Spielberg Just Revealed The Truth About Aliens (He Knows!)

There's something going on that's not being disclosed to us. As you probably know, if you don't live under a rock, Steven Spielberg just dropped disclosure day, his magