And you think

01:18:35.970 --> 01:18:38.970
the aliens are a metaphor for AI. Well, I think

01:18:38.970 --> 01:18:40.890
that all of the things that the aliens accomplish

01:18:40.890 --> 01:18:44.600
in this movie are things that... are accomplishable

01:18:44.600 --> 01:18:48.859
by AI at this point, except for talking to people

01:18:48.859 --> 01:18:53.159
inside their heads, which may or may not be accomplishable

01:18:53.159 --> 01:18:56.319
by technology at this point. It depends on what

01:18:56.319 --> 01:18:58.520
type of conspiracy videos you watch on the internet.

01:18:58.800 --> 01:19:01.619
But other than that, and actually, I'm sorry,

01:19:01.720 --> 01:19:04.430
and the making people invisible thing. Both of

01:19:04.430 --> 01:19:05.810
those are things that come from this piece of

01:19:05.810 --> 01:19:09.270
alien technology, but a lot of this other stuff

01:19:09.270 --> 01:19:11.449
that's not connected to the MacGuffin device,

01:19:11.630 --> 01:19:14.449
all of the other stuff is kind of achievable

01:19:14.449 --> 01:19:18.270
just through modern AI. Maybe. Interpreting large

01:19:18.270 --> 01:19:20.649
amounts of data sets that are constantly being

01:19:20.649 --> 01:19:22.989
recorded all the time and whatever, that there

01:19:22.989 --> 01:19:24.850
is somebody watching and they could be like,

01:19:24.909 --> 01:19:27.489
without even knowing anything about you, just

01:19:27.489 --> 01:19:31.829
know the thing they say that is like... The best

01:19:31.829 --> 01:19:38.079
one is... She says, Duncan is a very good boy.

01:19:38.140 --> 01:19:40.659
And like, he needs you there tomorrow, even if

01:19:40.659 --> 01:19:43.159
he can't say it. I think that's about his dog.

01:19:44.119 --> 01:19:46.880
That just makes it so sad to me. I don't know,

01:19:46.939 --> 01:19:48.880
because it's a very good boy. What type of a

01:19:48.880 --> 01:19:51.020
thing is that to say to somebody about a person?

01:19:51.119 --> 01:19:52.220
No, yeah, yeah, yeah. It's like, you're leaving

01:19:52.220 --> 01:19:54.520
your... Well, this guy runs this TV studio, so

01:19:54.520 --> 01:19:55.579
he has a dog at home. That's how he turns over

01:19:55.579 --> 01:19:58.899
the whole news floor to her, is because she knew

01:19:58.899 --> 01:20:02.000
about his dog, who's sick, I guess, or something.

01:20:02.239 --> 01:20:04.340
And I suppose that's something AI could theoretically

01:20:04.340 --> 01:20:08.060
know. The thing is, I just don't... believe that

01:20:08.060 --> 01:20:10.859
AI is something that can actually be empathetic

01:20:10.859 --> 01:20:13.260
and use that information in a way that convinces

01:20:13.260 --> 01:20:15.000
people like I think that would be the really

01:20:15.000 --> 01:20:17.899
cynical read is that AI can get to a point where

01:20:17.899 --> 01:20:21.560
it can trick people that way where it knows every

01:20:21.560 --> 01:20:23.579
intimate detail and therefore can seduce you

01:20:23.579 --> 01:20:26.340
and like make you believe that you're dealing

01:20:26.340 --> 01:20:29.460
with a god essentially that needs to be obeyed

01:20:29.460 --> 01:20:31.880
it's like how could you know this like something

01:20:31.880 --> 01:20:33.739
that people say constantly is why am I doing

01:20:33.739 --> 01:20:36.260
this in the movie why am i doing this why am

01:20:36.260 --> 01:20:38.159
i doing this right because they've been bewildered

01:20:38.159 --> 01:20:40.000
into doing it yeah yeah they don't actually know

01:20:40.000 --> 01:20:44.840
why they cannot explain how this thing came to

01:20:44.840 --> 01:20:47.079
them you know like it's just i can't ignore this

01:20:47.079 --> 01:20:51.020
people have a drive to want to believe and have

01:20:51.020 --> 01:20:54.199
faith and like be ready at the moment when like

01:20:54.199 --> 01:20:57.159
the miracle happens you know to like answer the

01:20:57.159 --> 01:20:59.880
call essentially right thing is like i think

01:20:59.880 --> 01:21:03.140
spielberg makes a point to have AI mentioned

01:21:03.140 --> 01:21:05.420
in this movie only once and it's only the bad

01:21:05.420 --> 01:21:07.340
guys who mentioned it. It's one of the techs

01:21:07.340 --> 01:21:09.159
say like, I'm going to feed it to the AI model

01:21:09.159 --> 01:21:10.739
and we'll get a location or something like that.

01:21:11.220 --> 01:21:14.899
It's like they're using AI, but like their AI

01:21:14.899 --> 01:21:19.939
is like this crude clunky thing that can only

01:21:19.939 --> 01:21:24.920
create approximate answers. You know, but then

01:21:24.920 --> 01:21:27.460
there's this secret hidden technology thing that

01:21:27.460 --> 01:21:31.100
is an alien technology. Yeah, it's an alien technology,

01:21:31.420 --> 01:21:34.140
theoretically. But if we know that the aliens

01:21:34.140 --> 01:21:36.600
aren't aliens in Spielberg movies, then what

01:21:36.600 --> 01:21:39.239
type of technology is it, is the question. Well,

01:21:39.300 --> 01:21:43.079
here's what I thought. Because the movie ended,

01:21:43.239 --> 01:21:46.359
she said, listen. And I was totally just confused.

01:21:46.680 --> 01:21:48.800
I was like, it really didn't land for me. And

01:21:48.800 --> 01:21:50.739
then I got in my car and started driving and

01:21:50.739 --> 01:21:53.539
was just thinking. And after 30 minutes, something

01:21:53.539 --> 01:21:56.899
just kind of clicked for me. And it's a very

01:21:56.899 --> 01:21:59.760
positive read in the movie. I think the aliens

01:21:59.760 --> 01:22:06.060
just represent God, honestly. To me, this movie

01:22:06.060 --> 01:22:10.460
is saying the opposite thing as Close Encounters.

01:22:10.539 --> 01:22:15.119
I think Close Encounters is a movie where all

01:22:15.119 --> 01:22:19.479
the methods of connection and communication have

01:22:19.479 --> 01:22:22.979
been hijacked by a demon that takes... a banal

01:22:22.979 --> 01:22:26.239
man who is already broken away from his family

01:22:26.239 --> 01:22:30.060
and probably destroys them further. Whereas in

01:22:30.060 --> 01:22:34.979
this movie, you have the world that happened,

01:22:35.100 --> 01:22:37.439
the world that came into being after Close Encounters

01:22:37.439 --> 01:22:40.880
in real life, like that's 1977. The years went

01:22:40.880 --> 01:22:43.939
on, and what we found is that the values expressed

01:22:43.939 --> 01:22:45.859
in Close Encounters are actually held by a lot

01:22:45.859 --> 01:22:49.180
of people. And these values of family are not

01:22:49.180 --> 01:22:51.979
as valued. These values of... There's not a lot

01:22:51.979 --> 01:22:55.760
of faith. There's not a lot of... Right, but

01:22:55.760 --> 01:22:59.979
there is the sort of self -improvement LSD, go

01:22:59.979 --> 01:23:02.739
out on your own and find yourself thing. That

01:23:02.739 --> 01:23:05.220
thing is still popular. It's very ego -driven.

01:23:05.220 --> 01:23:07.800
That thing has survived from the 70s to the 80s

01:23:07.800 --> 01:23:10.539
to the 90s to today. Yeah, it's very, very ego

01:23:10.539 --> 01:23:13.260
-driven, I think. This materialist thing, this

01:23:13.260 --> 01:23:16.840
thing of I need to find myself. Take ayahuasca

01:23:16.840 --> 01:23:18.960
in the desert. I need to find myself. I need

01:23:18.960 --> 01:23:21.199
to go on my journey. It's very ego -driven, and

01:23:21.199 --> 01:23:24.460
it's about going in. and not connecting with

01:23:24.460 --> 01:23:25.479
others. It's about putting yourself first and

01:23:25.479 --> 01:23:27.159
you're scared. Yeah, it's about putting yourself

01:23:27.159 --> 01:23:30.119
first. And so at the beginning of Disclosure

01:23:30.119 --> 01:23:32.899
Day, I think what we're introduced to is a perfect

01:23:32.899 --> 01:23:37.319
mirror of the characters in Close Encounters

01:23:37.319 --> 01:23:40.520
because in this one you have Margaret Fairchild,

01:23:40.760 --> 01:23:45.500
a woman. She's the mirror of Roy in Close Encounters.

01:23:45.760 --> 01:23:48.699
She's the one who's hearing the voices and she

01:23:48.699 --> 01:23:49.939
doesn't understand what's happening, but she

01:23:49.939 --> 01:23:52.850
has to follow this thing. And then her boyfriend.

01:23:53.069 --> 01:23:55.430
She's the one whose significant other is annoyed

01:23:55.430 --> 01:23:58.010
with her and leaves. And her boyfriend is the

01:23:58.010 --> 01:24:01.069
wife. But the difference is there's no kids here.

01:24:01.229 --> 01:24:04.029
This is a world in which she's a career woman

01:24:04.029 --> 01:24:06.170
who's trying to go up the ranks and become an

01:24:06.170 --> 01:24:08.369
anchor. And her boyfriend wants to be like a

01:24:08.369 --> 01:24:10.510
famous musician in Kansas City. They're all,

01:24:10.550 --> 01:24:13.460
it's all ego. It's all ego that is, like, keeping

01:24:13.460 --> 01:24:15.640
them from building a family, from actually wanting

01:24:15.640 --> 01:24:17.579
to be around one another. Because you find out

01:24:17.579 --> 01:24:19.239
later that, like, he's just going to stay there

01:24:19.239 --> 01:24:20.920
if she leaves. Like, he's perfectly happy to

01:24:20.920 --> 01:24:23.180
end the relationship for his own personal goals.

01:24:24.100 --> 01:24:26.739
And I think what you're being shown here is,

01:24:26.800 --> 01:24:29.960
like, well, this is not, like, a thing that's

01:24:29.960 --> 01:24:32.300
working out. Like, I mean, I know that in Close

01:24:32.300 --> 01:24:34.479
Encounters, like, he's a kid and she's bitching

01:24:34.479 --> 01:24:35.659
and it's, like, doesn't really look like it's

01:24:35.659 --> 01:24:38.779
working out. But clearly he's the problem. And

01:24:38.779 --> 01:24:42.130
that's evident to his kids. too like it's not

01:24:42.130 --> 01:24:46.130
just the wife so it's like clearly he's the problem

01:24:46.130 --> 01:24:49.489
and he's like destroying this family but in in

01:24:49.489 --> 01:24:51.489
disclosure day it's like what do these two really

01:24:51.489 --> 01:24:53.970
have like she just wants to like chase her career

01:24:53.970 --> 01:24:56.770
he just wants to chase his career the relationship's

01:24:56.770 --> 01:24:58.909
not a priority yeah but at the same time no no

01:24:58.909 --> 01:25:02.590
no they've moved a bunch of times recently And

01:25:02.590 --> 01:25:05.250
she just finished wallpapering this room in this

01:25:05.250 --> 01:25:07.569
rented apartment. She wants to move again to

01:25:07.569 --> 01:25:11.630
another city for no reason. There is a setup

01:25:11.630 --> 01:25:14.189
that she is doing kind of a similar thing to

01:25:14.189 --> 01:25:16.789
Roy in Close Encounters and just dragging him

01:25:16.789 --> 01:25:19.930
along with her. And yeah, he's fed up at this

01:25:19.930 --> 01:25:21.609
point. He's like, if you're going, then I'm staying.

01:25:21.829 --> 01:25:24.050
It's going to be a conversation they're going

01:25:24.050 --> 01:25:26.390
to have or whatever. that they don't end up having

01:25:26.390 --> 01:25:28.829
to have because she just intuits it. I'm not

01:25:28.829 --> 01:25:30.890
saying it's, like, all his fault or all her fault

01:25:30.890 --> 01:25:33.109
in this situation. I think, like, it's different

01:25:33.109 --> 01:25:36.670
than Close Encounters because in that movie it

01:25:36.670 --> 01:25:39.130
definitely seems like Roy is the problem, and

01:25:39.130 --> 01:25:40.729
in this movie it kind of just seems like it is.

01:25:41.350 --> 01:25:43.869
Like, they all have the Disney disease. They

01:25:43.869 --> 01:25:46.390
all have the—they're all chasing their dreams

01:25:46.390 --> 01:25:49.470
now. In the other one, it's like, oh, I'm expected

01:25:49.470 --> 01:25:51.390
to be a family man, and I'm supposed to, like,

01:25:51.390 --> 01:25:54.569
take care of these kids. I work like a— you know,

01:25:54.609 --> 01:25:56.909
sustainable blue collar job. And like, I can

01:25:56.909 --> 01:25:59.890
have a middle -class life and buy Nikes and get

01:25:59.890 --> 01:26:01.750
McDonald's. Like, what's wrong with that? And

01:26:01.750 --> 01:26:03.489
then like, in this one, it's kind of like, you're

01:26:03.489 --> 01:26:06.130
supposed to, you know, follow your career and

01:26:06.130 --> 01:26:08.869
like, kids aren't really that important. That

01:26:08.869 --> 01:26:10.369
shouldn't be your priority. Like these, these

01:26:10.369 --> 01:26:12.989
aren't, these are, these are two people. He never

01:26:12.989 --> 01:26:14.630
mentions kids. Like that would have been an important

01:26:14.630 --> 01:26:16.289
thing to do in the movie if it was important,

01:26:16.409 --> 01:26:18.550
but he never says something like, Oh, like I

01:26:18.550 --> 01:26:20.609
just always wanted to have kids and you don't

01:26:20.609 --> 01:26:21.649
want to have kids or something like that's not

01:26:21.649 --> 01:26:23.819
there. It's just like, yeah, he followed her,

01:26:23.840 --> 01:26:25.659
he followed her. But the only reason he followed

01:26:25.659 --> 01:26:27.300
her is because he had nothing going on. And now

01:26:27.300 --> 01:26:29.300
that he's starting to blow up in Kansas City,

01:26:29.500 --> 01:26:32.060
he doesn't want to follow her anymore. That's

01:26:32.060 --> 01:26:34.420
like what's happening. She's jumping from place

01:26:34.420 --> 01:26:35.920
to place. He just said that he's got two nights

01:26:35.920 --> 01:26:38.279
at a bar where he's working. Yeah, but that's

01:26:38.279 --> 01:26:40.359
him arguing. He's not blowing up. He's just being

01:26:40.359 --> 01:26:43.899
like, look, we settled in. We finally moved a

01:26:43.899 --> 01:26:46.100
bunch of places and whatever. I don't feel like

01:26:46.100 --> 01:26:48.420
restarting again and trying to find another place

01:26:48.420 --> 01:26:51.159
to then convince to give me enough days that

01:26:51.159 --> 01:26:53.539
I can work. I don't know. Yeah, I mean, it's

01:26:53.539 --> 01:26:54.819
kind of unreasonable to keep moving. I don't

01:26:54.819 --> 01:26:56.279
know that it's so much ego as it is just sort

01:26:56.279 --> 01:26:58.420
of like, to me, it's established that he's already

01:26:58.420 --> 01:27:01.590
sort of followed her to here. for her anchor

01:27:01.590 --> 01:27:03.850
job thing and whatever, which she can. Yeah.

01:27:03.850 --> 01:27:05.810
I mean, I might've used the wrong terminology

01:27:05.810 --> 01:27:08.350
blowing up, but like it is explicitly stated

01:27:08.350 --> 01:27:10.430
that there's like a reason he wants to stay here

01:27:10.430 --> 01:27:14.010
and not move anymore. And that reason is because

01:27:14.010 --> 01:27:16.189
like, I like it here. Some things are going well

01:27:16.189 --> 01:27:20.350
for me. Right. Right. Yeah. And like, love's

01:27:20.350 --> 01:27:22.590
hard. Relationships are hard. You try to be a

01:27:22.590 --> 01:27:24.369
good partner and you try to find balances or

01:27:24.369 --> 01:27:26.489
whatever. And yeah, I get it. Like, but I just

01:27:26.489 --> 01:27:29.489
think it's a very, very like modern thing to,

01:27:30.189 --> 01:27:33.609
be like that's not a priority like i come first

01:27:33.609 --> 01:27:35.590
and if things are like too hard for you and they're

01:27:35.590 --> 01:27:37.750
making it too hard for you it doesn't matter

01:27:37.750 --> 01:27:39.630
how much you love them like you can leave them

01:27:39.630 --> 01:27:42.310
behind whereas like previous generations would

01:27:42.310 --> 01:27:44.210
have just been like no you stay with them you

01:27:44.210 --> 01:27:46.430
have kids you make a family like that's what's

01:27:46.430 --> 01:27:49.289
important yeah yeah that's a that's a zeitgeist

01:27:49.289 --> 01:27:52.020
thing This is a very Zeitgeist II movie in general,

01:27:52.060 --> 01:27:53.979
and that's a Zeitgeist II relationship, definitely.

01:27:54.159 --> 01:27:56.060
Yeah, and it's a role reversal where he literally

01:27:56.060 --> 01:27:58.659
says, I think I'm taking this pretty cool right

01:27:58.659 --> 01:28:01.739
now, which is the same thing that his wife in

01:28:01.739 --> 01:28:03.380
Close Encounter says. Don't you think I'm taking

01:28:03.380 --> 01:28:05.579
this really well? I remember when we used to

01:28:05.579 --> 01:28:07.819
cuddle here, and we used to have love, and it

01:28:07.819 --> 01:28:11.800
was nice. Right, right. But anyway, so there

01:28:11.800 --> 01:28:14.800
are these mirrors, and then obviously Daniel

01:28:14.800 --> 01:28:19.359
is the mirror of the woman. In Close Encounters,

01:28:19.399 --> 01:28:23.000
he loses her child. Right. And so I think it's

01:28:23.000 --> 01:28:25.319
interesting that in Close Encounters, you have

01:28:25.319 --> 01:28:27.319
a man who leaves his family, leaves his children,

01:28:27.439 --> 01:28:31.380
is a child, who then goes onto this ship filled

01:28:31.380 --> 01:28:36.619
with children. And then Jillian, the only reason

01:28:36.619 --> 01:28:38.000
she's there is because she wants to get a kid

01:28:38.000 --> 01:28:40.500
back. And she does, and she doesn't go on the

01:28:40.500 --> 01:28:42.979
ship. Right. The thing that's important to her

01:28:42.979 --> 01:28:45.880
is this child. And the dad is out of the picture,

01:28:46.020 --> 01:28:49.020
so it's like, She is in a situation where the

01:28:49.020 --> 01:28:52.939
father is gone for some reason. She can probably

01:28:52.939 --> 01:28:55.380
understand that he is the guy who's running out

01:28:55.380 --> 01:28:56.939
of his family too. I don't know. It's weird.

01:28:57.100 --> 01:29:00.479
It's just like there's a lot of trauma here.

01:29:01.000 --> 01:29:03.119
There's a lot of trauma in these situations as

01:29:03.119 --> 01:29:07.300
well. And that's all on disclosure day as well.

01:29:07.479 --> 01:29:09.560
So Margaret has childhood trauma. Her father

01:29:09.560 --> 01:29:11.399
had Parkinson's. He died when she was a teenager

01:29:11.399 --> 01:29:16.270
when he was 47, no less. She has like a meltdown

01:29:16.270 --> 01:29:19.670
in the train car where she's surrounded by pianos.

01:29:20.109 --> 01:29:23.090
Yeah, that's what grounds both of them, the math

01:29:23.090 --> 01:29:27.930
and the emotion, right? He and she both put their

01:29:27.930 --> 01:29:30.590
hands on the thing and feel the vibrations. It's

01:29:30.590 --> 01:29:34.789
logic and empathy. So he's the man and he's all

01:29:34.789 --> 01:29:37.569
language without knowledge. And she's empathy,

01:29:37.670 --> 01:29:40.869
which is all knowledge without language. I mean,

01:29:40.909 --> 01:29:43.010
I thought it was the tree of life and tree of

01:29:43.010 --> 01:29:44.989
knowledge from the Kabbalah. I mean, it's both.

01:29:45.109 --> 01:29:46.930
They're also Adam and Eve. He's the tree of knowledge.

01:29:46.970 --> 01:29:48.909
She's the tree of life. But these aren't perfect

01:29:48.909 --> 01:29:54.869
corollaries because, like, Jane, Daniel's girlfriend

01:29:54.869 --> 01:29:57.210
or whatever they're bringing along, she's the

01:29:57.210 --> 01:29:59.750
one who gets possessed by the devil, essentially.

01:29:59.909 --> 01:30:03.770
She's, like, she's the Christian believer who's

01:30:03.770 --> 01:30:06.250
kind of, like, fallen out of belief who, like,

01:30:06.250 --> 01:30:11.460
then is able to be... So why do you think he's

01:30:11.460 --> 01:30:14.159
the devil? Well, I'm just saying they're the

01:30:14.159 --> 01:30:17.779
organization that is hiding the truth from everybody.

01:30:18.100 --> 01:30:21.560
Are they? I can get to that later. What I'm trying

01:30:21.560 --> 01:30:25.359
to say is now, her real name is Eve. She's actually

01:30:25.359 --> 01:30:28.920
Bona's daughter. She's Eve Hewson. And it's just

01:30:28.920 --> 01:30:31.020
interesting that her real name is Eve and that

01:30:31.020 --> 01:30:35.090
she's the one that's susceptible. To, like, the

01:30:35.090 --> 01:30:37.670
tech demon, essentially. Like, the tech being

01:30:37.670 --> 01:30:39.909
used in a nefarious way to, like, get inside

01:30:39.909 --> 01:30:42.729
her head and, like, extract information from

01:30:42.729 --> 01:30:45.449
her. And then she becomes something that can't

01:30:45.449 --> 01:30:48.489
be trusted. And then she, like, specifically

01:30:48.489 --> 01:30:52.029
uses her cross to, like, stigmata herself to,

01:30:52.069 --> 01:30:54.550
like, make the devil get out of her momentarily

01:30:54.550 --> 01:30:56.029
and stuff like that. Yeah, yeah, pain. Physical

01:30:56.029 --> 01:30:59.449
pain. Yeah, yeah. Self -mutilation. Exactly.

01:30:59.449 --> 01:31:03.010
Is a strength in getting the devil out. I thought

01:31:03.010 --> 01:31:06.770
that was interesting. But to me it's significant

01:31:06.770 --> 01:31:09.970
at this point to point out whether or not the

01:31:09.970 --> 01:31:14.289
devil here is on the alien side or not. And I

01:31:14.289 --> 01:31:16.869
think that he is on the alien side. I don't.

01:31:16.869 --> 01:31:20.329
I'm going to say I think Spielberg is delivering

01:31:20.329 --> 01:31:25.250
a sincere message that we need faith and belief

01:31:25.250 --> 01:31:28.550
in a time when we are dominated by materialism

01:31:28.550 --> 01:31:33.300
and a lack of connection and communication. It's

01:31:33.300 --> 01:31:34.779
like kind of a Tower of Babel story. I think

01:31:34.779 --> 01:31:37.659
this is a movie about empathy being used as a

01:31:37.659 --> 01:31:42.659
weapon. Okay, that's fine. I think that this

01:31:42.659 --> 01:31:46.000
is a movie much like War of the Worlds or something,

01:31:46.079 --> 01:31:47.420
where we're talking about the modern zeitgeist

01:31:47.420 --> 01:31:50.039
or whatever. But we're talking about the same

01:31:50.039 --> 01:31:51.420
thing as War of the Worlds. We're talking about

01:31:51.420 --> 01:31:53.880
warring, you know, we're talking about a takeover

01:31:53.880 --> 01:31:57.319
here. And by the end of the movie, by the time

01:31:57.319 --> 01:32:00.920
they have this spokesperson for Gaia and spokesperson

01:32:00.920 --> 01:32:03.539
for math or whatever, one of their right arm

01:32:03.539 --> 01:32:05.319
and one of their left arm, and they've already

01:32:05.319 --> 01:32:09.909
been controlling this thing since 1947. And now

01:32:09.909 --> 01:32:12.210
they've slowly sort of prepared this and they've

01:32:12.210 --> 01:32:14.390
prepared it in a way where we're all empathetic

01:32:14.390 --> 01:32:16.569
with them because they're the victim. And it

01:32:16.569 --> 01:32:18.550
was like really important that this information

01:32:18.550 --> 01:32:22.010
not get out in any other way. And it's like important

01:32:22.010 --> 01:32:24.850
to everybody that it not get out in any other

01:32:24.850 --> 01:32:26.630
way. It's important. It's very, very important

01:32:26.630 --> 01:32:29.970
to control the narrative in order to make these

01:32:29.970 --> 01:32:34.210
people, these aliens, the victims when they reveal

01:32:34.210 --> 01:32:37.649
to us that they're. been in control you know

01:32:37.649 --> 01:32:40.369
what i mean um they're disclosing sort of this

01:32:40.369 --> 01:32:42.390
thing and i and i think that part of the thing

01:32:42.390 --> 01:32:45.310
is that this guy this guy that you say is the

01:32:45.310 --> 01:32:51.170
devil um noah i think that he has has set up

01:32:51.170 --> 01:32:55.130
our characters in the first place when in the

01:32:55.130 --> 01:32:58.659
first scene You see Kellner holding the device

01:32:58.659 --> 01:33:03.800
to Noah to threaten him. He's very clearly wearing

01:33:03.800 --> 01:33:06.460
a glove that separates his hand from the device,

01:33:06.619 --> 01:33:09.539
therefore showing that the device is not going

01:33:09.539 --> 01:33:12.319
to be activated. And he is looking directly at

01:33:12.319 --> 01:33:14.060
it from two feet away and is just like, don't

01:33:14.060 --> 01:33:15.880
do it. If you squeeze it, it's going to... And

01:33:15.880 --> 01:33:18.119
that only plays because Kellner doesn't know

01:33:18.119 --> 01:33:20.300
how the device works any better than we know

01:33:20.300 --> 01:33:21.880
how the device works. But when you go back and

01:33:21.880 --> 01:33:23.770
watch it a second time, it's like... Dude, no

01:33:23.770 --> 01:33:27.189
one knows how that device works. And he knows

01:33:27.189 --> 01:33:28.850
that shooting him is not going to turn off the

01:33:28.850 --> 01:33:31.890
device. There's nothing dangerous here happening.

01:33:32.050 --> 01:33:34.630
He's letting him get away with the device and

01:33:34.630 --> 01:33:37.470
all of the information so that he can leak this

01:33:37.470 --> 01:33:40.850
in the way that the aliens want where we're empathetic

01:33:40.850 --> 01:33:43.350
with it and it's been a leak. It's not just a...

01:33:43.350 --> 01:33:46.149
You know what I mean? This is the way all of

01:33:46.149 --> 01:33:50.699
this is... This movie is closer... not to close

01:33:50.699 --> 01:33:53.079
encounters, but to tenet. Like, this is another

01:33:53.079 --> 01:33:56.319
tenet where they're playing both sides and they've

01:33:56.319 --> 01:33:59.300
taken over and it's all about being able to control

01:33:59.300 --> 01:34:02.079
the narrative. It's a very cynical outlook, yeah.

01:34:02.699 --> 01:34:04.920
But in the end, when she says, like, listen,

01:34:05.100 --> 01:34:07.899
she's going to say the thing that is the thing

01:34:07.899 --> 01:34:10.899
that we all totally empathize with and, like,

01:34:10.899 --> 01:34:13.380
makes them, like, our new gods. Like, you know

01:34:13.380 --> 01:34:15.380
what I mean? And that's after the 50 years that

01:34:15.380 --> 01:34:18.430
is... you know, from 47 till now or whatever,

01:34:18.529 --> 01:34:21.729
the 70 years that they talk about. It's another

01:34:21.729 --> 01:34:24.930
remake of Childhood's End. And I think that the

01:34:24.930 --> 01:34:28.909
music plays that way. And I think that the alien

01:34:28.909 --> 01:34:31.750
looks that way and it's rolled out like our new

01:34:31.750 --> 01:34:34.170
God. And we have both of the children sitting

01:34:34.170 --> 01:34:38.510
one on each arm. And it's, I think it's very

01:34:38.510 --> 01:34:40.609
dark. And there's a lot about the power of empathy.

01:34:41.229 --> 01:34:44.489
And Christianity being a deep part of that. And

01:34:44.489 --> 01:34:46.550
I think that this is a Christian movie in those

01:34:46.550 --> 01:34:52.449
ways. But I think that she, Jane, is pure in

01:34:52.449 --> 01:34:54.789
a way that a lot of these other people are not.

01:34:55.369 --> 01:34:58.789
I don't know that I totally agree. I think it'd

01:34:58.789 --> 01:35:02.109
be very easy to see it as the way we've been

01:35:02.109 --> 01:35:05.310
kind of seeing a lot of movies and deconstructing

01:35:05.310 --> 01:35:08.390
stuff. I think you can cast it in that light.

01:35:08.529 --> 01:35:12.310
But I also think... When I said I don't think

01:35:12.310 --> 01:35:13.970
Spielberg thinks technology is fundamentally

01:35:13.970 --> 01:35:17.729
evil, I think you do and maybe I do. I don't

01:35:17.729 --> 01:35:19.569
know. I'm still on the fence about it. Actually,

01:35:19.630 --> 01:35:21.069
I don't think it's fundamentally evil, but I

01:35:21.069 --> 01:35:23.970
think in the hands of that it's maybe inevitable

01:35:23.970 --> 01:35:25.810
that it just is used for evil or something like

01:35:25.810 --> 01:35:29.189
that because of human nature. It's what 2001

01:35:29.189 --> 01:35:32.670
A Space Odyssey is talking about. But I don't

01:35:32.670 --> 01:35:35.270
think just because there's alien technology in

01:35:35.270 --> 01:35:38.590
this movie means it's inherently evil. I think

01:35:38.590 --> 01:35:40.350
if you take that out of the equation, this movie

01:35:40.350 --> 01:35:44.869
is about empathy and the need to see each other

01:35:44.869 --> 01:35:48.710
as human beings and to believe in something higher

01:35:48.710 --> 01:35:51.649
than ourselves. I think that's true. But I also

01:35:51.649 --> 01:35:54.069
think it's about the pitfalls of that. And the

01:35:54.069 --> 01:35:56.529
ways that it makes us susceptible to things and

01:35:56.529 --> 01:35:59.229
the stories we tell and the anthropomorphizing

01:35:59.229 --> 01:36:02.569
of things and whatever. I don't know. I think

01:36:02.569 --> 01:36:05.810
this is a movie where the world's on the brink

01:36:05.810 --> 01:36:09.449
of World War III. They started production right

01:36:09.449 --> 01:36:12.590
after Trump won. I mean, it's a bummer that they

01:36:12.590 --> 01:36:17.670
chose North Korea instead of Iran. It was a coin

01:36:17.670 --> 01:36:21.390
flip, you know? Yeah, exactly. But I don't know.

01:36:21.550 --> 01:36:24.590
The thing is, man, to me, when she walks in there

01:36:24.590 --> 01:36:26.390
and she's like, why is that guy so angry? And

01:36:26.390 --> 01:36:28.770
he's like, he's Korean. What do you think? But

01:36:28.770 --> 01:36:31.449
then she walks over and she actually communicates

01:36:31.449 --> 01:36:32.850
with him. She's like, oh, your translator got

01:36:32.850 --> 01:36:35.470
it wrong. He's actually saying this, not this.

01:36:36.109 --> 01:36:37.770
And the guy's like, oh, the words are really

01:36:37.770 --> 01:36:39.270
close. And she's like, that's okay. You probably

01:36:39.270 --> 01:36:42.409
just didn't hear him. It's understandable. I

01:36:42.409 --> 01:36:44.909
like this idea. He's saying that something's

01:36:44.909 --> 01:36:47.550
understandable, but he doesn't mean I can understand

01:36:47.550 --> 01:36:52.609
why they do it and I condone it. He means I comprehend

01:36:52.609 --> 01:36:54.609
it because there's a pattern of this happening.

01:36:54.750 --> 01:36:58.989
So it's not understandable. It's predictable.

01:36:59.390 --> 01:37:02.050
Sorry. It's predictable. It's predictable, not

01:37:02.050 --> 01:37:05.029
understandable. That's what he means. So it's

01:37:05.029 --> 01:37:06.670
like, I don't understand why we cannot get along,

01:37:06.810 --> 01:37:08.609
but it's predictable that we won't, you know,

01:37:08.609 --> 01:37:11.000
and stuff like that. Well, I mean, I think he's

01:37:11.000 --> 01:37:13.979
saying, like, I understand why North Korea wants

01:37:13.979 --> 01:37:16.279
to bomb the United States. But he means, like,

01:37:16.279 --> 01:37:18.520
no, no, no, it's predictable that North Korea

01:37:18.520 --> 01:37:20.100
wants to bomb the United States. I'm not saying

01:37:20.100 --> 01:37:22.800
it's, like, I understand why they would. You

01:37:22.800 --> 01:37:24.420
know what I mean? That, I think, is a distinction

01:37:24.420 --> 01:37:26.699
he's trying to make. All I'm trying to say is,

01:37:26.739 --> 01:37:30.359
like, I think what that highlights is the idea

01:37:30.359 --> 01:37:33.739
that language is imperfect. That language is

01:37:33.739 --> 01:37:39.189
a tool. Language is like technology. that it

01:37:39.189 --> 01:37:42.229
requires empathy to actually understand people,

01:37:42.409 --> 01:37:44.609
to read between the lines, to understand the

01:37:44.609 --> 01:37:47.829
true meaning of things, to not take words at

01:37:47.829 --> 01:37:52.430
face value, to not have like a logical AI brain,

01:37:52.689 --> 01:37:54.810
computerized brain about taking information,

01:37:55.189 --> 01:37:57.430
that you have some common sense and are able

01:37:57.430 --> 01:38:00.609
to weigh nuances and whatever, that like words

01:38:00.609 --> 01:38:03.069
change based on body language and other cues

01:38:03.069 --> 01:38:05.010
and that you're not just literal minded or whatever.

01:38:05.250 --> 01:38:09.739
And I think like, The idea that Hugo says to

01:38:09.739 --> 01:38:13.640
Daniel, you were taught mathematics, the language

01:38:13.640 --> 01:38:16.319
of the universe. This concept has always bothered

01:38:16.319 --> 01:38:18.819
me, but then I was like, oh, the language of

01:38:18.819 --> 01:38:20.720
the universe. That means it's imperfect. It's

01:38:20.720 --> 01:38:23.920
not a perfect way to describe reality. You still

01:38:23.920 --> 01:38:26.640
need empathy. You still need faith. That's what

01:38:26.640 --> 01:38:30.539
she is. And then you have this whole thing. Men

01:38:30.539 --> 01:38:34.380
with machine minds and machine hearts, man. It

01:38:34.380 --> 01:38:37.159
could be that too. Like, it could very easily

01:38:37.159 --> 01:38:39.500
be he's the machine man, the machine mind, the

01:38:39.500 --> 01:38:41.859
machine hearts, and then they need to hire a

01:38:41.859 --> 01:38:46.300
Spielberg to, like, sell it to us. You know what

01:38:46.300 --> 01:38:50.220
I mean? Yeah, but he doesn't have ideas. There's

01:38:50.220 --> 01:38:53.199
nothing he can sell. She has the ideas. She has

01:38:53.199 --> 01:38:55.479
the empathy. She has the knowledge. She can actually

01:38:55.479 --> 01:38:58.880
tell people. The aliens have the ideas. What

01:38:58.880 --> 01:39:00.819
I'm trying to say is, like, let's go with this.

01:39:01.039 --> 01:39:04.239
Try not to be cynical. It's God. She's just a

01:39:04.239 --> 01:39:07.409
conduit for God. There are no aliens. At the

01:39:07.409 --> 01:39:10.069
end, Disclosure Day is not telling the world

01:39:10.069 --> 01:39:12.670
that aliens exist. Disclosure Day is telling

01:39:12.670 --> 01:39:15.829
the world that God exists. It is, have you heard

01:39:15.829 --> 01:39:19.229
the good news? He died for your sins. It is a

01:39:19.229 --> 01:39:22.890
Christ story. She is the second coming of Christ

01:39:22.890 --> 01:39:27.250
during the apocalypse. She is here. Christ is

01:39:27.250 --> 01:39:30.989
God, though. Sure, whatever. The movie makes

01:39:30.989 --> 01:39:34.920
a big distinction of it's not God. That like

01:39:34.920 --> 01:39:38.100
these are God's creatures too if they exist or

01:39:38.100 --> 01:39:40.640
whatever or something else, but they're not God.

01:39:40.920 --> 01:39:43.520
And the whole point is like I'm worried that

01:39:43.520 --> 01:39:46.199
people are going to praise this false idol. There's

01:39:46.199 --> 01:39:48.539
this weird emphasis put on like her. I think

01:39:48.539 --> 01:39:51.140
that's a mislead. I think this whole idea that

01:39:51.140 --> 01:39:52.760
I'm afraid people are going to praise this false

01:39:52.760 --> 01:39:55.479
idol, that's just like totally wrong. The idea

01:39:55.479 --> 01:39:57.560
is that they're the same. There is no false idol

01:39:57.560 --> 01:40:01.619
that is God. Like the thing that they're working

01:40:01.619 --> 01:40:04.890
towards is actually God. That's not what the

01:40:04.890 --> 01:40:08.170
Catholic in this movie believes. No, but she's

01:40:08.170 --> 01:40:13.750
also a skeptic. To me, this is like Close Encounters.

01:40:13.770 --> 01:40:15.630
Schrader worked on Close Encounters, but this

01:40:15.630 --> 01:40:18.369
feels like so much more of a Catholic Schrader

01:40:18.369 --> 01:40:21.010
movie. That's what I mean. I don't think it's

01:40:21.010 --> 01:40:24.310
an obvious and evident metaphor that it's talking

01:40:24.310 --> 01:40:27.229
about God or the second coming of Christ or something

01:40:27.229 --> 01:40:30.439
because it's so messy. And, like, there aren't,

01:40:30.439 --> 01:40:32.960
like, direct one -to -one connections to, like,

01:40:33.020 --> 01:40:35.819
mythology or these things, but, like, it all

01:40:35.819 --> 01:40:39.380
has, like, the feeling of that. You know, everything

01:40:39.380 --> 01:40:42.739
kind of, like, rhymes with something else. Like,

01:40:42.739 --> 01:40:44.760
basically... I think it rhymes because it's the

01:40:44.760 --> 01:40:48.819
Antichrist. That's why it rhymes. It's not Christ,

01:40:49.000 --> 01:40:51.340
it's the Antichrist. It's the false idol. It's

01:40:51.340 --> 01:40:53.079
the thing that she's afraid that people will

01:40:53.079 --> 01:40:55.199
praise because it's like, now you're going to

01:40:55.199 --> 01:40:59.020
show people real superior beings? What is that,

01:40:59.159 --> 01:41:03.100
AI? Nobody thinks AI is a supreme being. Here's

01:41:03.100 --> 01:41:06.899
the thing, man. The type of AI that we don't

01:41:06.899 --> 01:41:10.000
know exists, man. The type of AI that maybe Palantir

01:41:10.000 --> 01:41:12.800
has access to and we do not. Then that might

01:41:12.800 --> 01:41:14.640
as well be a god. We're talking about the same

01:41:14.640 --> 01:41:18.199
thing. That's the thing. I would say that no,

01:41:18.460 --> 01:41:21.500
that would not be a god. That would be an antichrist.

01:41:21.500 --> 01:41:24.239
You are just assuming the aliens... That's a

01:41:24.239 --> 01:41:27.619
golem, man. That's like creating a robot that

01:41:27.619 --> 01:41:30.859
has more power than... I'm not saying a golem

01:41:30.859 --> 01:41:33.899
is the same thing as god. That's an evil man

01:41:33.899 --> 01:41:36.180
-made creation. We didn't create the aliens.

01:41:36.319 --> 01:41:39.779
They came to us. They're not creations in the

01:41:39.779 --> 01:41:42.430
narrative of the movie or whatever. I think they

01:41:42.430 --> 01:41:45.050
are a metaphor for something that came to us

01:41:45.050 --> 01:41:47.310
and then the powers that be hid from everyone,

01:41:47.529 --> 01:41:52.430
which is the power of God, the power of imagination,

01:41:52.750 --> 01:41:56.029
the power of empathy, the power of the true thing

01:41:56.029 --> 01:41:58.590
that actually holds us together, that holds societies

01:41:58.590 --> 01:42:01.970
together. Not technology, not like an AI demon,

01:42:02.050 --> 01:42:05.390
but a true belief in a higher thing that connects

01:42:05.390 --> 01:42:08.489
us all. I think it's like, why do you think that?

01:42:08.939 --> 01:42:12.699
That happens after all of this, like, snuff footage

01:42:12.699 --> 01:42:17.079
plot. Like, why is the path to that, all of this

01:42:17.079 --> 01:42:20.340
footage that is treated not like, oh my god,

01:42:20.380 --> 01:42:23.340
this is amazing, but like, as like a, holy shit,

01:42:23.380 --> 01:42:25.140
this is snuff footage and we're all watching,

01:42:25.180 --> 01:42:26.819
I'm so sorry you have to be watching this with

01:42:26.819 --> 01:42:31.560
me right now. Like, why is it so horrifyingly

01:42:31.560 --> 01:42:34.920
like we're watching snuff footage? Well, because

01:42:34.920 --> 01:42:38.140
it's like watching the crucifixion of Jesus.

01:42:38.279 --> 01:42:41.619
It's like watching God be murdered. It's like

01:42:41.619 --> 01:42:44.800
we are talking about the very idea of something

01:42:44.800 --> 01:42:48.579
sacred being exploited by our government. We

01:42:48.579 --> 01:42:52.560
are just talking about something profound being

01:42:52.560 --> 01:42:56.239
hidden, some truth that allows them to create

01:42:56.239 --> 01:43:00.920
powers and technologies that allow them to be

01:43:00.920 --> 01:43:03.140
in control and have dominance over us or whatever.

01:43:03.819 --> 01:43:05.840
I mean, like they have a superior form of communication.

01:43:05.880 --> 01:43:08.479
I just think in the zeitgeist, the like thing

01:43:08.479 --> 01:43:11.800
that's being hidden and being disclosed, that

01:43:11.800 --> 01:43:15.760
is like essentially snuff footage. It's also

01:43:15.760 --> 01:43:18.600
a ton of like just UAP videos. These people who

01:43:18.600 --> 01:43:20.800
were captured at 10 years old and put through

01:43:20.800 --> 01:43:23.600
MKUltra stuff or whatever, like that doesn't

01:43:23.600 --> 01:43:26.039
lead to God. All the videos that are shown at

01:43:26.039 --> 01:43:28.880
the end are like, they're not like snuff films.

01:43:28.979 --> 01:43:31.380
They're like, you know, UAP videos from pilots

01:43:31.380 --> 01:43:34.119
and like, Lots of videos of the aliens being

01:43:34.119 --> 01:43:37.119
alive. And yet they're treating it like it's

01:43:37.119 --> 01:43:38.939
snuff films. Everybody's reacting as if they're

01:43:38.939 --> 01:43:41.920
watching the most horrifying. And the other thing

01:43:41.920 --> 01:43:43.859
is people are not being awakened and whatever.

01:43:44.020 --> 01:43:46.140
People are just sitting there on their phones

01:43:46.140 --> 01:43:49.140
and everything has come to a halt. And yeah,

01:43:49.479 --> 01:43:52.500
it's come to a halt in North Korea as well, in

01:43:52.500 --> 01:43:56.720
Russia or whatever. We see the guys at the tanks

01:43:56.720 --> 01:43:59.640
also looking at their phones. But this is not

01:43:59.640 --> 01:44:01.680
an enlightenment happening from this disclosure.

01:44:02.600 --> 01:44:05.300
at the end of ready player one you know what

01:44:05.300 --> 01:44:06.939
i mean you see kind of the people on the street

01:44:06.939 --> 01:44:09.220
like getting together and stuff there's like

01:44:09.220 --> 01:44:11.840
there's a unity happening everybody's experiencing

01:44:11.840 --> 01:44:14.579
this moment together in this one everybody is

01:44:14.579 --> 01:44:18.699
zombified and they're distracted and zombified

01:44:18.699 --> 01:44:21.979
from the imminent disaster that's happening or

01:44:21.979 --> 01:44:25.239
whatever and that's you know I think that's been

01:44:25.239 --> 01:44:28.060
the intent that, you know, the White House has

01:44:28.060 --> 01:44:30.399
tried by putting out a lot of this UFO stuff

01:44:30.399 --> 01:44:32.619
is just to sort of bewilder people and create

01:44:32.619 --> 01:44:35.399
more of a postmodern paradigm of people just

01:44:35.399 --> 01:44:37.619
being like, well, there's aliens now. OK, and

01:44:37.619 --> 01:44:40.100
now we're at war with Iran. OK, whatever. And

01:44:40.100 --> 01:44:44.180
now there's aliens. OK, you know, but. Yeah,

01:44:44.199 --> 01:44:45.619
I mean, I just don't think that's what's being

01:44:45.619 --> 01:44:48.060
expressed because that's what creates the false

01:44:48.060 --> 01:44:51.930
Spielberg narrative. of it all that like, it

01:44:51.930 --> 01:44:53.850
just feels so unreal. It just feels like something

01:44:53.850 --> 01:44:56.170
that would never happen. People wouldn't just

01:44:56.170 --> 01:45:00.069
like look at their phones everywhere. And the

01:45:00.069 --> 01:45:04.390
whole world wouldn't stop if we got like a disclosure

01:45:04.390 --> 01:45:07.529
dump of alien footage. Well, that is, that is

01:45:07.529 --> 01:45:11.369
like Tim, Tim, Tim Dillon said this because I

01:45:11.369 --> 01:45:13.590
don't think because I think it's a metaphor for

01:45:13.590 --> 01:45:16.130
God, man, because I think if you showed people

01:45:16.130 --> 01:45:20.000
an actual miracle, Like if you could somehow

01:45:20.000 --> 01:45:23.020
actually show people a miracle, Spielberg can't

01:45:23.020 --> 01:45:25.380
do it. Nobody can do it. It's impossible. We're

01:45:25.380 --> 01:45:28.939
not gods. But like, I think he's trying to create

01:45:28.939 --> 01:45:32.579
an expression of people actually seeing something

01:45:32.579 --> 01:45:36.279
that is awakening, like something that actually

01:45:36.279 --> 01:45:40.039
stops the world. and i think the only thing that

01:45:40.039 --> 01:45:42.699
would do that spectacle is like just like just

01:45:42.699 --> 01:45:45.119
like we talked about in the 2001 episode man

01:45:45.119 --> 01:45:47.119
where it's like yeah it's a spectacle like the

01:45:47.119 --> 01:45:50.520
moon landing yeah but i think i think the alien

01:45:50.520 --> 01:45:52.460
i think the alien narrative is a thing that's

01:45:52.460 --> 01:45:55.359
created to distract us to make us feel like we're

01:45:55.359 --> 01:45:58.279
you know that's what the alien narrative is the

01:45:58.279 --> 01:46:00.479
alien narrative is the thing that distracts people

01:46:00.479 --> 01:46:03.119
because the alien narrative is not actually about

01:46:03.119 --> 01:46:05.960
wonder it's a scientific it's like trying to

01:46:05.960 --> 01:46:10.319
create a material explanation for stuff that

01:46:10.319 --> 01:46:12.699
is just unexplainable like when you look at those

01:46:12.699 --> 01:46:14.420
UFO files it's like most of this shit is just

01:46:14.420 --> 01:46:17.460
like weird shapes and like lights and like whatever

01:46:17.460 --> 01:46:19.819
you know it's like this could just be an angel

01:46:19.819 --> 01:46:21.640
whatever like I don't know what the fuck is this

01:46:21.640 --> 01:46:23.960
you know it's just the idea of saying like it's

01:46:23.960 --> 01:46:27.439
some being from another dimension or some some

01:46:27.439 --> 01:46:31.560
like creature that's figured out like some work

01:46:31.560 --> 01:46:33.659
around this law of physics or whatever like it's

01:46:33.659 --> 01:46:36.600
just like this doubling down on a conspiracy

01:46:36.600 --> 01:46:39.500
theory of materialism that that's what explains

01:46:39.500 --> 01:46:42.359
everything. Like the aliens, aliens aren't real,

01:46:42.560 --> 01:46:45.000
you know, like it's all just this idea that was

01:46:45.000 --> 01:46:47.560
created in the fifties as a propaganda thing

01:46:47.560 --> 01:46:50.220
that Spielberg helped perpetuate by creating

01:46:50.220 --> 01:46:52.720
close encounters. That's like, you know, when

01:46:52.720 --> 01:46:55.819
the gray aliens first became like the standard.

01:46:56.520 --> 01:47:00.760
Um, and like, I kind of think this is a movie

01:47:00.760 --> 01:47:05.069
standard before close encounters. He popularized

01:47:05.069 --> 01:47:09.569
it. But the point is that the gray aliens come

01:47:09.569 --> 01:47:12.989
from a real account, like from an abduction account.

01:47:14.090 --> 01:47:16.930
Of course, yeah. All of these things come from

01:47:16.930 --> 01:47:19.750
abduction accounts, and they existed in comic

01:47:19.750 --> 01:47:22.170
books and movies. Yeah, so people read about

01:47:22.170 --> 01:47:24.729
this stuff, and then they had some weird experience

01:47:24.729 --> 01:47:26.510
that they would have initially attributed to

01:47:26.510 --> 01:47:30.079
God, but now they attribute to aliens. Right.

01:47:30.100 --> 01:47:32.479
I mean, it could be the deep state too, but I

01:47:32.479 --> 01:47:35.619
think like to me, the movie is stating that like,

01:47:35.680 --> 01:47:39.479
it's not aliens, man. Have a spiritual view of

01:47:39.479 --> 01:47:41.859
the world. You know, don't have a materialist

01:47:41.859 --> 01:47:45.340
view in the world. We believe that like there

01:47:45.340 --> 01:47:48.760
are extraterrestrials spying on us or controlling

01:47:48.760 --> 01:47:52.340
us or like whatever it is. It's just like nuts.

01:47:52.420 --> 01:47:54.500
It's God. There are miracles. There's magic.

01:47:54.960 --> 01:47:57.340
There are voices that speak to you that you follow.

01:47:57.579 --> 01:48:01.140
And if you follow, your heart and you lead with

01:48:01.140 --> 01:48:03.460
empathy, you create beauty in this world and

01:48:03.460 --> 01:48:07.880
connection and family and all these things. Like

01:48:07.880 --> 01:48:12.159
the thing that people need right now is faith

01:48:12.159 --> 01:48:15.539
and like connection under something that's like

01:48:15.539 --> 01:48:18.880
sacred, not the AI demon. People don't want the

01:48:18.880 --> 01:48:21.500
AI demon. It's like Christianity is on the rise,

01:48:21.680 --> 01:48:24.779
you know? And this is like the most deeply Christian

01:48:24.779 --> 01:48:29.239
Spielberg movie. I mean, Spielberg has made many

01:48:29.239 --> 01:48:33.300
deeply Christian movies, bizarrely enough. Yeah,

01:48:33.380 --> 01:48:34.880
because I don't think he believes in Judaism,

01:48:35.140 --> 01:48:36.520
man. This doesn't quite compare to Amistad as

01:48:36.520 --> 01:48:40.680
far as its Christianity. It wasn't until I watched

01:48:40.680 --> 01:48:42.800
Disclosure Day that I thought Spielberg could

01:48:42.800 --> 01:48:45.539
be a bad guy. I think he's a good guy. I think

01:48:45.539 --> 01:48:47.420
he's a good guy. I think he's anti -Israel. I

01:48:47.420 --> 01:48:52.439
think he thinks that Israel and the secret societies

01:48:52.439 --> 01:48:55.960
that were born of it in that time is all this

01:48:55.960 --> 01:48:58.680
evil shit. It's like it's the replacement for

01:48:58.680 --> 01:49:02.579
God that is destabilizing everything and just

01:49:02.579 --> 01:49:05.899
creating every person into like a lonely individual

01:49:05.899 --> 01:49:09.939
and like everything is defined by our traumas

01:49:09.939 --> 01:49:12.600
and like, I don't know, like Spielberg keeps

01:49:12.600 --> 01:49:14.739
dealing with like this childhood trauma thing

01:49:14.739 --> 01:49:16.739
in this movie and like the fact that she has

01:49:16.739 --> 01:49:18.659
to go back to her childhood room just like at

01:49:18.659 --> 01:49:23.239
the end of Ready Player One. And it's also something

01:49:23.239 --> 01:49:26.229
that happens to them when they're 10. which is

01:49:26.229 --> 01:49:31.350
a big part of E .T. It's also what Peter Coyote,

01:49:31.430 --> 01:49:33.350
you know, at the end of the movie says, like,

01:49:33.369 --> 01:49:34.850
I've been waiting for this since I was 10 years

01:49:34.850 --> 01:49:38.010
old or 11 years old or something. So there is

01:49:38.010 --> 01:49:40.630
a significant thing that happens at that age

01:49:40.630 --> 01:49:43.329
to these kids who are also the age of the kids

01:49:43.329 --> 01:49:51.170
in Close Encounters. Well, there you go. Yeah,

01:49:51.350 --> 01:49:55.359
and obviously Spielberg's had his Childhood trauma

01:49:55.359 --> 01:49:59.640
that he keeps reflecting on and finds truth from.

01:49:59.800 --> 01:50:01.960
And these movies are hysterical sessions. I think

01:50:01.960 --> 01:50:05.119
The Fableman's really makes the gender roles

01:50:05.119 --> 01:50:07.779
and things in Disclosure Day pretty obvious.

01:50:08.020 --> 01:50:11.260
It's clearly, oh, my mommy and my daddy are these

01:50:11.260 --> 01:50:14.819
two characters. And there's the pianos. The pianos

01:50:14.819 --> 01:50:17.960
again. Mommy's pianos are around and there's

01:50:17.960 --> 01:50:20.579
a piano in her bedroom. I was, I mean, I was

01:50:20.579 --> 01:50:22.399
really thinking watching this, just, just how

01:50:22.399 --> 01:50:26.220
much she must love Evangelion. It's just like

01:50:26.220 --> 01:50:30.420
such a Shinji. Well, like when, when she's becoming

01:50:30.420 --> 01:50:33.079
like when, um, Noah sees the face of his dead

01:50:33.079 --> 01:50:35.079
wife in her or whatever, like when she's, cause

01:50:35.079 --> 01:50:38.039
she is kind of, she can kind of become who she

01:50:38.039 --> 01:50:40.500
needs to for them. Yeah. She's Ray. Yeah. She's

01:50:40.500 --> 01:50:42.960
the Ray Ayanami. She's connected to the all one.

01:50:43.159 --> 01:50:46.699
Like, yeah. Yeah. Noah becomes everyone for everyone.

01:50:47.579 --> 01:50:50.560
And yeah. So like, She has the female version

01:50:50.560 --> 01:50:55.060
of, you know, because in her bedroom, she's obviously

01:50:55.060 --> 01:50:57.500
an animal lover. Her bedroom's just decked out

01:50:57.500 --> 01:50:59.880
in animal stuff. And then the aliens come to

01:50:59.880 --> 01:51:03.159
her as animals, not toys, like in Close Encounters,

01:51:03.260 --> 01:51:05.819
which are a natural form. They're not, like,

01:51:05.819 --> 01:51:08.199
corporate things. No, but they're unnatural.

01:51:08.739 --> 01:51:11.460
I mean, it's such a choice that they look so

01:51:11.460 --> 01:51:14.159
CG and stuff. They do look really fake, yeah.

01:51:14.380 --> 01:51:17.029
So does the alien, man. So does the alien. Yeah,

01:51:17.050 --> 01:51:19.250
but not as fake. I mean, I don't know. But the

01:51:19.250 --> 01:51:20.789
thing is, the alien is something that you can

01:51:20.789 --> 01:51:25.250
accept because you've never seen an alien. But

01:51:25.250 --> 01:51:29.649
the animals are intentionally, like, he could

01:51:29.649 --> 01:51:31.270
have found a shot where there were going to be

01:51:31.270 --> 01:51:34.590
six deer outside. You know what I mean? But he

01:51:34.590 --> 01:51:38.289
chooses to do CGI deer, even when it's just a

01:51:38.289 --> 01:51:40.109
guy looking at deer outside and them running

01:51:40.109 --> 01:51:45.000
away. And everything that they describe of these

01:51:45.000 --> 01:51:50.020
animals is a contradiction. Their eyes, their

01:51:50.020 --> 01:51:52.710
look. but they're not. They're bold, but they

01:51:52.710 --> 01:51:54.890
run away when I pull a camera out. Yeah, yeah.

01:51:55.130 --> 01:51:57.350
Like, they're bold, but they run away. And then,

01:51:57.390 --> 01:51:59.010
like, later he describes it. There's a bunch

01:51:59.010 --> 01:52:00.270
of times when they describe it, and it's always

01:52:00.270 --> 01:52:02.569
just contradictions, and they are both natural

01:52:02.569 --> 01:52:05.310
and CGI. I just think that's how you can describe

01:52:05.310 --> 01:52:07.109
God, though. Like, I get that's how you can describe

01:52:07.109 --> 01:52:09.489
the aliens. Like, yeah, they're bold, they hang

01:52:09.489 --> 01:52:11.109
around, they watch shit, but the moment you pull

01:52:11.109 --> 01:52:13.409
a camera out, they fly away. That's also God.

01:52:13.510 --> 01:52:16.130
That's also miracles. We can't capture a miracle

01:52:16.130 --> 01:52:18.289
on a camera. We can't capture yada, yada, yada.

01:52:18.920 --> 01:52:20.800
Right, but I think that this is part of a tradition

01:52:20.800 --> 01:52:25.979
of movies, including significantly The Shining

01:52:25.979 --> 01:52:31.319
and E .T. and whatever, where people often fill

01:52:31.319 --> 01:52:37.300
in with the supernatural things that are things

01:52:37.300 --> 01:52:38.939
that they can't really deal with. You know what

01:52:38.939 --> 01:52:41.729
I mean? Things that are traumatic. It's traumatic

01:52:41.729 --> 01:52:45.149
incidents. Well, is it better to say it's a materialist

01:52:45.149 --> 01:52:47.449
thing, like they're controlled by aliens or the

01:52:47.449 --> 01:52:51.270
deep state or something? Well, I mean, in The

01:52:51.270 --> 01:52:54.350
Shining, it's like, nah, man, maybe it's just

01:52:54.350 --> 01:52:56.789
somebody who's actually here who's doing you

01:52:56.789 --> 01:52:58.750
harm. Like, you don't need to attribute this

01:52:58.750 --> 01:53:03.050
to ghosts or whatever. And I think that the idea

01:53:03.050 --> 01:53:04.789
that something happened to you when you were

01:53:04.789 --> 01:53:06.369
10 and you were taken out of your bed and it

01:53:06.369 --> 01:53:08.029
was a traumatic event that happened to you when

01:53:08.029 --> 01:53:10.800
you were that age. You were taken out of your

01:53:10.800 --> 01:53:13.420
bed in the middle of the night and operated on

01:53:13.420 --> 01:53:17.260
with another kid who was screaming, but you dissociated.

01:53:17.420 --> 01:53:22.659
That, to me, sounds like a traumatic event. That

01:53:22.659 --> 01:53:25.039
sounds like a molestation event or something

01:53:25.039 --> 01:53:28.960
bad that happened that's being described. If

01:53:28.960 --> 01:53:32.600
a child described that to a psychiatrist, they're

01:53:32.600 --> 01:53:36.100
not going to be like, oh, this kid. was in touch

01:53:36.100 --> 01:53:40.100
with god or or was in oh well this kid was molested

01:53:40.100 --> 01:53:42.619
probably like you know of course these are the

01:53:42.619 --> 01:53:44.420
types of things that kids come up with where

01:53:44.420 --> 01:53:47.060
it's like oh yeah it was a deer and a thing and

01:53:47.060 --> 01:53:49.180
whatever and it happened and that's why i was

01:53:49.180 --> 01:53:52.119
outside in my bare feet and whatever in the middle

01:53:52.119 --> 01:53:55.739
of the snow and that's yeah but but but it but

01:53:55.739 --> 01:53:58.079
it also references hansel and gretel which is

01:53:58.079 --> 01:54:01.600
like a fairy tale about abandonment from your

01:54:01.600 --> 01:54:06.390
parents but it's not like a But it's because

01:54:06.390 --> 01:54:08.470
ultimately the story is supposed to be in support

01:54:08.470 --> 01:54:11.090
of individualism. It's about leaving the nest

01:54:11.090 --> 01:54:14.770
and gaining your own independence. It's about

01:54:14.770 --> 01:54:18.890
predictive programming and whatnot. It's about

01:54:18.890 --> 01:54:23.270
following the crumbs and being led along a path.

01:54:23.529 --> 01:54:25.449
Yeah, but then they kill the witch. That actually

01:54:25.449 --> 01:54:29.189
leads you to Satan. Yeah, but then they take

01:54:29.189 --> 01:54:31.350
control and kill her and get out of there. It's

01:54:31.350 --> 01:54:35.039
about taking agency and individuality. But that's

01:54:35.039 --> 01:54:36.979
not what happens in the end. In the end, they

01:54:36.979 --> 01:54:40.840
just get operated on. And then they think that

01:54:40.840 --> 01:54:42.640
it has something to do with birds because there

01:54:42.640 --> 01:54:47.180
was above their bed a thing with the birds that's

01:54:47.180 --> 01:54:48.739
like the thing that they put over their head

01:54:48.739 --> 01:54:50.460
in the Hansel and Gretel house. That's actually

01:54:50.460 --> 01:54:51.960
something that's happening to them in their bed

01:54:51.960 --> 01:54:56.659
still. They haven't gone anywhere. You know what

01:54:56.659 --> 01:55:00.460
I mean? Sure. The birds have now become the device.

01:55:01.260 --> 01:55:03.399
That's spinning around their head and something's

01:55:03.399 --> 01:55:05.920
happening to these 10 -year -olds in their beds.

01:55:06.659 --> 01:55:09.859
I think God talking to anyone is going to be

01:55:09.859 --> 01:55:12.920
traumatic. I think God coming to you in the form

01:55:12.920 --> 01:55:16.000
of an animal or a fire or a bush on fire is just

01:55:16.000 --> 01:55:19.100
going to be traumatic. God speaks through something.

01:55:19.659 --> 01:55:23.079
But I think, again, this, just like Close Encounters,

01:55:23.119 --> 01:55:24.739
has a lot of resonance with conspiracy ideas.

01:55:24.739 --> 01:55:26.340
And about Jesus' acting at the beginning of Last

01:55:26.340 --> 01:55:29.109
Temptation. He's, like, friggin' insane person.

01:55:29.189 --> 01:55:30.770
He hates having the visions. It's, like, all

01:55:30.770 --> 01:55:33.949
torture. It's, like, not fun to be Christ. It's

01:55:33.949 --> 01:55:37.310
not fun to be the chosen one or, like, you know,

01:55:37.310 --> 01:55:40.890
and people who have trauma are, like, I don't

01:55:40.890 --> 01:55:42.850
know, she's capable of the empathy that's needed

01:55:42.850 --> 01:55:45.729
or whatever and, like... Right, but she is having

01:55:45.729 --> 01:55:48.609
fun. She says she's having fun. She says it feels

01:55:48.609 --> 01:55:51.229
good, like, and whatever, but it's really just

01:55:51.229 --> 01:55:54.590
an amphetamine sort of rush thing. At first,

01:55:54.810 --> 01:55:58.000
until she realizes... what's at stake and it's

01:55:58.000 --> 01:56:00.039
like oh wait i'm just i don't want to be anyone's

01:56:00.039 --> 01:56:03.699
religion and like this is insane and i don't

01:56:03.699 --> 01:56:06.460
know yeah like you know someone kneels and does

01:56:06.460 --> 01:56:09.239
the cross in front of her but to me i think that

01:56:09.239 --> 01:56:11.579
there's the the idea that this all is because

01:56:11.579 --> 01:56:13.659
something was done to her when she was 10 in

01:56:13.659 --> 01:56:17.590
the middle of the night in her bed And that it

01:56:17.590 --> 01:56:21.529
was activated later on by an interaction that,

01:56:21.529 --> 01:56:24.289
like, this is all, again, much like Close Encounters.

01:56:24.310 --> 01:56:27.109
This is monarch -slave shit. Like, conspiracy

01:56:27.109 --> 01:56:30.289
theory, monarch -slave shit. And I think it's

01:56:30.289 --> 01:56:32.510
interesting that she emphasizes, like, that it's

01:56:32.510 --> 01:56:36.789
not about the cardinal or anything. Like, the

01:56:36.789 --> 01:56:38.250
cardinal is what it comes to or whatever. But

01:56:38.250 --> 01:56:40.270
when they describe her dreams, they describe

01:56:40.270 --> 01:56:43.539
the butterflies. and the butterflies are all

01:56:43.539 --> 01:56:45.939
over the walls and stuff and they're like to

01:56:45.939 --> 01:56:49.359
me it's a way of like it would be too obvious

01:56:49.359 --> 01:56:52.520
if he made it be a monarch butterfly that came

01:56:52.520 --> 01:56:55.760
to her and revealed her trauma or whatever but

01:56:55.760 --> 01:56:58.859
like trauma -based mind control is monarch slavery

01:56:58.859 --> 01:57:03.699
and like the idea of this character who has a

01:57:03.699 --> 01:57:06.779
trauma that is being mind controlled by this

01:57:06.779 --> 01:57:09.920
like thing that is taking over a country through

01:57:09.920 --> 01:57:13.020
empathy and be playing the victim harder and

01:57:13.020 --> 01:57:15.500
whatever. Like, it's just like, how can you not

01:57:15.500 --> 01:57:18.279
see that as being the Christ narrative? Like

01:57:18.279 --> 01:57:20.880
I get like, Oh, it's the antichrist. But like,

01:57:20.899 --> 01:57:23.500
I think that's just your perspective. Like, I

01:57:23.500 --> 01:57:25.539
don't think that's very cold, hard, obvious about

01:57:25.539 --> 01:57:29.220
this movie. She is given Christ's halo and, Crown

01:57:29.220 --> 01:57:31.680
of Thorns in that scene as well because she's

01:57:31.680 --> 01:57:34.420
framed within the deer's antlers and she has

01:57:34.420 --> 01:57:36.359
like the mobile above her head with the cardinals,

01:57:36.380 --> 01:57:38.739
which is like a red halo. But she's anointed

01:57:38.739 --> 01:57:41.460
by Palantir. She's not anointed by God. That's

01:57:41.460 --> 01:57:43.739
because you think they are Palantir. That's because

01:57:43.739 --> 01:57:46.380
you assume the aliens are Palantir. But why do

01:57:46.380 --> 01:57:48.819
you assume that? But the aliens are rolled out

01:57:48.819 --> 01:57:52.979
by Palantir. He's already been there and is controlling

01:57:52.979 --> 01:57:56.140
this thing. You know what I mean? The whole revolution.

01:57:57.400 --> 01:58:00.899
The Nathan Fielder method that's happening in

01:58:00.899 --> 01:58:03.340
this movie, that whole thing is controlled by

01:58:03.340 --> 01:58:06.279
the alien who's telling them what to do to create

01:58:06.279 --> 01:58:08.800
the conditions for them to properly disclose

01:58:08.800 --> 01:58:10.619
their presence. And what they're really going

01:58:10.619 --> 01:58:13.039
to disclose is that they're in charge of the

01:58:13.039 --> 01:58:15.039
world now. Why would you think that? They just

01:58:15.039 --> 01:58:17.590
need to disclose it right. through the right

01:58:17.590 --> 01:58:21.770
person who is going to empathize properly with

01:58:21.770 --> 01:58:24.750
everyone. It's because it's the end of our childhood's

01:58:24.750 --> 01:58:26.109
end. I mean, that's how God got his word out

01:58:26.109 --> 01:58:29.289
through Jesus. It's the end of childhood's end.

01:58:29.770 --> 01:58:34.430
But the point is that it's specifically underlined

01:58:34.430 --> 01:58:38.760
in the movie that it is not God. That God also

01:58:38.760 --> 01:58:40.880
could have made other things and whatever and

01:58:40.880 --> 01:58:43.239
blah, blah, blah. But that it is not God. And

01:58:43.239 --> 01:58:45.460
that's why she's worried about having these things

01:58:45.460 --> 01:58:47.680
be released. That's her motivation. It's weirdly

01:58:47.680 --> 01:58:50.479
Catholic. It's weirdly like has nothing to do

01:58:50.479 --> 01:58:53.020
with anyone else's motivation. But it is there

01:58:53.020 --> 01:58:57.520
to underline the fact that she is. Well, I can

01:58:57.520 --> 01:58:59.300
underline the fact that that's not actually in

01:58:59.300 --> 01:59:01.800
the Bible, man. It's not true. That's just fake.

01:59:02.159 --> 01:59:04.220
It doesn't say anything about humans being supreme

01:59:04.220 --> 01:59:06.979
beings in the Bible. It only says that we have

01:59:06.979 --> 01:59:10.140
dominion over earth. Okay. So like there's, there's

01:59:10.140 --> 01:59:12.500
no thing that like suggests there's other beings

01:59:12.500 --> 01:59:15.739
in the Bible. Okay. Yeah. So he made it up to

01:59:15.739 --> 01:59:19.060
actually underline it in this movie and say like,

01:59:19.100 --> 01:59:21.380
or he made it up to say like, this is bullshit.

01:59:21.880 --> 01:59:24.140
You know what I mean? Like these things could

01:59:24.140 --> 01:59:26.079
be two different things, man. Like he made it

01:59:26.079 --> 01:59:29.779
up to make, to show like Catholicism being compatible

01:59:29.779 --> 01:59:34.600
with this idea, but that this is not God specifically.

01:59:35.690 --> 01:59:38.630
The heart of this movie is the conversation about

01:59:38.630 --> 01:59:41.949
whether or not they should disclose this. And

01:59:41.949 --> 01:59:44.390
the only reason they do disclose it is because

01:59:44.390 --> 01:59:47.449
the aliens decided that they should and how they

01:59:47.449 --> 01:59:50.250
should and why they should. And they have no

01:59:50.250 --> 01:59:55.789
agency whatsoever. They also wouldn't if God

01:59:55.789 --> 01:59:58.609
was speaking to them. So the question is, you

01:59:58.609 --> 02:00:00.649
can either see it as God or you can see it as

02:00:00.649 --> 02:00:03.329
AI. And depending on which one you choose, you're

02:00:03.329 --> 02:00:05.939
cynical or, you know. You have a more optimistic

02:00:05.939 --> 02:00:09.920
outlook because you've not made the case clearly

02:00:09.920 --> 02:00:13.199
enough. And also making the listen ambiguous

02:00:13.199 --> 02:00:17.199
holds the ambiguity. You don't know what they're

02:00:17.199 --> 02:00:19.779
going to be told. Not all the footage is snuff

02:00:19.779 --> 02:00:25.180
films. Also, why wouldn't Christ care about the

02:00:25.180 --> 02:00:29.300
victims and the tired and poor? Why wouldn't

02:00:29.300 --> 02:00:33.000
this represent the idea of God being bastardized?

02:00:33.529 --> 02:00:35.069
the idea of faith being bastardized, the idea

02:00:35.069 --> 02:00:38.970
of spirituality or wonder, like literally all

02:00:38.970 --> 02:00:41.470
Hugo tells the bad guy is like, it's just like

02:00:41.470 --> 02:00:42.470
people being... Just listen to the music. It

02:00:42.470 --> 02:00:48.189
feels like that scene in the second renaissance,

02:00:48.189 --> 02:00:52.789
the matrix, animatrix thing, where that robot

02:00:52.789 --> 02:00:55.149
representative goes up to Congress and signs

02:00:55.149 --> 02:00:58.630
his name and then blows himself up and destroys...

02:00:58.840 --> 02:01:02.140
DC because it's like it's just like the leader

02:01:02.140 --> 02:01:06.279
is here and he's talking to us because he created

02:01:06.279 --> 02:01:09.560
all of the conditions already where he controlled

02:01:09.560 --> 02:01:12.760
not only like that he's totally safe and fine

02:01:12.760 --> 02:01:15.680
being here and talking to us why is he the bad

02:01:15.680 --> 02:01:19.180
guy but also that everybody empathizes with him

02:01:19.180 --> 02:01:22.000
already because like we've done this whole thing

02:01:22.000 --> 02:01:26.430
about making them somehow be a victim And now

02:01:26.430 --> 02:01:28.869
it's going to, like, it's so weird. Like, it's

02:01:28.869 --> 02:01:32.090
all about the conditions with which we're going

02:01:32.090 --> 02:01:36.369
to, what? Basically take over. This is a takeover

02:01:36.369 --> 02:01:39.409
that's already happened. Just like Tenet was.

02:01:39.529 --> 02:01:41.909
It's incepting itself into existence. It's creating

02:01:41.909 --> 02:01:46.539
the new power structure. It's taking over. Because

02:01:46.539 --> 02:01:49.079
everything will be thrown off. That's why they're

02:01:49.079 --> 02:01:50.500
afraid of putting this out there and blah, blah,

02:01:50.579 --> 02:01:53.380
blah, whatever. It's like, no, no, no. In what

02:01:53.380 --> 02:01:54.819
way? How's everything going to be thrown off?

02:01:55.020 --> 02:01:57.699
What are you talking about? They already took

02:01:57.699 --> 02:02:00.460
over. They're just letting us know. That's why

02:02:00.460 --> 02:02:01.600
they controlled all of this. How did the aliens

02:02:01.600 --> 02:02:05.579
take over? They already controlled all of this

02:02:05.579 --> 02:02:08.800
situation. Because he's just mind reading everybody?

02:02:09.439 --> 02:02:12.539
Controlling everybody? He controls both the math

02:02:12.539 --> 02:02:16.920
and the empathy, and they are representative

02:02:16.920 --> 02:02:20.720
of the Noosphere, of Gaia. And he controls Vortex?

02:02:21.079 --> 02:02:24.680
Yes. The secret organization that is the CIA.

02:02:25.720 --> 02:02:29.220
Yes. And Mossad and Israel trying to hold this

02:02:29.220 --> 02:02:31.640
secret back. They all are working for the alien.

02:02:31.880 --> 02:02:37.430
Yes. The AI demon. The AI demon alien. They just

02:02:37.430 --> 02:02:39.869
don't know it yet. They're playing them against

02:02:39.869 --> 02:02:41.770
each other in order to create the conditions

02:02:41.770 --> 02:02:44.350
with which everybody's empathetic to them and

02:02:44.350 --> 02:02:47.310
they can release this information and control

02:02:47.310 --> 02:02:50.630
all the airwaves and control the narrative because

02:02:50.630 --> 02:02:53.050
we're actually already on their side against

02:02:53.050 --> 02:02:55.810
the people who did these and kept these tapes

02:02:55.810 --> 02:02:58.189
from us and whatever. That's kind of what you

02:02:58.189 --> 02:03:01.510
would need for religion too, man. I just think

02:03:01.510 --> 02:03:04.050
these things are basically the same in this movie.

02:03:05.270 --> 02:03:09.170
The details don't really tell you which one it

02:03:09.170 --> 02:03:13.350
is. I don't think it's obvious the alien is a

02:03:13.350 --> 02:03:17.670
bad guy. It represents a new totalitarian power

02:03:17.670 --> 02:03:20.210
that's taking over. I don't think that's obvious

02:03:20.210 --> 02:03:22.710
about the movie or whatever. I don't think it's

02:03:22.710 --> 02:03:24.750
obvious. I think it can mean the other thing

02:03:24.750 --> 02:03:27.810
just as easily. And that is the thing I thought,

02:03:27.949 --> 02:03:29.649
the thing that made the whole movie connect for

02:03:29.649 --> 02:03:32.130
me. Because initially I was kind of watching

02:03:32.130 --> 02:03:34.779
it with a more cynical... And nothing was making

02:03:34.779 --> 02:03:37.899
sense from that perspective. But like thinking

02:03:37.899 --> 02:03:40.920
about it as actually something positive and thinking

02:03:40.920 --> 02:03:44.079
about it as God and thinking about like, this

02:03:44.079 --> 02:03:48.260
is actually just like spirituality and faith

02:03:48.260 --> 02:03:51.979
and like the voice of God. This is a kind of,

02:03:51.979 --> 02:03:54.220
this is a miracle that's happening. This is like,

02:03:54.220 --> 02:03:56.039
things are, everything is the right place. Things

02:03:56.039 --> 02:04:00.420
are like. do we have agency? I don't know. Like

02:04:00.420 --> 02:04:02.100
if there's, if there's such thing as a God, then

02:04:02.100 --> 02:04:05.000
maybe we don't like Spielberg follows the music.

02:04:05.020 --> 02:04:06.859
You know, there's always kind of just like a,

02:04:06.899 --> 02:04:09.199
why am I doing this? I'm feeling this out. I

02:04:09.199 --> 02:04:11.979
don't know where I'm going. Well, I saw a sign

02:04:11.979 --> 02:04:14.739
or this happened. It's like having a like spiritual

02:04:14.739 --> 02:04:17.840
view of the world is like, that's what that's

02:04:17.840 --> 02:04:20.760
a metaphor for is like seeing signs, like hearing

02:04:20.760 --> 02:04:25.380
the voice. I looked up St. Claire. Oh yeah. Yeah.

02:04:25.439 --> 02:04:28.420
Well that was one, but St. Benedicta. They say

02:04:28.420 --> 02:04:31.199
it earlier on, and I was like, why? They're talking

02:04:31.199 --> 02:04:35.720
about the other nun there who was a hard case

02:04:35.720 --> 02:04:37.640
or whatever. I'm like, oh, she's a nun. They're

02:04:37.640 --> 02:04:39.220
like, yeah, yeah, she'll be so good with children.

02:04:39.600 --> 02:04:42.619
And they both say, like, Saint Benedicta. And

02:04:42.619 --> 02:04:45.680
I couldn't figure out, I was like, why? Who's

02:04:45.680 --> 02:04:48.140
Saint Benedicta? Saint Benedicta was, there's

02:04:48.140 --> 02:04:51.800
like, she's got like some theory about empathy.

02:04:52.670 --> 02:04:56.670
being the most important thing for transubstantiation.

02:04:56.869 --> 02:05:01.149
Like there's some, she's got some like, it's

02:05:01.149 --> 02:05:03.810
the, it's that intellectual Christian stuff,

02:05:03.909 --> 02:05:06.069
like Thomas Aquinas stuff. You know what I mean?

02:05:06.090 --> 02:05:07.710
Where it's like physics and Christianity and

02:05:07.710 --> 02:05:13.590
whatever. She was a Jew who converted to Christianity

02:05:13.590 --> 02:05:17.949
and was killed in a concentration camp. Okay.

02:05:18.369 --> 02:05:21.699
And I think she basically apparently like, the

02:05:21.699 --> 02:05:24.180
whole time like knew she was going to die and

02:05:24.180 --> 02:05:27.800
as soon as Germany invaded she basically like

02:05:27.800 --> 02:05:31.420
started trying to withstand the cold and the

02:05:31.420 --> 02:05:34.500
like starvation or whatever to like prepare herself

02:05:34.500 --> 02:05:36.420
for the concentration camp she knew she was going

02:05:36.420 --> 02:05:39.760
to but I wasn't quite sure what that had to do

02:05:39.760 --> 02:05:42.619
with the girl, unless they were talking about

02:05:42.619 --> 02:05:45.659
the girl. They said after she stopped staying

02:05:45.659 --> 02:05:48.140
out so much, it's like, well, maybe she was staying

02:05:48.140 --> 02:05:51.039
out like St. Benedicta to torture herself or

02:05:51.039 --> 02:05:53.720
something in the cold because of the coming Holocaust

02:05:53.720 --> 02:05:56.779
or something. I don't really know. But I do know

02:05:56.779 --> 02:05:58.880
that when I started looking up St. Benedicta

02:05:58.880 --> 02:06:02.220
and the Thomas Aquinas math Christianity stuff,

02:06:02.439 --> 02:06:06.970
it started opening up ideas in my head. I don't

02:06:06.970 --> 02:06:08.789
think it's totally figured out at this point.

02:06:08.869 --> 02:06:10.489
And I think that maybe more people will someday

02:06:10.489 --> 02:06:13.470
have good video essays about what St. Benedicta

02:06:13.470 --> 02:06:15.649
has to do with Disclosure Day. But I think it's

02:06:15.649 --> 02:06:18.489
key. I think it's a big part of it. Well, there's

02:06:18.489 --> 02:06:20.569
also St. Clair. A big part of her is empathy

02:06:20.569 --> 02:06:23.390
and its importance and the primacy of empathy

02:06:23.390 --> 02:06:27.189
or something. But then, yeah, there's St. Clair

02:06:27.189 --> 02:06:29.609
as well, which they bring up, right? Yeah. And

02:06:29.609 --> 02:06:32.750
explain on screen. Well, he says, I remember

02:06:32.750 --> 02:06:35.880
St. Clair, she... Couldn't make it to Christmas,

02:06:36.079 --> 02:06:38.239
Midnight Mass, and had a vision of it instead.

02:06:38.319 --> 02:06:41.399
So she was in two places at once, like me. She

02:06:41.399 --> 02:06:44.199
retroactively became the patron saint of television.

02:06:45.439 --> 02:06:48.159
Yeah, there's a lot of connections between God

02:06:48.159 --> 02:06:51.859
allowed her to do this thing that this technology

02:06:51.859 --> 02:06:54.880
is now letting him do. Right. But one of them

02:06:54.880 --> 02:06:59.479
was God, and one of them is not, I think is part

02:06:59.479 --> 02:07:02.539
of the thing to me. Specifically, the conflation

02:07:02.539 --> 02:07:06.479
of that is, a great evil that this movie is like,

02:07:06.560 --> 02:07:09.840
I think talking about while not really directly

02:07:09.840 --> 02:07:12.340
talking about it, but I think that it ends up

02:07:12.340 --> 02:07:14.840
being, if you think about that as a theme, a

02:07:14.840 --> 02:07:16.920
big part of a lot of the scenes and conversations

02:07:16.920 --> 02:07:20.000
and the ideas. I mean, just like I said before,

02:07:20.079 --> 02:07:22.479
I think the alien narrative is not conflated

02:07:22.479 --> 02:07:25.520
with God. It replaces it. And that's what's underlined.

02:07:25.600 --> 02:07:28.039
If you show them a Supreme being, it will replace

02:07:28.039 --> 02:07:32.420
God. But like, If the supreme being is just God,

02:07:32.560 --> 02:07:34.760
if that's what's being revealed and disclosed,

02:07:35.020 --> 02:07:38.500
then that's not really an issue. I think that's

02:07:38.500 --> 02:07:41.979
this assumption that, I don't know, I just kind

02:07:41.979 --> 02:07:44.140
of think that's a mislead by a character who

02:07:44.140 --> 02:07:45.680
doesn't have anything figured out in the movie

02:07:45.680 --> 02:07:48.239
yet. I think that's put in there as a key to

02:07:48.239 --> 02:07:50.659
the movie. There's no other reason to have these

02:07:50.659 --> 02:07:53.020
Christians in this movie. You keep bringing up

02:07:53.020 --> 02:07:56.119
all these things that I don't see as being cold

02:07:56.119 --> 02:07:58.119
hard proof. To me, all those things just mean

02:07:58.119 --> 02:08:00.489
the thing that I interpreted. That's not a thing

02:08:00.489 --> 02:08:02.609
that gets underlined that, like, destroys my

02:08:02.609 --> 02:08:04.170
argument. That's, like, all I'm trying to say.

02:08:04.350 --> 02:08:06.550
So this is a very interpretable movie. But, like,

02:08:06.569 --> 02:08:08.750
I don't know. The point is, like, she's explicitly

02:08:08.750 --> 02:08:10.829
told you didn't lose your faith in God. You lost

02:08:10.829 --> 02:08:13.810
your faith in people. And it doesn't, like, God

02:08:13.810 --> 02:08:15.829
isn't real. Whether God's real or not doesn't

02:08:15.829 --> 02:08:17.710
matter. It's just, like, the idea of God that

02:08:17.710 --> 02:08:19.630
connects. It's the idea of God that creates common

02:08:19.630 --> 02:08:22.409
humanity. And, like, I basically just thought

02:08:22.409 --> 02:08:24.710
that's what this movie was expressing. I do not

02:08:24.710 --> 02:08:27.340
have a cynical view about this movie. that like

02:08:27.340 --> 02:08:29.899
what's taking over. And at the end of this, Spielberg

02:08:29.899 --> 02:08:32.420
is saying, we're just being controlled by the

02:08:32.420 --> 02:08:34.159
AI demon and we're going to lose to it. And there

02:08:34.159 --> 02:08:37.319
will be no true God and God is dead and no spirituality,

02:08:37.479 --> 02:08:40.939
no faith. The only other option is religion in

02:08:40.939 --> 02:08:42.960
this movie. That is, that is what the movie is

02:08:42.960 --> 02:08:46.020
saying. I think, I think that there is a Christianity

02:08:46.020 --> 02:08:48.479
that exists where it's like, yeah, fine. This,

02:08:48.539 --> 02:08:51.699
this true, true, true. There are aliens, but

02:08:51.699 --> 02:08:54.489
like, That's not God. We don't bow to it. We

02:08:54.489 --> 02:08:56.470
don't pray to it. We don't believe that just

02:08:56.470 --> 02:08:59.810
because this person knows data about our day

02:08:59.810 --> 02:09:02.989
that they are God and we should submit to them

02:09:02.989 --> 02:09:05.029
and allow them to take over our country and go

02:09:05.029 --> 02:09:08.449
into the deepest reaches of our security or whatever.

02:09:08.850 --> 02:09:11.090
You know what I mean? These things are already

02:09:11.090 --> 02:09:17.310
things that are accessible. I don't know. I don't

02:09:17.310 --> 02:09:20.529
think the aliens controlling... Noah. I just

02:09:20.529 --> 02:09:23.090
don't. I think Noah, they also set up the idea

02:09:23.090 --> 02:09:24.989
that certain people can't be dropped in on. And

02:09:24.989 --> 02:09:26.670
I think Noah is one of those people and he never

02:09:26.670 --> 02:09:29.550
gets dropped in on by anyone. Like you can't

02:09:29.550 --> 02:09:31.630
drop in on Daniel either. Like you can't drop

02:09:31.630 --> 02:09:33.670
in on anyone who's not empathetic, who's all

02:09:33.670 --> 02:09:35.869
logic or something. Like, I don't know. The alien

02:09:35.869 --> 02:09:38.670
doesn't have full control. It just doesn't. And

02:09:38.670 --> 02:09:40.949
that's like underlined as well. And I really

02:09:40.949 --> 02:09:44.750
do think Ward X is the deep state that is holding,

02:09:44.890 --> 02:09:47.600
that is like fucking up our world. that hide

02:09:47.600 --> 02:09:49.439
secrets from presidents, that is, like, controlling

02:09:49.439 --> 02:09:53.220
everything. They use AI. They use the Antichrist.

02:09:53.399 --> 02:09:56.000
And that the aliens actually represent something

02:09:56.000 --> 02:09:59.600
that is, like, mystical and wondrous and beyond

02:09:59.600 --> 02:10:03.960
our understanding. Noah lets Daniel get away.

02:10:04.220 --> 02:10:07.520
Sure. Yeah, he lets Daniel get away. He lets

02:10:07.520 --> 02:10:12.100
Jane get away with the device. But I think it

02:10:12.100 --> 02:10:14.779
has a lot more to do with Noah. And his trauma

02:10:14.779 --> 02:10:18.720
and his loss and like the things that he wants

02:10:18.720 --> 02:10:20.520
to know and the things that he wants to hear

02:10:20.520 --> 02:10:24.899
and how he is a conflicted like Aikman who doesn't

02:10:24.899 --> 02:10:26.859
necessarily believe in what he's doing. Like,

02:10:26.880 --> 02:10:28.359
I don't know, man. Like, I just don't think that's

02:10:28.359 --> 02:10:32.279
necessarily like, yeah, I don't know. But this

02:10:32.279 --> 02:10:33.960
is cool. It's cool that we have different outlooks

02:10:33.960 --> 02:10:36.899
on it. I think he's like the butler in Ready

02:10:36.899 --> 02:10:40.760
Player One. I also think that interpretation

02:10:40.760 --> 02:10:43.920
is not necessarily true either. A lot of this

02:10:43.920 --> 02:10:46.840
is built on many interpretations that are you

02:10:46.840 --> 02:10:50.079
can take or leave. But I'm not agreeing with

02:10:50.079 --> 02:10:52.939
you on this one. I'm going to say I did not come

02:10:52.939 --> 02:10:54.779
away with this one with that and you have not

02:10:54.779 --> 02:10:57.039
convinced me. But also it doesn't sound like

02:10:57.039 --> 02:10:59.909
I've convinced you. But I think Spielberg is

02:10:59.909 --> 02:11:02.409
being sincere here. I think he's being, I don't

02:11:02.409 --> 02:11:04.630
think there's like, I don't like, that's just

02:11:04.630 --> 02:11:08.970
too like, like going to that place with it just

02:11:08.970 --> 02:11:13.350
feels too like. You think that that alien revealing

02:11:13.350 --> 02:11:16.409
itself, whispering into the math guy's ear, him

02:11:16.409 --> 02:11:18.609
whispering to the girl at her going up and saying,

02:11:18.670 --> 02:11:23.109
listen, is like an earnest, happy, beautiful

02:11:23.109 --> 02:11:26.680
ending. You don't think that's like a, oh, wait,

02:11:26.739 --> 02:11:31.140
why is this fucking satanic at all? I don't know.

02:11:31.180 --> 02:11:34.739
Why do you think it's satanic? Just because it,

02:11:34.819 --> 02:11:38.199
like, I don't know. It's just like it is. Like,

02:11:38.199 --> 02:11:42.779
it just is. Well, then it just is not. You can't

02:11:42.779 --> 02:11:44.920
make the argument. The point is that, like, this

02:11:44.920 --> 02:11:47.060
is a litmus test. It's a litmus test. It's about

02:11:47.060 --> 02:11:50.180
your faith. It's a non -human entity that now

02:11:50.180 --> 02:11:53.939
is, like, the most powerful being on our planet.

02:11:54.329 --> 02:11:58.430
Like, so it's like we've been taken over by aliens.

02:11:58.630 --> 02:12:00.689
And it's not like, it's not like, it's like,

02:12:00.789 --> 02:12:02.949
yeah, why is that bad? What alien? This one alien?

02:12:03.810 --> 02:12:06.590
Yeah, one alien who doesn't need to be worried

02:12:06.590 --> 02:12:10.970
about being there. And like is brought out in

02:12:10.970 --> 02:12:13.989
his own environment and whatever. Like it's this

02:12:13.989 --> 02:12:17.649
alien that like controlled all of the actions

02:12:17.649 --> 02:12:20.250
in the movie thus far and made this thing happen

02:12:20.250 --> 02:12:23.829
in ways that like. we don't have any understanding

02:12:23.829 --> 02:12:27.210
or control of. Like, it can get into everything.

02:12:27.390 --> 02:12:30.289
It can do everything. No, it can't. It can't

02:12:30.289 --> 02:12:33.449
drop into anybody that's established. Like, I

02:12:33.449 --> 02:12:34.909
don't know why. If you're going to, like, take

02:12:34.909 --> 02:12:36.689
certain things, like, at face value. No, I mean,

02:12:36.689 --> 02:12:38.729
it can't drop in on everybody. Yeah, but it can,

02:12:38.810 --> 02:12:41.050
like. So it can't control the WordX. It can't

02:12:41.050 --> 02:12:43.010
control everybody. Like, it can't do that. So,

02:12:43.029 --> 02:12:45.029
obviously, it has to, like, side with people.

02:12:45.789 --> 02:12:48.010
No, it can't. Like, I don't think there's any

02:12:48.010 --> 02:12:50.010
evidence that it's doing that. That's just something

02:12:50.010 --> 02:12:53.039
you're making up. If you want to find the evidence,

02:12:53.140 --> 02:12:57.220
cool. There's no evidence in the movie that that

02:12:57.220 --> 02:13:01.100
alien is jumping in on Wardex or controlling

02:13:01.100 --> 02:13:03.119
them, as far as I can tell. First of all, it's

02:13:03.119 --> 02:13:06.760
not about dropping in on Wardex. It's about making

02:13:06.760 --> 02:13:11.600
Wardex do the thing that it wants. Yeah, so you're

02:13:11.600 --> 02:13:14.020
suggesting that it can drop in on Noah and say,

02:13:14.100 --> 02:13:16.239
don't chase him, let him get away with it. No,

02:13:16.279 --> 02:13:19.829
I'm saying that it can... I mean... That's what

02:13:19.829 --> 02:13:21.770
you're saying. Instead of it being, like, Noah's

02:13:21.770 --> 02:13:26.510
own decision. Noah doesn't have any reason to

02:13:26.510 --> 02:13:29.329
not do that. Like, there's no conflict of interest.

02:13:29.909 --> 02:13:32.869
It's like... There's obviously something... There's

02:13:32.869 --> 02:13:35.949
obviously... Look, there's a struggle going on

02:13:35.949 --> 02:13:37.890
within him that has to do with, like, what he's

02:13:37.890 --> 02:13:41.529
lost and his own faith and what he's now in service

02:13:41.529 --> 02:13:45.810
of. Scanlan means quarrel. Fairchild means beautiful

02:13:45.810 --> 02:13:49.800
child. Kellner means steward. I don't know. I

02:13:49.800 --> 02:13:53.000
mean, I think in time, with more rewatches and

02:13:53.000 --> 02:13:55.199
information, it could be something else. But

02:13:55.199 --> 02:13:59.140
I'm going to give Spielberg the benefit of the

02:13:59.140 --> 02:14:01.020
doubt that he can subvert himself, that he's

02:14:01.020 --> 02:14:03.760
not always going to do the same thing, that he's

02:14:03.760 --> 02:14:05.380
not making the same movie he did when he made

02:14:05.380 --> 02:14:08.039
Close Encounters when he was 31 years old at

02:14:08.039 --> 02:14:10.760
the end of his life, when he cares about what

02:14:10.760 --> 02:14:13.520
matters now, unless he is a propagandist for

02:14:13.520 --> 02:14:16.939
the machine or something, unless he wants us

02:14:16.939 --> 02:14:20.180
to... like think about faith because that's not

02:14:20.180 --> 02:14:22.039
actually how you solve problems. It is material

02:14:22.039 --> 02:14:24.060
analysis that solves problems or whatever. Like,

02:14:24.079 --> 02:14:26.439
I don't know, you know, what is reality anymore?

02:14:26.600 --> 02:14:29.399
What does people were talking about? What's obfuscated?

02:14:29.399 --> 02:14:31.840
What's the truth? Like, it's just kind of like,

02:14:31.859 --> 02:14:35.920
all I know is that nobody, like, there's nothing

02:14:35.920 --> 02:14:38.880
exciting about that disclosure. There's nothing

02:14:38.880 --> 02:14:42.319
like about those alien videos that are released.

02:14:42.340 --> 02:14:45.439
People are looking at it horrified as if it's

02:14:45.439 --> 02:14:48.300
like, The cultural moment is very reminiscent

02:14:48.300 --> 02:14:53.050
of the Epstein files. It is not, to me, reminiscent

02:14:53.050 --> 02:14:56.689
of any other depiction I've seen of people seeing

02:14:56.689 --> 02:15:01.050
aliens for the first time. People are not crazed

02:15:01.050 --> 02:15:02.970
and running in the streets scared or excited.

02:15:03.529 --> 02:15:07.470
Nobody's going to the roof on Independence Day

02:15:07.470 --> 02:15:10.630
being like, come here first or anything. There's

02:15:10.630 --> 02:15:14.409
no life whatsoever. It's just a way for people

02:15:14.409 --> 02:15:17.909
to be bewildered to the point of zombification

02:15:17.909 --> 02:15:22.689
in a way that's like, cartoonish and over the

02:15:22.689 --> 02:15:27.319
top and like On purpose. In a way that it's not

02:15:27.319 --> 02:15:30.159
even depicted in Ready Player One. It's the opposite

02:15:30.159 --> 02:15:32.420
of the revolution in Ready Player One. Yeah,

02:15:32.420 --> 02:15:34.119
on purpose. Where people are taking off their

02:15:34.119 --> 02:15:37.460
masks. I think we disagree on the purpose. Because

02:15:37.460 --> 02:15:39.819
I think people would be disturbed if they saw

02:15:39.819 --> 02:15:41.079
the miracle. People are having their eyes wide

02:15:41.079 --> 02:15:44.899
shut by this revelation. That's like the whole

02:15:44.899 --> 02:15:48.300
point. Once the alien is speaking through this

02:15:48.300 --> 02:15:52.239
empathetic person about their own victim. It's

02:15:52.239 --> 02:15:56.020
eyes wide shut. It's disclosing something while

02:15:56.020 --> 02:16:00.420
also making everybody submit to that thing. Because

02:16:00.420 --> 02:16:02.340
it's already won the argument by controlling

02:16:02.340 --> 02:16:06.819
both sides. Which is why this all happened in

02:16:06.819 --> 02:16:09.300
the way that it happened. Because this couldn't

02:16:09.300 --> 02:16:10.720
have happened in the way that it happened unless

02:16:10.720 --> 02:16:14.770
they did. create this scenario and control both

02:16:14.770 --> 02:16:17.829
Kellner and Fairchild at the very least, if not

02:16:17.829 --> 02:16:20.090
also Wakefield and Scanlan. I mean, at least

02:16:20.090 --> 02:16:22.729
Fairchild, Kellner, and Wakefield, if not also

02:16:22.729 --> 02:16:26.170
Scanlan. No, I think everything, I think it's

02:16:26.170 --> 02:16:28.189
like you're just talking about determinism, which

02:16:28.189 --> 02:16:30.869
is like a spiritual concept that like God controls

02:16:30.869 --> 02:16:34.750
everything. Sure, but it also could be controlled

02:16:34.750 --> 02:16:37.750
by an enemy who's trying to take over a territory,

02:16:38.030 --> 02:16:40.870
just like we talked about in Tenet, or creating

02:16:40.870 --> 02:16:44.409
its own power structure. I just don't see any

02:16:44.409 --> 02:16:46.649
of that in this movie, but I think when you compare

02:16:46.649 --> 02:16:49.950
Close Encounters and Disclosure Day, I think

02:16:49.950 --> 02:16:52.610
one is like at the end the devil wins and one

02:16:52.610 --> 02:16:54.149
at the end God wins, and I think they're very

02:16:54.149 --> 02:16:57.069
different movies. And the alien represents the

02:16:57.069 --> 02:16:59.290
devil in one and God in the other, and it's like

02:16:59.290 --> 02:17:02.139
it's... That's my take. That's kind of what I

02:17:02.139 --> 02:17:05.760
think this is. And I think a lot of the details

02:17:05.760 --> 02:17:10.940
can be read both ways to strengthen either viewpoint,

02:17:11.120 --> 02:17:15.840
basically. It's weird. This is throwing me for

02:17:15.840 --> 02:17:19.020
a loop a little bit. There's choices to put things

02:17:19.020 --> 02:17:23.059
in that underline. It's just such a materialist,

02:17:23.100 --> 02:17:28.260
cynical... It's a very cynical, materialist...

02:17:30.210 --> 02:17:32.170
I don't think that's what was said. That's the

02:17:32.170 --> 02:17:33.709
way you're interpreting it, but it's not the

02:17:33.709 --> 02:17:36.850
way I interpreted it. I don't think it's underlined

02:17:36.850 --> 02:17:39.069
that they're not God. I don't think that is underlined.

02:17:42.090 --> 02:17:45.489
Blanketship's whole conversation with Kellner

02:17:45.489 --> 02:17:48.110
is all about whether or not the release of this

02:17:48.110 --> 02:17:52.370
thing that is essentially like supreme beings,

02:17:52.469 --> 02:17:57.459
but not God, which to me feels like... the anti

02:17:57.459 --> 02:18:00.360
-god like you know what i mean like these are

02:18:00.360 --> 02:18:02.379
supreme like what would it mean if you start

02:18:02.379 --> 02:18:04.620
like people will lose their faith if you show

02:18:04.620 --> 02:18:07.420
people these things that are actual supreme beings

02:18:07.420 --> 02:18:10.219
but are not god and like the thing is like that

02:18:10.219 --> 02:18:12.659
or they will just get faith in these new like

02:18:12.659 --> 02:18:14.520
when she said all that stuff i was just like

02:18:14.520 --> 02:18:17.379
this is really stupid like yeah that's the thing

02:18:17.379 --> 02:18:19.620
all that stuff you dismissed that whole part

02:18:19.620 --> 02:18:22.540
of the movie but i think that this is a key that's

02:18:22.540 --> 02:18:24.159
kind of the thing no no no no what that's not

02:18:24.159 --> 02:18:26.579
what i mean listen to me man The reason that

02:18:26.579 --> 02:18:28.659
sounds stupid is because nobody would fuck...

02:18:28.659 --> 02:18:31.719
You don't have faith if aliens would dislodge

02:18:31.719 --> 02:18:34.719
your faith. That's not the conversation. She's

02:18:34.719 --> 02:18:37.819
not looking in the right place. She's not considering

02:18:37.819 --> 02:18:41.020
the real thing that is the issue for her. That's

02:18:41.020 --> 02:18:43.120
not the issue that people will see these as supreme

02:18:43.120 --> 02:18:45.420
beings. The issue is that she doesn't believe

02:18:45.420 --> 02:18:48.139
in people. She doesn't believe people can trust...

02:18:48.139 --> 02:18:51.159
She doesn't trust that people can deal with anything

02:18:51.159 --> 02:18:54.729
that requires responsibility. Like that requires,

02:18:55.069 --> 02:18:57.030
she's like, you know how many times new information

02:18:57.030 --> 02:18:59.590
just like upended the world and whatever and

02:18:59.590 --> 02:19:01.030
destroyed us all. It's like, maybe she's right.

02:19:01.389 --> 02:19:03.469
But like, I think that's more a conversation

02:19:03.469 --> 02:19:08.229
about you are going to release a revelation that

02:19:08.229 --> 02:19:10.809
will change everything fundamentally. I don't

02:19:10.809 --> 02:19:13.530
think that's what will happen if aliens, like

02:19:13.530 --> 02:19:15.030
if we find out aliens are like, that won't change

02:19:15.030 --> 02:19:17.909
anything fundamentally. And like the UAP dump

02:19:17.909 --> 02:19:19.129
that actually happened. That's the thing about

02:19:19.129 --> 02:19:21.659
this that I think is somewhat. old -fashioned

02:19:21.659 --> 02:19:24.479
right is I think that yeah if aliens were if

02:19:24.479 --> 02:19:26.319
there was a disclosure which there have been

02:19:26.319 --> 02:19:28.840
recently of like oh yeah fucking aliens yeah

02:19:28.840 --> 02:19:32.020
they're real like there's a blah blah blah that

02:19:32.020 --> 02:19:36.260
has now been verified and whatever but like yeah

02:19:36.260 --> 02:19:37.639
people don't blink an eye at that shit because

02:19:37.639 --> 02:19:40.399
we're going to war with Iran or whatever like

02:19:40.399 --> 02:19:42.360
we're like it's just like I don't believe that

02:19:42.360 --> 02:19:44.159
Spielberg's analysis because it doesn't hold

02:19:44.159 --> 02:19:48.159
true people aren't people aren't buying the spectacle

02:19:48.159 --> 02:19:51.420
they're like seeing what's going on, and they're

02:19:51.420 --> 02:19:53.280
really, really disapproving of it. But that's

02:19:53.280 --> 02:19:55.760
the thing. I think that this did work for a different

02:19:55.760 --> 02:19:58.120
era, which was like the entirety of Spielberg's

02:19:58.120 --> 02:20:01.020
career, where you could bewilder people with

02:20:01.020 --> 02:20:04.100
a spectacle that the government told you to release

02:20:04.100 --> 02:20:07.399
to people. I think he was making this movie during

02:20:07.399 --> 02:20:09.899
the first year of Trump, and he probably was

02:20:09.899 --> 02:20:12.840
being improvisational. He always is, and changing

02:20:12.840 --> 02:20:14.840
the script as he goes, and putting things in

02:20:14.840 --> 02:20:16.879
there. The very first scene is a wrestling match,

02:20:16.979 --> 02:20:18.889
right? I think it's interesting that the movie

02:20:18.889 --> 02:20:21.889
starts with the audience literally getting stomped

02:20:21.889 --> 02:20:25.110
underfoot by a wrestler. Wrestling matches are

02:20:25.110 --> 02:20:27.190
spectacles. They're not real. It's a fake battle,

02:20:27.370 --> 02:20:30.569
right? Yeah, I said that. It's a spectacle. It's

02:20:30.569 --> 02:20:34.690
not real. And there's red MAGA hats. There's

02:20:34.690 --> 02:20:36.750
a lot of American flags in this movie. I mean,

02:20:36.770 --> 02:20:39.549
even in the scene where Jane's being interrogated

02:20:39.549 --> 02:20:41.569
and she's stigmatizing herself with her cross,

02:20:41.690 --> 02:20:44.030
there's a folded -up American flag behind her.

02:20:44.700 --> 02:20:47.500
You know, there's like the colorless gray American

02:20:47.500 --> 02:20:49.739
flags on the cops. There's a lot of American

02:20:49.739 --> 02:20:52.059
flag stuff in Saving Private Ryan. He uses that

02:20:52.059 --> 02:20:55.379
as imagery. He uses that as a symbol a lot. This

02:20:55.379 --> 02:20:57.459
is a very America -centric movie. I think this

02:20:57.459 --> 02:20:59.979
is a movie about how America has lost its empathy.

02:21:00.540 --> 02:21:04.219
I think this is like how America has become materialists

02:21:04.219 --> 02:21:07.500
and believes in an antichrist instead of a true

02:21:07.500 --> 02:21:10.620
God and true faith and true empathy and connection

02:21:10.620 --> 02:21:13.579
and community with others. There's a lot going

02:21:13.579 --> 02:21:18.059
on in this movie. Yeah, yeah. And I think a lot

02:21:18.059 --> 02:21:20.040
of these little details about dates and stuff,

02:21:20.159 --> 02:21:23.940
they say that all his files only go back to 1947,

02:21:24.139 --> 02:21:28.219
which was the year the CIA was formed. It was

02:21:28.219 --> 02:21:31.440
also the year that the first UFO project was

02:21:31.440 --> 02:21:33.139
formed as well, like Project Signal or whatever.

02:21:33.360 --> 02:21:36.559
Also some pretty significant developments in

02:21:36.559 --> 02:21:38.239
the formation of Israel, which was established

02:21:38.239 --> 02:21:42.760
in 1948, right? Yes. And then Mossad is formed

02:21:42.760 --> 02:21:50.000
in 49. He says, Hugo says to Margaret, what happened

02:21:50.000 --> 02:21:54.219
to you in February of 1996? That's when she had

02:21:54.219 --> 02:21:58.079
her abduction. February of 1996 is when IBM's

02:21:58.079 --> 02:22:00.979
deep blue computer first beat the chess master,

02:22:01.059 --> 02:22:06.340
Garry Kasparov. In the first game, Garry Kasparov

02:22:06.340 --> 02:22:08.760
won overall, but that was the first moment that

02:22:08.760 --> 02:22:10.879
people... That was the moment this idea that

02:22:10.879 --> 02:22:13.379
computers could overtake humans and intelligence

02:22:13.379 --> 02:22:17.319
was born. Right. And then also refined what our

02:22:17.319 --> 02:22:19.780
idea of what intelligence is. And so you could

02:22:19.780 --> 02:22:21.879
say that detail is either proof to your point

02:22:21.879 --> 02:22:24.219
or proof to my point. Like it's kind of, it could

02:22:24.219 --> 02:22:26.659
either be both. It's like this moment in 1996

02:22:26.659 --> 02:22:28.920
is when things started to go the wrong way and

02:22:28.920 --> 02:22:31.280
a seed is being planted in you to be the one

02:22:31.280 --> 02:22:34.540
who can change the tide later or something. Or

02:22:34.540 --> 02:22:37.420
it's like this is when the computer defeats you

02:22:37.420 --> 02:22:39.899
and wins. I don't know. I just don't think it's

02:22:39.899 --> 02:22:41.840
all cynical. I think it's a little bit of both.

02:22:41.920 --> 02:22:44.500
And Spielberg knows how to ride the line and

02:22:44.500 --> 02:22:47.670
he's not didactic. I don't really interpret the

02:22:47.670 --> 02:22:50.370
ending of 2001 as cynical. I kind of see it as

02:22:50.370 --> 02:22:52.930
a sort of beating of the computer and a move

02:22:52.930 --> 02:22:55.450
towards a more real spirituality or God or rebirth

02:22:55.450 --> 02:22:58.350
or something. And I don't know, like is Spielberg

02:22:58.350 --> 02:23:01.049
just making two alien movies that are both anti

02:23:01.049 --> 02:23:03.930
that message? I have a hard time believing it.

02:23:04.129 --> 02:23:06.209
But intent also doesn't matter. The fact that

02:23:06.209 --> 02:23:08.389
you see all these things in it is like really

02:23:08.389 --> 02:23:10.049
interesting because I feel like your interpretation

02:23:10.049 --> 02:23:12.690
is just more materialist. It's like more representative

02:23:12.690 --> 02:23:15.379
of what's true. As much as we want to believe

02:23:15.379 --> 02:23:17.860
that ideology and faith can save us from this

02:23:17.860 --> 02:23:20.819
AI demon and that there is a real God and real

02:23:20.819 --> 02:23:23.219
spirituality, it's like maybe that's actually

02:23:23.219 --> 02:23:25.639
the performance. Maybe that's the spectacle.

02:23:26.139 --> 02:23:30.079
The wrestling match, the nuns, all these things

02:23:30.079 --> 02:23:31.760
you see in the movie, it's just all performance.

02:23:33.399 --> 02:23:38.040
Maybe. The movie that I really thought this reminded

02:23:38.040 --> 02:23:41.120
me of more than anything was They Live. Totally.

02:23:41.180 --> 02:23:45.079
Where the end is also at the news station and

02:23:45.079 --> 02:23:47.899
whatever. And it ends with, you know, what's

02:23:47.899 --> 02:23:52.620
wrong, baby? But to me, it's just we're not following

02:23:52.620 --> 02:23:54.799
the revolution. We're following the people at

02:23:54.799 --> 02:23:57.139
the news station who work for the aliens and

02:23:57.139 --> 02:24:00.319
are getting across their message. I mean, Margaret

02:24:00.319 --> 02:24:04.770
Fairchild and... and uh daniel kellner are not

02:24:04.770 --> 02:24:08.809
really like yeah i understand like that is one

02:24:08.809 --> 02:24:10.750
way to look at it but because we don't hear the

02:24:10.750 --> 02:24:13.110
message i think that is also a choice for her

02:24:13.110 --> 02:24:14.969
to say listen and then that's the last message

02:24:14.969 --> 02:24:17.409
of the movie we don't know what he says the world

02:24:17.409 --> 02:24:19.530
is literally about to collapse dude something

02:24:19.530 --> 02:24:22.469
needs to give right you know whether it's a plan

02:24:22.469 --> 02:24:24.729
by god or the ai model or something this is a

02:24:24.729 --> 02:24:27.270
force that is trying to save the world maybe

02:24:27.270 --> 02:24:29.590
to stop it from completely collapsing the force

02:24:29.590 --> 02:24:32.370
that created that as part of the conditions for

02:24:32.370 --> 02:24:34.989
this right then why would it need to do all the

02:24:34.989 --> 02:24:38.010
like why would like whatever you know that's

02:24:38.010 --> 02:24:40.370
just so like i know we just talked about tenant

02:24:40.370 --> 02:24:44.729
i get it but like yeah it was just kind of seems

02:24:44.729 --> 02:24:47.090
like what is what is the thing we need right

02:24:47.090 --> 02:24:50.180
now on the on the brink of total collapse let

02:24:50.180 --> 02:24:53.139
somebody else take over some sort of fascistic

02:24:53.139 --> 02:24:55.700
takeover right like that's what all these like

02:24:55.700 --> 02:24:58.879
sci -fi movies are yearning for like a project

02:24:58.879 --> 02:25:01.860
uh hail mary or whatever it's just like oh my

02:25:01.860 --> 02:25:04.239
god the world's gonna end what if just like a

02:25:04.239 --> 02:25:07.219
fascist would take over and like decide everything

02:25:07.219 --> 02:25:09.920
for us and like put our resources into the right

02:25:09.920 --> 02:25:11.540
thing yeah but i don't think that's what's happening

02:25:11.540 --> 02:25:13.340
here i think it's literally just saying what

02:25:13.340 --> 02:25:16.620
if we recognize that we are all human like i

02:25:16.620 --> 02:25:19.579
know it's like schmaltzy it's like of like cliche

02:25:19.579 --> 02:25:22.940
it's yeah let's all just try to get along i i

02:25:22.940 --> 02:25:26.040
agree that it is saying empathy and i agree that

02:25:26.040 --> 02:25:27.959
it is saying that i just think that it's saying

02:25:27.959 --> 02:25:29.700
that in a different way than you are you can

02:25:29.700 --> 02:25:31.600
assume i think that the people in this movie

02:25:31.600 --> 02:25:35.479
who are right are blankenship and the nuns And,

02:25:35.479 --> 02:25:37.739
like, I think that Fairchild and Kellner and

02:25:37.739 --> 02:25:41.139
Scanlon and Wakefield are all agents for the

02:25:41.139 --> 02:25:46.159
fucking, the takeover of this new god, the Antichrist.

02:25:46.280 --> 02:25:48.719
But, like, there are still people who praise

02:25:48.719 --> 02:25:50.760
the old god, and they're in the fucking nunnery.

02:25:50.840 --> 02:25:55.280
That's basically it. Okay, what is Jane doing

02:25:55.280 --> 02:25:57.940
at the end of the movie? Well, she sells out.

02:25:58.059 --> 02:26:00.139
Yeah, exactly. I mean, the nun's the only one

02:26:00.139 --> 02:26:03.059
smiling at the end. Christianity is susceptible

02:26:03.059 --> 02:26:06.899
to empathy. I mean, there's the idea of Christianity,

02:26:07.180 --> 02:26:10.200
why the Romans accept Christianity is because

02:26:10.200 --> 02:26:12.979
it was a slave religion for them to turn the

02:26:12.979 --> 02:26:15.379
other cheek and accept their place and be more

02:26:15.379 --> 02:26:19.739
docile because of their empathy. So, yeah, she

02:26:19.739 --> 02:26:21.959
decides to believe in Fairchild out of empathy

02:26:21.959 --> 02:26:25.559
for Fairchild. Fairchild's thing works on everybody.

02:26:25.959 --> 02:26:29.129
That's why it takes over. It's taking over through,

02:26:29.209 --> 02:26:32.309
just like in Close Encounters, we see the takeover

02:26:32.309 --> 02:26:36.370
through light and music. So there isn't any real

02:26:36.370 --> 02:26:38.510
empathy. It was kind of a Spielberg sort of stand

02:26:38.510 --> 02:26:40.829
-in of light and music and talking to them through

02:26:40.829 --> 02:26:44.129
that and that being filmmaking. In this, Spielberg

02:26:44.129 --> 02:26:46.809
is known as the emotional schmaltzy, you know,

02:26:46.870 --> 02:26:50.850
empathy filmmaker. And this is using that power

02:26:50.850 --> 02:26:55.559
to... sell this idea to the people and like this

02:26:55.559 --> 02:26:58.159
yeah is a spandex for spielberg selling what

02:26:58.159 --> 02:27:01.360
idea the idea of these invaders to the people

02:27:01.360 --> 02:27:04.920
like that is like the the idea of the secret

02:27:04.920 --> 02:27:06.399
government within your government that's been

02:27:06.399 --> 02:27:08.059
secretly controlling your government for many

02:27:08.059 --> 02:27:12.680
years ever since 1947 and we're revealing to

02:27:12.680 --> 02:27:15.739
you that that those people are in charge but

02:27:15.739 --> 02:27:17.799
like we're doing it in a way where you are empathetic

02:27:17.799 --> 02:27:19.459
to those people because they're actually the

02:27:19.459 --> 02:27:22.520
victims even though like they've been secretly

02:27:22.520 --> 02:27:24.700
controlling this whole thing and have controlled

02:27:24.700 --> 02:27:26.799
both sides of the narrative that is coming out

02:27:26.799 --> 02:27:28.520
right now and being disclosed to you right now.

02:27:28.579 --> 02:27:30.079
They're actually in control of that narrative

02:27:30.079 --> 02:27:32.620
and of actually all criticism of that narrative

02:27:32.620 --> 02:27:35.159
too and whatever, because like there's that secret

02:27:35.159 --> 02:27:38.280
control ever since 1947 that like needs to be,

02:27:38.319 --> 02:27:40.620
I think that there's something interesting of

02:27:40.620 --> 02:27:42.659
Spielberg saying that, that makes this a more

02:27:42.659 --> 02:27:44.159
interesting movie than it would be otherwise.

02:27:44.399 --> 02:27:45.959
It makes it a more interesting movie than it

02:27:45.959 --> 02:27:48.059
would be if it was just sort of a movie about

02:27:48.059 --> 02:27:51.629
like faith to me. Well, of course it's not as

02:27:51.629 --> 02:27:55.950
interesting, but that's why, like, it doesn't

02:27:55.950 --> 02:27:59.370
win, I guess. You're saying faith and empathy

02:27:59.370 --> 02:28:01.190
can only be used as a weapon? No, I'm saying

02:28:01.190 --> 02:28:02.889
that this is a movie about that being used as

02:28:02.889 --> 02:28:06.690
a weapon in a way that is overt, I think. I think

02:28:06.690 --> 02:28:08.690
that he's put that in movies other times and

02:28:08.690 --> 02:28:10.790
it's been less overt. But in this one, I think

02:28:10.790 --> 02:28:13.670
that it's like, oh, this is the thing that we

02:28:13.670 --> 02:28:18.649
are using against humanity to sell this guy,

02:28:18.750 --> 02:28:20.489
the guy who was in the ship in the War of the

02:28:20.489 --> 02:28:22.530
Worlds, this guy. We're going to sell humanity

02:28:22.530 --> 02:28:24.909
on him. And it's like, oh, we don't need to take

02:28:24.909 --> 02:28:27.239
over the world because it's... already taken

02:28:27.239 --> 02:28:29.219
over through empathy like you know what i mean

02:28:29.219 --> 02:28:31.139
there doesn't even need to be a war it's like

02:28:31.139 --> 02:28:32.659
that's the way that china is going to take over

02:28:32.659 --> 02:28:34.239
america right like it's like they don't want

02:28:34.239 --> 02:28:36.219
a war it's just going to be like yeah we're just

02:28:36.219 --> 02:28:39.280
going to kind of shift around things and then

02:28:39.280 --> 02:28:42.159
eventually we'll kind of own all the like you

02:28:42.159 --> 02:28:44.360
know what i mean it's that sort of yeah i kind

02:28:44.360 --> 02:28:47.180
of like sure that's how iran's winning yeah yeah

02:28:47.180 --> 02:28:50.299
exactly it's through empathy but they are the

02:28:50.299 --> 02:28:53.399
victims yeah and we should have empathy no i'm

02:28:53.399 --> 02:28:55.600
not saying empathy is wrong look look i'm not

02:28:55.760 --> 02:28:56.920
I'm just saying empathy's wrong. I'm just saying

02:28:56.920 --> 02:28:58.700
this is a complicated movie. So he's the bad

02:28:58.700 --> 02:29:00.159
guy because we're all empathetic for him and

02:29:00.159 --> 02:29:03.620
we spread his empathy. Like, why? Why? Why, like,

02:29:03.639 --> 02:29:06.799
can't he? Like, why is every victim some kind

02:29:06.799 --> 02:29:09.559
of, like, Trojan horse? It's interesting to me

02:29:09.559 --> 02:29:10.600
that, like... There can't be a victim that you

02:29:10.600 --> 02:29:13.040
empathize with ever? Then how's, like, Jesus

02:29:13.040 --> 02:29:15.579
ever going to win, dude? How's God and Christ

02:29:15.579 --> 02:29:18.440
ever going to win? If you can never be empathetic,

02:29:18.520 --> 02:29:20.879
it's always a weapon. You always have to be cynical

02:29:20.879 --> 02:29:23.979
about it. You always have to assume it's a Trojan

02:29:23.979 --> 02:29:26.290
horse. That is so fucking ridiculous. That's

02:29:26.290 --> 02:29:28.690
part of the thing. That's what Eyes Wide Shut

02:29:28.690 --> 02:29:32.649
is. When this thing is revealed to you, it shuts

02:29:32.649 --> 02:29:35.389
your eyes further to the thing. It's like whether

02:29:35.389 --> 02:29:37.309
or not it is a murderer, whether or not it is

02:29:37.309 --> 02:29:38.829
a good thing, then we have to submit to this

02:29:38.829 --> 02:29:40.430
thing because it did have the power to create

02:29:40.430 --> 02:29:42.190
this and it did have the power to not create.

02:29:42.250 --> 02:29:44.790
I don't think empathy is the only emotion that's

02:29:44.790 --> 02:29:47.809
used. I think fear is used a lot too. It's used

02:29:47.809 --> 02:29:51.489
by Scanlan, I think. But that's them playing

02:29:51.489 --> 02:29:54.700
both sides, I think. Wakefield. who basically

02:29:54.700 --> 02:29:56.940
is just playing Nathan Fielder. I didn't realize

02:29:56.940 --> 02:29:59.139
it until watching it again, but it's like, no,

02:29:59.200 --> 02:30:02.299
his performance, too, could be not as much Nathan

02:30:02.299 --> 02:30:04.639
as the guy that plays Nathan. You know what I

02:30:04.639 --> 02:30:08.860
mean? You know Nathan's double in the rehearsal?

02:30:09.700 --> 02:30:13.420
The Nathan Fielder double guy feels very much

02:30:13.420 --> 02:30:16.620
like Coleman Domingo in this movie. It's just

02:30:16.620 --> 02:30:18.780
he's white and looks like Nathan Fielder. But

02:30:18.780 --> 02:30:23.680
they have a similar, like, huh. yeah okay like

02:30:23.680 --> 02:30:26.420
type of like i don't know there's something there's

02:30:26.420 --> 02:30:29.280
something i did i i kind of i wish that he was

02:30:29.280 --> 02:30:32.540
played by nathan fielder but that's neither here

02:30:32.540 --> 02:30:35.420
nor there yeah it would have been a lot funnier

02:30:35.420 --> 02:30:37.559
if it was yeah that would have made me really

02:30:37.559 --> 02:30:39.040
happy i would have been like this movie's already

02:30:39.040 --> 02:30:41.819
kind of like a weird clunky mess like i would

02:30:41.819 --> 02:30:43.659
it would have totally just been fine if that

02:30:43.659 --> 02:30:47.819
was like i can't imagine him like delivering

02:30:47.819 --> 02:30:51.569
those lines it's very easy to because like Coleman

02:30:51.569 --> 02:30:53.750
Domingo delivers those lines in a very similar

02:30:53.750 --> 02:30:56.409
way. If you watch it again and think of him as

02:30:56.409 --> 02:30:58.870
Nathan Fielder, you can just see Nathan Fielder

02:30:58.870 --> 02:31:00.149
doing it. It's like, oh yeah, this would be perfect.

02:31:00.510 --> 02:31:02.409
But it wouldn't be that different, honestly.

02:31:03.469 --> 02:31:06.770
Well, what upsets me about this is I think maybe

02:31:06.770 --> 02:31:12.290
my interpretation paints Spielberg as a much

02:31:12.290 --> 02:31:16.690
more smooth -brained old boomer with a lot of

02:31:16.690 --> 02:31:19.309
sentimentality and really does want to push a

02:31:19.309 --> 02:31:22.809
good message. of like unity in a time where everything

02:31:22.809 --> 02:31:26.250
feels like it's falling apart and that your take

02:31:26.250 --> 02:31:29.250
kind of to me i think i think insanely smart

02:31:29.250 --> 02:31:33.709
like 4d chess player who is like still like making

02:31:33.709 --> 02:31:35.170
movies that no one's ever going to figure out

02:31:35.170 --> 02:31:37.510
i'm thinking of him there's more of a continuation

02:31:37.510 --> 02:31:39.790
of the ready player one thing where he's revealing

02:31:39.790 --> 02:31:42.690
his take on his own career and i think that it's

02:31:42.690 --> 02:31:44.809
very interesting for him to make a movie about

02:31:45.869 --> 02:31:49.530
secretly using empathy for this outside force

02:31:49.530 --> 02:31:53.030
that's controlling the narrative i don't know

02:31:53.030 --> 02:31:55.969
there's something this felt confessional this

02:31:55.969 --> 02:31:58.930
movie to me it felt like spielberg knows things

02:31:58.930 --> 02:32:02.290
or something um i know that feels like a conspiracy

02:32:02.290 --> 02:32:05.510
minded whatever but like i don't know if you

02:32:05.510 --> 02:32:07.969
look at spielberg's career there are many things

02:32:07.969 --> 02:32:13.090
that he is His timing on is insane. So we'll

02:32:13.090 --> 02:32:14.850
talk about them more in the podcast at some point.

02:32:14.989 --> 02:32:18.250
But the idea that there's a movie that largely

02:32:18.250 --> 02:32:21.430
is talking about predictive programming for the

02:32:21.430 --> 02:32:24.129
upcoming disclosure day or whatever and people

02:32:24.129 --> 02:32:26.969
being programmed and that sort of, like that

02:32:26.969 --> 02:32:31.170
being by Spielberg is interesting at the very

02:32:31.170 --> 02:32:34.209
least. It is still very, very hard to know what

02:32:34.209 --> 02:32:38.319
the deal is. I guess like, We should wrap up,

02:32:38.319 --> 02:32:41.860
but, like, I guess one thing we can sort of wrap

02:32:41.860 --> 02:32:45.540
up on is, like, there is a known fact that, like,

02:32:45.540 --> 02:32:48.020
NASA contacted him when he was making Close Encounters

02:32:48.020 --> 02:32:50.100
saying, you can't release this, it's dangerous,

02:32:50.420 --> 02:32:53.159
which also ties in with Kubrick and Dr. Strange.

02:32:53.159 --> 02:32:56.840
Right, but also, I just rewatched The Power of

02:32:56.840 --> 02:32:59.739
Nightmares, Adam Curtis's movie about basically

02:32:59.739 --> 02:33:04.840
how the CIA used UFO encounter stuff as a way

02:33:04.840 --> 02:33:07.760
to discredit. you know, all of the things that

02:33:07.760 --> 02:33:11.680
they were actually doing and whatever and promoted

02:33:11.680 --> 02:33:15.500
UFO narratives and promoted the most out there

02:33:15.500 --> 02:33:18.020
people of those, you know what I mean? And basically

02:33:18.020 --> 02:33:20.139
use that as a, as a way of fighting the cold

02:33:20.139 --> 02:33:24.170
war. And I don't know. It's just. That's what

02:33:24.170 --> 02:33:26.930
Spielberg's doing when he's making this movie

02:33:26.930 --> 02:33:31.030
for, and NASA's saying, don't put this out, or

02:33:31.030 --> 02:33:32.530
the Defense Department's saying, don't put this

02:33:32.530 --> 02:33:34.469
out. It's like, no, they're saying do put this

02:33:34.469 --> 02:33:37.909
out, obviously. Like, obviously. That's a big

02:33:37.909 --> 02:33:39.729
part of it. And that's why I think it's interesting

02:33:39.729 --> 02:33:43.170
for Spielberg to make a movie now called Disclosure

02:33:43.170 --> 02:33:45.909
Day about somebody who's working for... that

02:33:45.909 --> 02:33:48.549
outside sinister, or not sinister according to

02:33:48.549 --> 02:33:51.989
you, but to me, a sinister outside force who's

02:33:51.989 --> 02:33:55.569
sinisterly controlling the narrative on TV. I

02:33:55.569 --> 02:33:58.170
just think in both cases, the aliens are the

02:33:58.170 --> 02:34:00.290
spectacle, but what they represent underneath

02:34:00.290 --> 02:34:03.329
the reality, that is a different thing in each

02:34:03.329 --> 02:34:08.309
movie, I think. And this just kind of goes too

02:34:08.309 --> 02:34:09.790
deep, I think. I think in the end of that one,

02:34:09.829 --> 02:34:12.649
it's him choosing to work for those people. And

02:34:12.649 --> 02:34:15.879
the end of this one is him... Talking about working

02:34:15.879 --> 02:34:21.860
for those people. The dollar eye pyramid. Well,

02:34:21.879 --> 02:34:26.260
that's fun. And cynical. But I don't think there's

02:34:26.260 --> 02:34:31.420
a dollar eye pyramid in Disclosure Day. No. There's

02:34:31.420 --> 02:34:33.280
definitely a lot of eyes in the ad campaign.

02:34:33.600 --> 02:34:35.579
Yeah, yeah, yeah. But not under a pyramid. In

02:34:35.579 --> 02:34:37.559
Disclosure Day, it's all butterflies. In fact,

02:34:37.559 --> 02:34:39.879
when our eyes change color at one point, there's

02:34:39.879 --> 02:34:43.600
a flash of... I think it's gold in the blue,

02:34:43.700 --> 02:34:47.639
but it's a butterfly -shaped flash even. It's

02:34:47.639 --> 02:34:50.379
all monarch butterfly stuff. Well, they couldn't

02:34:50.379 --> 02:34:54.420
do it on the nose and do cardinal on the nose

02:34:54.420 --> 02:34:57.620
bird. In the background of every shot with the

02:34:57.620 --> 02:35:01.780
cardinals is butterfly stuff. It's weird. Or

02:35:01.780 --> 02:35:04.829
at least with the cardinal. The cardinal mobile.

02:35:04.850 --> 02:35:07.090
Yeah. And they're all hanging from a halo, like

02:35:07.090 --> 02:35:10.090
a hoop. Yeah. But that mobile and the cardinals

02:35:10.090 --> 02:35:13.389
are monarchs. And it's also trauma that's happening

02:35:13.389 --> 02:35:16.149
to them in bed when they're 10 and they're together.

02:35:16.290 --> 02:35:18.750
So they're connected and then they're activated

02:35:18.750 --> 02:35:22.430
later on, which is a monarch slave process. And

02:35:22.430 --> 02:35:24.870
it's all telling this fairy tale thing about

02:35:24.870 --> 02:35:27.270
following breadcrumbs and stuff that is like

02:35:27.270 --> 02:35:29.649
the yellow brick road and like monarch slavery

02:35:29.649 --> 02:35:33.170
imagery and stuff like it. It just depends on

02:35:33.170 --> 02:35:35.309
how you. interpret Hansel and Gretel, but the

02:35:35.309 --> 02:35:37.469
most common interpretation is that by the end

02:35:37.469 --> 02:35:40.649
they gain agency. It's a story about growing

02:35:40.649 --> 02:35:43.309
up into an adult from a child who needs to follow

02:35:43.309 --> 02:35:45.989
the breadcrumbs to receive support from your

02:35:45.989 --> 02:35:48.409
parents. And after that is when they get in there

02:35:48.409 --> 02:35:50.870
and then they start using the device on them

02:35:50.870 --> 02:35:53.809
and they're screaming. And then it cuts. That's

02:35:53.809 --> 02:35:56.690
the end. Well, it could be a subversion of the

02:35:56.690 --> 02:36:00.610
story. The witch doesn't win. They kill the witch.

02:36:00.969 --> 02:36:03.610
I don't know, man. The thing I wanted to mention

02:36:03.610 --> 02:36:05.989
is just the fact that the other mere thing is

02:36:05.989 --> 02:36:08.350
the song, right? She's singing Someday My Prince

02:36:08.350 --> 02:36:14.430
Will Come from Snow White. Yeah. Instead of When

02:36:14.430 --> 02:36:17.209
You Wish Upon a Star from Pinocchio. Yeah, similar

02:36:17.209 --> 02:36:23.670
thing. More sentimentality. And so based on your

02:36:23.670 --> 02:36:26.389
interpretation, it's like, okay, so that's the

02:36:26.389 --> 02:36:29.149
monarch slave call that makes you think her prince

02:36:29.149 --> 02:36:32.229
will come one day, which is Daniel. just like

02:36:32.229 --> 02:36:34.889
the predictive programming of Wish Upon a Star

02:36:34.889 --> 02:36:37.670
and Close Encounters or whatever. Right. And

02:36:37.670 --> 02:36:41.709
it's also when IBM's AI became considerably intelligent.

02:36:42.329 --> 02:36:45.450
And it's for Palantir, who's like, I don't know,

02:36:45.569 --> 02:36:49.469
man. I don't know. I think it actually does really

02:36:49.469 --> 02:36:55.709
all work in a way that's not even ambiguous in

02:36:55.709 --> 02:36:59.520
the end, you know? Yeah, but I think just like

02:36:59.520 --> 02:37:02.079
Hook, I think it's a litmus test. I think there's

02:37:02.079 --> 02:37:06.079
ways to cynically view it and ways to positively

02:37:06.079 --> 02:37:09.920
view it. So I just don't think it's as interesting

02:37:09.920 --> 02:37:14.200
to see it as God because we are just as humans

02:37:14.200 --> 02:37:16.940
much more interested in materialism and material

02:37:16.940 --> 02:37:20.340
explanations and reality and the best that we

02:37:20.340 --> 02:37:24.610
can understand it. god explanation or if it's

02:37:24.610 --> 02:37:26.530
like it was all a dream it was all god it was

02:37:26.530 --> 02:37:28.590
the deus ex machina like we just don't like that

02:37:28.590 --> 02:37:31.129
in storytelling if it turned out that we had

02:37:31.129 --> 02:37:34.549
no free will that would upset a lot of people

02:37:34.549 --> 02:37:37.290
you know and but they had no free will in this

02:37:37.290 --> 02:37:40.250
movie but it was just the question is that agency

02:37:40.250 --> 02:37:43.250
was taken away by these aliens and you're just

02:37:43.250 --> 02:37:45.489
saying well these aliens are good and i'm just

02:37:45.489 --> 02:37:47.889
like okay but we just we have no way of knowing

02:37:47.889 --> 02:37:50.829
we just like have have a way of knowing that

02:37:50.829 --> 02:37:54.329
like They've put in a lot of work to make us

02:37:54.329 --> 02:37:57.909
empathize with them. They've put in a lot of

02:37:57.909 --> 02:38:01.149
work to already control this whole narrative

02:38:01.149 --> 02:38:04.829
and take over this TV station, even though the

02:38:04.829 --> 02:38:08.030
whole government is trying to shut it down. They've

02:38:08.030 --> 02:38:12.889
already done a lot of things that, to me, doesn't

02:38:12.889 --> 02:38:15.569
seem like Jesus would be doing them. I mean,

02:38:15.690 --> 02:38:19.219
not Jesus, God. God controls everything. Or at

02:38:19.219 --> 02:38:21.520
least God, like, shapes things or God talks to

02:38:21.520 --> 02:38:24.360
people and then, like, gives them agency. And

02:38:24.360 --> 02:38:27.899
God tries to guide people and show signs. And,

02:38:27.979 --> 02:38:31.760
like, God apparates. Like, you can't, like, people

02:38:31.760 --> 02:38:33.620
have to speak for God because you can't hear

02:38:33.620 --> 02:38:36.319
God's voice. And, like, her doing the alien voice

02:38:36.319 --> 02:38:38.719
that no one can understand except Daniel feels

02:38:38.719 --> 02:38:42.290
like a... Yeah, but it's just math and it's binary

02:38:42.290 --> 02:38:46.090
coding that he can understand. It's established

02:38:46.090 --> 02:38:49.889
as just math and he could read binary coding

02:38:49.889 --> 02:38:52.629
like it was English. Yeah, but it's also established

02:38:52.629 --> 02:38:54.709
that math is the language of the universe, which

02:38:54.709 --> 02:38:57.250
is what God would communicate in. And it's not

02:38:57.250 --> 02:39:00.020
a perfect communication. Language, words are

02:39:00.020 --> 02:39:02.379
field devices. Even math isn't perfect in describing

02:39:02.379 --> 02:39:04.200
reality. The language of the universe is just,

02:39:04.219 --> 02:39:06.500
that's a scientific idea. Math is the language

02:39:06.500 --> 02:39:10.040
of the universe. It's observed from the world

02:39:10.040 --> 02:39:14.500
as opposed to created in... I don't know. I don't

02:39:14.500 --> 02:39:16.180
know. I think that just dismisses other points

02:39:16.180 --> 02:39:18.020
I've brought up. Language is brought up and the

02:39:18.020 --> 02:39:20.520
imperfect of how words are imperfect and not

02:39:20.520 --> 02:39:23.260
a perfect way of describing things. Saying that

02:39:23.260 --> 02:39:25.360
math is an imperfect way of describing the universe

02:39:25.360 --> 02:39:27.760
but is the language of it I think is very interesting.

02:39:27.959 --> 02:39:30.719
Yeah, I agree. Because to me that connects to

02:39:30.719 --> 02:39:33.100
the idea that that's only a language. That's

02:39:33.100 --> 02:39:35.680
only logic. That's only numbers. That's only

02:39:35.680 --> 02:39:39.479
symbols. You need spirituality. You need empathy.

02:39:39.739 --> 02:39:41.899
You need something besides a materialist view

02:39:41.899 --> 02:39:45.459
of the world. We can't express the way we feel.

02:39:46.920 --> 02:39:50.620
Artists struggle to describe spiritual connection

02:39:50.620 --> 02:39:54.440
and miracles and coming into contact with God.

02:39:54.719 --> 02:39:56.879
You know what I mean? It's almost impossible

02:39:56.879 --> 02:39:59.899
to do. Fairchild doesn't. That's the whole point.

02:40:00.399 --> 02:40:02.620
What do you mean she doesn't? She doesn't struggle.

02:40:02.739 --> 02:40:04.940
She can just do it. Well, yeah, those are special

02:40:04.940 --> 02:40:07.549
people. She's chosen. there are people in this

02:40:07.549 --> 02:40:10.190
world who are like a conduit to a higher thing,

02:40:10.329 --> 02:40:12.069
and we don't understand how they do what they

02:40:12.069 --> 02:40:14.829
do. I think Spielberg relates to that. Right.

02:40:15.489 --> 02:40:21.969
Exactly. And you would say that if there was

02:40:21.969 --> 02:40:23.950
something in there that predicted the future

02:40:23.950 --> 02:40:26.350
in a Spielberg movie... You're saying that Spielberg

02:40:26.350 --> 02:40:28.489
is a massage agent that's being predictive programming?

02:40:28.750 --> 02:40:33.010
That's proof that Spielberg is... you know, speaking

02:40:33.010 --> 02:40:36.110
to God, God is speaking through Spielberg, whereas

02:40:36.110 --> 02:40:38.829
not proof, just evidence potentiality is that

02:40:38.829 --> 02:40:42.389
like, he knows something that we, the rest of

02:40:42.389 --> 02:40:44.930
us do not know or something like that sort of

02:40:44.930 --> 02:40:46.930
thing. You're saying that it's the former, not

02:40:46.930 --> 02:40:50.229
the latter. I think everybody feels like they

02:40:50.229 --> 02:40:52.709
know something. Somebody else doesn't know like

02:40:52.709 --> 02:40:55.370
a real, like a truth and something that they

02:40:55.370 --> 02:40:57.110
can't express because it's something they only

02:40:57.110 --> 02:40:59.069
know in their bones based on their experience.

02:41:00.510 --> 02:41:03.430
Maybe. At least a good director does. Like my

02:41:03.430 --> 02:41:06.129
view of reality. Like what I actually believe

02:41:06.129 --> 02:41:08.030
to be true. It's not something I can explain

02:41:08.030 --> 02:41:11.170
to anybody. It's something I learned anecdotally

02:41:11.170 --> 02:41:13.829
from my own experience. And I see it reflected

02:41:13.829 --> 02:41:17.190
in a lot of art. I see the kind of truth I was

02:41:17.190 --> 02:41:21.809
getting close to reflected in this movie. And

02:41:21.809 --> 02:41:24.409
to me, maybe that just reflects me more than

02:41:24.409 --> 02:41:25.750
the movie or what Spielberg's trying to say,

02:41:25.829 --> 02:41:27.649
but that's art. Like I don't care about his intent

02:41:27.649 --> 02:41:31.350
actually as much as like... what can be gleaned

02:41:31.350 --> 02:41:34.989
from it. And like what I gleaned from it is like

02:41:34.989 --> 02:41:37.190
a more positive way to move forward with my life

02:41:37.190 --> 02:41:39.950
than assuming that it's all fucked and that it's

02:41:39.950 --> 02:41:41.649
all just like an AI algorithm that's going to

02:41:41.649 --> 02:41:50.030
control us. And, uh, yeah, that's because I still

02:41:50.030 --> 02:41:52.010
kind of believe in miracles. I still kind of

02:41:52.010 --> 02:41:53.670
have a spiritual understanding of the world.

02:41:53.690 --> 02:42:01.280
I'm not insanely materialistic. I think that

02:42:01.280 --> 02:42:03.600
sort of empathy you're describing, that sort

02:42:03.600 --> 02:42:06.620
of positivity that makes you susceptible to the

02:42:06.620 --> 02:42:12.379
sort of propaganda campaign that this alien waged.

02:42:12.579 --> 02:42:15.639
What if it was just a propaganda campaign to

02:42:15.639 --> 02:42:17.479
make you believe that empathy was always used

02:42:17.479 --> 02:42:19.799
as a weapon and that you can never trust people

02:42:19.799 --> 02:42:23.520
who talk about how they want to protect victims

02:42:23.520 --> 02:42:28.649
or help the people who are destroyed by... the

02:42:28.649 --> 02:42:30.670
actual people who make decisions and the actual

02:42:30.670 --> 02:42:32.950
powerful people and all the, you know, secret

02:42:32.950 --> 02:42:36.469
societies and government agencies and what have

02:42:36.469 --> 02:42:40.850
you. Like, it's just, uh, what kind of programming

02:42:40.850 --> 02:42:43.409
does it take to assume that Ward X are the good

02:42:43.409 --> 02:42:48.540
guys? I don't think so. Also, what? Because you

02:42:48.540 --> 02:42:50.020
think everyone's a bad guy. That's what I mean.

02:42:51.860 --> 02:42:58.020
It's W -A -R -D -E -X. It's the war database.

02:42:58.079 --> 02:43:02.360
It's Palantir. They're not the good guys. They're

02:43:02.360 --> 02:43:05.020
just annoyed that somebody else is letting out

02:43:05.020 --> 02:43:08.000
the AI god that they've created. Their little

02:43:08.000 --> 02:43:10.840
AI antichrist that they've created has gotten

02:43:10.840 --> 02:43:14.700
out because some guy who works at Palantir took

02:43:14.700 --> 02:43:18.950
it or whatever. They also let that guy at Palantir

02:43:18.950 --> 02:43:20.950
take it so that it could get out because that's

02:43:20.950 --> 02:43:23.649
part of the whole thing that they want to release

02:43:23.649 --> 02:43:27.829
this and take over. I guess so. Let us know that

02:43:27.829 --> 02:43:29.969
it's in charge. You seem very convinced. I'm

02:43:29.969 --> 02:43:34.930
very convinced. Yeah, I'm not. But I also just

02:43:34.930 --> 02:43:37.290
kind of think there's a fallacy to this. I just

02:43:37.290 --> 02:43:41.809
don't think... The idea that empathy makes me

02:43:41.809 --> 02:43:44.909
more susceptible to propaganda, it's like...

02:43:45.149 --> 02:43:46.729
I don't know. What are we talking about, man?

02:43:46.850 --> 02:43:49.469
Does the lack of empathy make you less susceptible

02:43:49.469 --> 02:43:52.569
or something? Does the assumption that everything

02:43:52.569 --> 02:43:55.469
is just a conspiracy make you less susceptible?

02:43:55.889 --> 02:43:57.829
No, no. It's just that the other part of the

02:43:57.829 --> 02:43:59.629
thing is that that can be preyed on too, man.

02:43:59.950 --> 02:44:03.069
That's all. Well, I think that's the thing that

02:44:03.069 --> 02:44:06.389
actually makes you powerless and do nothing at

02:44:06.389 --> 02:44:10.020
all. And then the other people are... goaded

02:44:10.020 --> 02:44:13.219
into action, which gets manipulated and used

02:44:13.219 --> 02:44:14.360
against them. Those people who are powerless

02:44:14.360 --> 02:44:17.479
are the ones on their phones who are having empathy

02:44:17.479 --> 02:44:20.639
for these aliens that are being tortured on screen.

02:44:21.620 --> 02:44:24.670
So it's not the people who are... looking at

02:44:24.670 --> 02:44:27.209
their phones, being afraid of like assassinations

02:44:27.209 --> 02:44:29.170
that are happening or riots that are happening,

02:44:29.190 --> 02:44:31.969
or just kind of feels like fear is used a lot

02:44:31.969 --> 02:44:34.850
more often, especially to go to right -wingers,

02:44:34.850 --> 02:44:36.610
right? Like the empathy is used more to go left

02:44:36.610 --> 02:44:39.090
-wingers. I mean, yeah, but it's, it's empathy

02:44:39.090 --> 02:44:41.250
for it's basically, it's horrors that were being

02:44:41.250 --> 02:44:43.850
shown. Like that's all. Like, I think it's weird.

02:44:44.229 --> 02:44:47.709
I think it's like specifically weird that. The

02:44:47.709 --> 02:44:50.729
tapes are played as horrors and that they feel

02:44:50.729 --> 02:44:54.649
much less like the disclosures that we've seen

02:44:54.649 --> 02:44:58.489
of UFO stuff or whatever, where it's like people

02:44:58.489 --> 02:45:00.840
are like, oh, that's crazy. That's cool. Then

02:45:00.840 --> 02:45:03.299
it feels like the Epstein files where people

02:45:03.299 --> 02:45:06.120
are like, what the fuck? This is actually like

02:45:06.120 --> 02:45:10.200
this changes society kind of like all of these

02:45:10.200 --> 02:45:13.739
things are downstream of this. And this is actually

02:45:13.739 --> 02:45:15.840
downstream of that. And that actually is something

02:45:15.840 --> 02:45:17.739
that people have been discredited for saying

02:45:17.739 --> 02:45:21.139
for a long time. And this changes things that

02:45:21.139 --> 02:45:24.719
but it's much more that sort of thing. And like

02:45:24.719 --> 02:45:28.000
kind of releasing that as a way to deaden people.

02:45:28.200 --> 02:45:31.770
It feels much more. tonally like that than it

02:45:31.770 --> 02:45:36.489
does the other thing to me um but everybody has

02:45:36.489 --> 02:45:39.530
their own you know interpretations it's not we're

02:45:39.530 --> 02:45:42.649
not gonna convince each other just like um until

02:45:42.649 --> 02:45:48.329
we watch it more i know someday um and maybe

02:45:48.329 --> 02:45:50.329
there'll be more i think i've brought up i think

02:45:50.329 --> 02:45:52.549
i've brought up plenty of arguments to back up

02:45:52.549 --> 02:45:57.620
my position but ultimately i think uh This is

02:45:57.620 --> 02:46:03.239
a crazy movie. It's pretty messy. But I think

02:46:03.239 --> 02:46:05.840
everything in it, while it almost doesn't work

02:46:05.840 --> 02:46:09.280
as a movie in a plot sense, it was really distracting

02:46:09.280 --> 02:46:12.659
a lot of the times or jarring. But everything

02:46:12.659 --> 02:46:14.440
kind of does work as some kind of a metaphor

02:46:14.440 --> 02:46:18.159
or some way to interpret it or whatever. There's

02:46:18.159 --> 02:46:21.620
a lot there. And I think you're just going to

02:46:21.620 --> 02:46:22.739
have to leave with a lot of your assumptions

02:46:22.739 --> 02:46:26.899
about Spielberg and maybe where he's at. And

02:46:26.899 --> 02:46:29.819
then also look at yourself and just wonder how

02:46:29.819 --> 02:46:32.239
much of it's coming from your own sort of, like,

02:46:32.280 --> 02:46:36.760
programmed helplessness to do anything about

02:46:36.760 --> 02:46:41.260
what's going on in the world. Sure. But, like,

02:46:41.260 --> 02:46:46.260
ultimately it's, like, I do think we need empathy.

02:46:46.299 --> 02:46:50.100
I do think we need connection. And, like, it's

02:46:50.100 --> 02:46:53.020
a very sad and cynical thing if that's only always

02:46:53.020 --> 02:46:55.639
just, like, utilized by the powerful as a weapon.

02:46:56.360 --> 02:47:00.540
But, like, my thing here, man, is, like, my interpretation

02:47:00.540 --> 02:47:03.879
wasn't everyone becoming zombies. My interpretation

02:47:03.879 --> 02:47:08.440
was that, like... And, yeah, I know it's undercut

02:47:08.440 --> 02:47:10.659
by the fact that it has to happen on the phones

02:47:10.659 --> 02:47:13.079
and through the media, but that's, like, the

02:47:13.079 --> 02:47:16.120
only way it would happen, right? Unless the alien

02:47:16.120 --> 02:47:17.840
could hack everybody's brains. It's not just

02:47:17.840 --> 02:47:20.200
that everyone's on the phones. It's the lighting

02:47:20.200 --> 02:47:23.600
and the music and the shot choice and the fact

02:47:23.600 --> 02:47:27.000
that nobody is... doing anything at all they're

02:47:27.000 --> 02:47:31.040
just slack -jawed and it's the whole thing i

02:47:31.040 --> 02:47:33.719
don't think i don't think i think that's very

02:47:33.719 --> 02:47:35.959
different like to me that's people watching in

02:47:35.959 --> 02:47:37.840
ready player one the thing is like when i was

02:47:37.840 --> 02:47:39.860
watching that participating all i could think

02:47:39.860 --> 02:47:42.780
is like this doesn't feel real because no one

02:47:42.780 --> 02:47:45.280
would react to this this way that's true i agree

02:47:45.280 --> 02:47:47.819
with that but but i think what it does feel like

02:47:47.819 --> 02:47:49.579
people would react this way too is something

02:47:49.579 --> 02:47:56.010
so amazing something so something that just completely

02:47:56.010 --> 02:47:58.010
breaks down your materialist understanding of

02:47:58.010 --> 02:48:00.989
the world and brings you back to faith. But like

02:48:00.989 --> 02:48:04.409
ultimately something that's showing you a power

02:48:04.409 --> 02:48:07.190
or something. And like, I know that like, because

02:48:07.190 --> 02:48:11.229
like, this is also, you know, the whole idea

02:48:11.229 --> 02:48:13.170
of the MacGuffin, right? Like I really like that

02:48:13.170 --> 02:48:15.469
the MacGuffin is disposable. Like I like that

02:48:15.469 --> 02:48:18.670
it can't be used forever. It's not a permanent

02:48:18.670 --> 02:48:22.229
object. Right. And just how weak the old alien

02:48:22.229 --> 02:48:24.530
is. I really feel like it's also very conveyed

02:48:24.530 --> 02:48:27.909
that all of this connection and hard work creates

02:48:27.909 --> 02:48:32.149
sacrifice. It will age you. This stuff takes

02:48:32.149 --> 02:48:33.649
a lot out of you. It's just hopping from the

02:48:33.649 --> 02:48:36.430
bottom. So it's a weak thing and it's in control.

02:48:36.930 --> 02:48:40.090
It doesn't need to be. I like the idea that all

02:48:40.090 --> 02:48:44.909
life force is kind of like impermanent. That's

02:48:44.909 --> 02:48:47.350
how things are. I really like the connection

02:48:47.350 --> 02:48:53.299
of like... the impermanence of life and how much

02:48:53.299 --> 02:48:56.959
energy it takes to do the hard work and the connection

02:48:56.959 --> 02:49:00.180
and all that stuff and how that seems very like

02:49:00.180 --> 02:49:02.940
reflected in the technology and the way it disintegrates

02:49:02.940 --> 02:49:05.000
and just like how it basically kills you when

02:49:05.000 --> 02:49:07.059
you try to use it and stuff it's like too powerful

02:49:07.059 --> 02:49:10.180
especially for you know like for noah it's like

02:49:10.180 --> 02:49:12.559
he like starts going to cardiac arrest and seizures

02:49:12.559 --> 02:49:15.190
if he's like doing it too long or if like it's

02:49:15.190 --> 02:49:16.950
getting like interrupted in the wrong way or

02:49:16.950 --> 02:49:20.170
whatever it is. Like it is a power that is like

02:49:20.170 --> 02:49:23.629
godlike and beyond something that humans can

02:49:23.629 --> 02:49:27.629
even manage. And like, I guess I just kind of

02:49:27.629 --> 02:49:29.870
like it as a metaphor for this idea that like

02:49:29.870 --> 02:49:32.290
Spielberg does know something and it's something

02:49:32.290 --> 02:49:35.129
that like the people in power know too. And it's

02:49:35.129 --> 02:49:37.870
something that they hide from all of us because

02:49:37.870 --> 02:49:40.610
it would give us more power. It would like peel

02:49:40.610 --> 02:49:43.129
back. It would show you the man behind the curtain.

02:49:43.579 --> 02:49:47.139
and reveal their whole entire system of power

02:49:47.139 --> 02:49:49.920
to be a house of cards that has no control over

02:49:49.920 --> 02:49:52.479
us whatsoever. That's the way I interpret it.

02:49:52.559 --> 02:49:54.760
I don't know why. If they wanted to reveal that

02:49:54.760 --> 02:49:56.879
whole house of cards thing, they would have to

02:49:56.879 --> 02:50:00.000
control the narrative from both sides, kind of

02:50:00.000 --> 02:50:02.760
like in an eyes -wide -shut way, where either

02:50:02.760 --> 02:50:06.120
you're for it or you're against it or whatever.

02:50:06.340 --> 02:50:10.079
You can't do anything but empathize with the

02:50:10.079 --> 02:50:12.079
victim that is this person, and they take over.

02:50:13.110 --> 02:50:15.229
He's a victim because it's about empathy, man.

02:50:15.389 --> 02:50:18.450
That's how you feel empathy is looking at someone

02:50:18.450 --> 02:50:20.809
and their pain as something real and something

02:50:20.809 --> 02:50:24.209
that you can connect with and not something that

02:50:24.209 --> 02:50:26.729
you turn to an abstract just so that you can

02:50:26.729 --> 02:50:28.870
end up like a material thing of someone on a

02:50:28.870 --> 02:50:31.329
list. It has to be that way. Whether or not it's

02:50:31.329 --> 02:50:33.250
being used for cynical reasons is another thing,

02:50:33.389 --> 02:50:36.530
but you're not going to get an empathetic movement

02:50:36.530 --> 02:50:40.530
talking about materialism. protecting the people

02:50:40.530 --> 02:50:42.510
who aren't victims. Like, what the fuck are you

02:50:42.510 --> 02:50:45.610
talking about? I don't know. I don't know if

02:50:45.610 --> 02:50:47.809
the aliens are victims because one of them got

02:50:47.809 --> 02:50:51.430
tortured one time. Well, like I already said

02:50:51.430 --> 02:50:53.090
as well, you keep ignoring that the only time

02:50:53.090 --> 02:50:54.790
you see the snuff videos is when he's trying

02:50:54.790 --> 02:50:58.930
to convince Jane of their mission. Right. The

02:50:58.930 --> 02:51:00.870
ending, you don't see the snuff videos. Yeah,

02:51:00.870 --> 02:51:02.629
but everybody's still reacting to everything

02:51:02.629 --> 02:51:06.290
as if it's the snuff videos. That's the point.

02:51:06.649 --> 02:51:08.489
I mean, there are dead bodies of aliens and people

02:51:08.489 --> 02:51:11.290
are like really disturbed by that in a way that

02:51:11.290 --> 02:51:12.790
I don't think people would be. I think people

02:51:12.790 --> 02:51:14.209
would just be like, what the fuck? That's an

02:51:14.209 --> 02:51:16.469
alien. Are you serious? That's crazy. What the

02:51:16.469 --> 02:51:18.629
fuck is that? But people are like, oh my God.

02:51:18.790 --> 02:51:21.930
It would be disturbing. People empathize so much

02:51:21.930 --> 02:51:25.149
with these aliens off the bat. It's a part of

02:51:25.149 --> 02:51:27.049
the thing and it's because of the way the narrative

02:51:27.049 --> 02:51:29.409
is presented to them. There's something that

02:51:29.409 --> 02:51:32.850
Margaret's doing. I know, but it's just like...

02:51:33.989 --> 02:51:36.469
Let's imagine that it's not what you're saying.

02:51:36.629 --> 02:51:39.469
How else would you create an empathetic movement?

02:51:39.870 --> 02:51:42.889
What did Christ do? I just kind of see that as

02:51:42.889 --> 02:51:46.889
a metaphor for there was a man who spoke the

02:51:46.889 --> 02:51:49.469
word of God, and it was powerful. It inspired

02:51:49.469 --> 02:51:52.329
people, and it was very much against the Jewish

02:51:52.329 --> 02:51:55.510
religion. It was the fulfillment of the scriptures,

02:51:55.690 --> 02:51:59.370
though, right? The thing that I often was thinking

02:51:59.370 --> 02:52:01.649
about watching this movie was that, what does

02:52:01.649 --> 02:52:06.819
Isaiah say? prepare the path for the Lord or

02:52:06.819 --> 02:52:10.299
whatever. The idea of the generations trying

02:52:10.299 --> 02:52:13.260
to prepare the path for the Messiah to come to

02:52:13.260 --> 02:52:16.100
be or whatever. I see that. I just think that

02:52:16.100 --> 02:52:20.260
it's the same thing for the Antichrist. I understand

02:52:20.260 --> 02:52:22.459
that and I totally agree with this analysis when

02:52:22.459 --> 02:52:24.360
it comes to a lot of the things we talked about.

02:52:25.420 --> 02:52:28.739
I don't know why I'm not feeling it here. This

02:52:28.739 --> 02:52:31.879
one seems to subvert that to me. I do get that

02:52:31.879 --> 02:52:33.959
like the ending is not glorious, but like, and

02:52:33.959 --> 02:52:37.879
like, it's, it's a weird ending, but like, I

02:52:37.879 --> 02:52:39.899
think it's like the, for me, like it betrays

02:52:39.899 --> 02:52:41.819
something different. It's like a, it's a, it's

02:52:41.819 --> 02:52:45.620
another, it's really one of, one of Spielberg's

02:52:45.620 --> 02:52:49.379
false saccharine endings. Yeah. Yeah. I totally

02:52:49.379 --> 02:52:51.459
agree. It's just what we think is hiding behind

02:52:51.459 --> 02:52:54.819
that false pretense is different because like

02:52:54.819 --> 02:52:56.899
it, it betrays non -reality just because of.

02:52:57.399 --> 02:52:59.260
silly the idea that everyone would stop and look

02:52:59.260 --> 02:53:02.280
at their phones over anything is right um that

02:53:02.280 --> 02:53:04.399
you could actually like capture people in this

02:53:04.399 --> 02:53:07.200
kind of way at all anymore um most people would

02:53:07.200 --> 02:53:09.280
just like say it's ai which is what the new york

02:53:09.280 --> 02:53:12.120
um the new york people say right when it comes

02:53:12.120 --> 02:53:14.180
to that like can we confirm this is ai where

02:53:14.180 --> 02:53:16.920
the source come from but like dude how long do

02:53:16.920 --> 02:53:21.260
they work on trying to get that like corroborated

02:53:21.260 --> 02:53:23.510
not long yeah they just go with it They just

02:53:23.510 --> 02:53:26.969
go with it. If people saw that, no one would

02:53:26.969 --> 02:53:29.290
believe that. See, that's the thing. This all

02:53:29.290 --> 02:53:31.430
is much more representative, I think, of a paradigm

02:53:31.430 --> 02:53:36.510
in which Spielberg was somebody that was important.

02:53:36.690 --> 02:53:40.209
You know what I mean? In which these aliens needed

02:53:40.209 --> 02:53:44.530
the empathy person to sell this thing to the

02:53:44.530 --> 02:53:47.469
American people. What that thing is, I don't

02:53:47.469 --> 02:53:51.049
know. Private Ryan got recruitments up ridiculous.

02:53:52.059 --> 02:53:54.299
You know what I mean? There are lots of different

02:53:54.299 --> 02:53:56.159
things. So you are making the case that he's

02:53:56.159 --> 02:53:58.659
a bad guy. He's creating propaganda for the bad

02:53:58.659 --> 02:54:01.260
guys. So you're making that argument. It feels

02:54:01.260 --> 02:54:04.239
to me like this is a confession movie. It feels

02:54:04.239 --> 02:54:06.120
to me like Spielberg's talking about somebody

02:54:06.120 --> 02:54:10.139
who wants to, for the right reason, but is not

02:54:10.139 --> 02:54:13.360
Truffaut in Close Encounters working for the

02:54:13.360 --> 02:54:16.159
bad guys. This is a Watergate movie. This is

02:54:16.159 --> 02:54:18.420
the movie about you can't trust the government.

02:54:18.559 --> 02:54:21.920
And then he gets Truffaut to work for the government.

02:54:22.159 --> 02:54:24.420
And yes, it's not maybe the government or whatever,

02:54:24.459 --> 02:54:27.319
but the point is that it's about using the empathy

02:54:27.319 --> 02:54:29.459
to sell that narrative to the people. Did Truffaut

02:54:29.459 --> 02:54:30.879
work for the government and create propaganda

02:54:30.879 --> 02:54:33.959
films or something? Or is it kind of like a dig

02:54:33.959 --> 02:54:36.760
to put Truffaut in that position? I mean, I really

02:54:36.760 --> 02:54:39.420
like the story that he didn't like that. He didn't

02:54:39.420 --> 02:54:41.079
know whether that Einstein line was supposed

02:54:41.079 --> 02:54:42.739
to be a joke or not, and he didn't really feel

02:54:42.739 --> 02:54:44.879
comfortable delivering it. And then Spielberg

02:54:44.879 --> 02:54:47.639
just gave it to someone else. Right. When he

02:54:47.639 --> 02:54:50.260
says, like, so Einstein was right. And he says

02:54:50.260 --> 02:54:53.200
Einstein was one of them. Right, right. If they're

02:54:53.200 --> 02:54:55.360
the technotopians, if they're the scientists,

02:54:55.540 --> 02:54:57.579
if they're the establishment, if they're all

02:54:57.579 --> 02:54:59.000
this stuff. It's like, oh, Einstein was one of

02:54:59.000 --> 02:55:03.479
them. Or if they're the Jews or the Germans.

02:55:03.600 --> 02:55:07.420
I don't know. Who is it? It's a lattice of coincidence,

02:55:07.420 --> 02:55:08.739
man. Somebody in a secret government within the

02:55:08.739 --> 02:55:11.809
government who's, you know. controlling both

02:55:11.809 --> 02:55:13.690
sides i think it's also very through the media

02:55:13.690 --> 02:55:17.409
telling us how to accept things and also being

02:55:17.409 --> 02:55:20.530
the victim while being disclosed that they're

02:55:20.530 --> 02:55:24.129
in charge of i don't know it's it's it's an interesting

02:55:24.129 --> 02:55:26.610
movie but i do think that there's a type of thing

02:55:26.610 --> 02:55:28.090
that spielberg could talk about like talking

02:55:28.090 --> 02:55:30.850
about a predictive programming like situation

02:55:30.850 --> 02:55:35.129
a movie in which he talks about preparing people

02:55:35.129 --> 02:55:40.350
for a coming event as this empathetic director,

02:55:40.690 --> 02:55:42.809
essentially. I don't think that's the type of

02:55:42.809 --> 02:55:45.090
thing that he could do if he was still preparing

02:55:45.090 --> 02:55:47.690
people for recovery. I just think that the paradigm

02:55:47.690 --> 02:55:50.770
has shifted. This is no longer the paradigm that

02:55:50.770 --> 02:55:53.690
even Disclosure Day really applies to, I don't

02:55:53.690 --> 02:55:55.909
think. Well, that's unfortunate and upsetting.

02:55:56.290 --> 02:55:58.770
I mean, your interpretation bums me out, man,

02:55:58.889 --> 02:56:01.450
to be honest. I like mine more just because it

02:56:01.450 --> 02:56:03.690
makes me feel good about him and the future and

02:56:03.690 --> 02:56:06.840
stuff, but yeah, maybe I'm just being... ignorant

02:56:06.840 --> 02:56:10.940
but like i don't know i'm not like i'm i'm here

02:56:10.940 --> 02:56:14.219
for empathy you know i'm here for whatever but

02:56:14.219 --> 02:56:17.120
like not really for abstracts like i'm here for

02:56:17.120 --> 02:56:19.420
empathy in my life and my locality and my to

02:56:19.420 --> 02:56:23.540
the people i love and i think that's yeah i don't

02:56:23.540 --> 02:56:25.500
know i guess that's true that's not what the

02:56:25.500 --> 02:56:27.180
movie is like it's about getting the message

02:56:27.180 --> 02:56:30.670
out to the world and Using empathy. That I think

02:56:30.670 --> 02:56:34.469
is sort of wishful thinking, that you could still

02:56:34.469 --> 02:56:37.250
bewilder the people with some sort of a spectacle.

02:56:38.079 --> 02:56:40.479
That, I think, is what 2001 was about. That,

02:56:40.559 --> 02:56:42.059
I think, is what Closing Counters was about.

02:56:42.159 --> 02:56:43.959
That, I think, is what Disclosure Day was about.

02:56:44.120 --> 02:56:46.120
I think that now it's a little bit outdated,

02:56:46.379 --> 02:56:48.940
perhaps, but I think it is still about the same

02:56:48.940 --> 02:56:51.139
thing, and it's confessional of the time that

02:56:51.139 --> 02:56:54.219
he was involved with for his entire career, where

02:56:54.219 --> 02:56:57.799
that was very much an aspect of it. It's an aspect

02:56:57.799 --> 02:57:00.879
of anyone's commercial filmmaking career. Where's

02:57:00.879 --> 02:57:03.520
this money coming from? You know what I mean?

02:57:03.780 --> 02:57:05.840
Especially when you start working with, like,

02:57:06.170 --> 02:57:10.809
NASA and whatnot at the beginning. Well, we've

02:57:10.809 --> 02:57:13.370
liked to consider Kubrick as somebody who was

02:57:13.370 --> 02:57:15.870
making the propaganda movie but subverting it

02:57:15.870 --> 02:57:18.209
secretly. Right. And I kind of thought we were

02:57:18.209 --> 02:57:19.770
making the case that Spielberg was doing the

02:57:19.770 --> 02:57:21.069
same thing. I think that's true. But it doesn't

02:57:21.069 --> 02:57:22.909
really sound like you're making that case. I

02:57:22.909 --> 02:57:25.809
think that's true. What message is he subverting

02:57:25.809 --> 02:57:27.829
here? If what you're saying is we're supposed

02:57:27.829 --> 02:57:30.149
to get this message that this is about God and

02:57:30.149 --> 02:57:32.950
faith, which I don't even think is completely

02:57:32.950 --> 02:57:38.500
obvious either. But that's supposed to be the

02:57:38.500 --> 02:57:40.200
message, this empathetic thing about empathy,

02:57:40.360 --> 02:57:42.200
which is what we need right now. My interpretation

02:57:42.200 --> 02:57:44.940
is more like that's actually what we need now.

02:57:45.579 --> 02:57:49.819
As far as the movie is concerned, empathy is

02:57:49.819 --> 02:57:52.219
not going to make us like AI more. This just

02:57:52.219 --> 02:57:53.979
should have ended with the end of Bob and Carol

02:57:53.979 --> 02:57:59.020
and Ted and Alice. Yeah, or something. Should

02:57:59.020 --> 02:58:00.760
have went to the parking lot, walking around,

02:58:00.920 --> 02:58:03.360
looking at aliens in the eye. And then it's,

02:58:03.379 --> 02:58:05.799
what the world? Yeah, I don't know. I mean, I'm

02:58:05.799 --> 02:58:07.040
not sure that's, like, yeah, that would have

02:58:07.040 --> 02:58:08.620
fallen flat. Like, I don't know what he can do

02:58:08.620 --> 02:58:11.680
anymore, you know? But, like, if it's what you're

02:58:11.680 --> 02:58:13.680
saying, it's so out of touch, you know? It just

02:58:13.680 --> 02:58:15.340
really, like, doesn't reflect. I don't think

02:58:15.340 --> 02:58:17.600
it's so out of touch. I think it's talking about

02:58:17.600 --> 02:58:19.680
his career the same way that Ready Player One

02:58:19.680 --> 02:58:22.700
was. And he's referring to that in a modern time.

02:58:22.719 --> 02:58:24.719
You're assuming that he's confessing that he's

02:58:24.719 --> 02:58:27.000
been, like, a government asset creating propaganda

02:58:27.000 --> 02:58:29.200
to, like, protect your program people and the

02:58:29.200 --> 02:58:33.579
things that are coming. The U .S. government

02:58:33.579 --> 02:58:38.620
was invested in Private Ryan and whatnot. Yeah,

02:58:38.739 --> 02:58:41.360
but I wouldn't call Kubrick someone who was specifically

02:58:41.360 --> 02:58:43.299
trying to make predictive programming for people.

02:58:44.319 --> 02:58:49.360
So what is the message that Disclosure Day is

02:58:49.360 --> 02:58:51.139
supposed to be getting out to people? You would

02:58:51.139 --> 02:58:53.200
say, oh, this is supposed to be teaching people

02:58:53.200 --> 02:58:55.399
empathy and to have a more spiritual view of

02:58:55.399 --> 02:58:56.819
the world because that makes them more susceptible

02:58:56.819 --> 02:58:59.739
to the AI demon, who they think is actually God.

02:59:00.329 --> 02:59:04.229
Because they have empathy for it somehow. Well,

02:59:04.229 --> 02:59:07.930
just like the animals. Anthropomorphize the animals,

02:59:08.090 --> 02:59:12.329
which is one of Kaczynski's big ideas of over

02:59:12.329 --> 02:59:14.809
-socialization. Okay, but you're saying that's

02:59:14.809 --> 02:59:16.610
the message people are supposed to get on Disclosure

02:59:16.610 --> 02:59:19.489
Day? That's the predictive programming? Or is

02:59:19.489 --> 02:59:22.110
the predictive programming... Well, first of

02:59:22.110 --> 02:59:24.010
all, I think the part of the thing is you do

02:59:24.010 --> 02:59:26.069
need to make a population soft if you're going

02:59:26.069 --> 02:59:29.229
to take over, right? And empathetic to you specifically.

02:59:30.270 --> 02:59:33.190
So you disagree with, like, Heavy's notion that,

02:59:33.250 --> 02:59:36.209
like, goodwill is the ultimate timeless currency.

02:59:37.510 --> 02:59:41.209
Like, it is materialism that wins. It is, like,

02:59:41.389 --> 02:59:44.430
cutthroat activity that wins. I think that this

02:59:44.430 --> 02:59:48.809
movie does not show empathy winning. I don't

02:59:48.809 --> 02:59:51.489
know about life or whatever, but I think that

02:59:51.489 --> 02:59:54.430
this movie chooses, like, a very... It doesn't

02:59:54.430 --> 02:59:56.610
show you what comes after at all, man. Like,

02:59:56.809 --> 02:59:58.559
you know what I mean? Yeah. That would really

02:59:58.559 --> 03:00:01.739
determine whether or not this is a better way

03:00:01.739 --> 03:00:07.200
forward or not. That's true. But we do see essentially

03:00:07.200 --> 03:00:13.459
a takeover. Do you see what I'm saying? Not in

03:00:13.459 --> 03:00:17.340
a way that's sustainable. Not one that feels

03:00:17.340 --> 03:00:21.139
like there's actually a lot of structural elements

03:00:21.139 --> 03:00:24.139
they can control. But they don't have to because

03:00:24.139 --> 03:00:26.450
it's empathy. There aren't any aliens because

03:00:26.450 --> 03:00:28.569
they're not real. They don't exist. They're not,

03:00:28.610 --> 03:00:31.209
like, they're just a metaphor. They wheel in

03:00:31.209 --> 03:00:33.049
a friggin' old alien, like, on a wheelchair.

03:00:33.209 --> 03:00:35.709
Like, that doesn't, like, it's all so fake. Like,

03:00:35.829 --> 03:00:37.450
it doesn't make any sense. They're a foreign

03:00:37.450 --> 03:00:40.389
power. It's a fantasy. They're a foreign power.

03:00:40.729 --> 03:00:44.729
Yes. As aliens often are, right? Like, as the

03:00:44.729 --> 03:00:48.190
world's aliens are, or whatever. But they're

03:00:48.190 --> 03:00:50.389
not a foreign power in Close Encounters. So you're

03:00:50.389 --> 03:00:52.010
saying they're a foreign power? No, I think they're,

03:00:52.010 --> 03:00:54.149
I mean... They're, like, they're... Their capitalism

03:00:54.149 --> 03:00:57.430
and their corporatism in Close Encounters. So

03:00:57.430 --> 03:01:00.370
in this one, they're not that anymore. There's

03:01:00.370 --> 03:01:02.569
something else. I think this is a lot more like

03:01:02.569 --> 03:01:05.010
the World of Worlds. It's just like... Yeah,

03:01:05.090 --> 03:01:07.790
foreign power situation where we're talking about

03:01:07.790 --> 03:01:11.989
a takeover. But Close Encounters is, yeah, it's

03:01:11.989 --> 03:01:16.989
a takeover of a secret society takeover. But

03:01:16.989 --> 03:01:23.110
it is still... I don't know. indoctrination happening

03:01:23.110 --> 03:01:25.909
it's just happening on an individual level there

03:01:25.909 --> 03:01:30.090
as opposed to the mass indoctrination happening

03:01:30.090 --> 03:01:36.209
in disclosure day okay and like so it's only

03:01:36.209 --> 03:01:38.690
expressing that power getting bigger and bigger

03:01:38.690 --> 03:01:40.850
i just think if getting on the ship is like a

03:01:40.850 --> 03:01:42.729
failure like going away from your family and

03:01:42.729 --> 03:01:45.149
getting on the ship then like i also think just

03:01:45.149 --> 03:01:49.549
like empathizing with I don't know. I don't know.

03:01:49.590 --> 03:01:51.909
Maybe empathizing with the alien is a beautiful

03:01:51.909 --> 03:01:56.190
thing and it's going to be a beautiful, empathetic

03:01:56.190 --> 03:02:00.250
friendship or whatever. But there's always something.

03:02:00.370 --> 03:02:02.409
It's just kind of like when you watch the ending

03:02:02.409 --> 03:02:04.930
of Close Encounters, it's like the thing that's

03:02:04.930 --> 03:02:07.030
betraying the ugliness is the fact that it's

03:02:07.030 --> 03:02:10.690
so beautiful and colorful and shiny and bright

03:02:10.690 --> 03:02:13.979
and like. It's not dark, and it's aesthetics,

03:02:14.100 --> 03:02:15.940
whereas Disclosure Day is dark, and I think,

03:02:15.959 --> 03:02:18.120
like, there's this whole Spielberg thing of,

03:02:18.159 --> 03:02:20.219
like, mirrors going backwards, like, all this

03:02:20.219 --> 03:02:23.659
stuff. Like, this betrays an unreality, or, like,

03:02:23.680 --> 03:02:25.739
you should be, I don't know, and I just think,

03:02:25.819 --> 03:02:29.899
like, to me, what would be really, really poetic

03:02:29.899 --> 03:02:33.319
is if, like, in Close Encounters, the aliens

03:02:33.319 --> 03:02:37.139
represent a truth that we work towards that was

03:02:37.139 --> 03:02:42.219
given to us by corporations, and that, that has

03:02:42.219 --> 03:02:44.399
led the world to a very dark, destructive place

03:02:44.399 --> 03:02:47.540
where everyone is isolated and no one has community

03:02:47.540 --> 03:02:52.100
and it's a fucking shit show. And I like the

03:02:52.100 --> 03:02:56.100
idea that Spielberg is subverting that metaphor

03:02:56.100 --> 03:03:01.219
and changing the aliens into an idea of God and

03:03:01.219 --> 03:03:04.520
faith that we aspire towards instead. Right.

03:03:04.739 --> 03:03:08.399
I like that too. I like that too. And then subverting

03:03:08.399 --> 03:03:18.719
that is the ballsiest thing. Sure. Sure, sure.

03:03:18.860 --> 03:03:20.959
We should wrap it up. Yeah, I'd say that's that,

03:03:21.059 --> 03:03:27.420
Mattress Man. That's that, that's that. Ooh -wee.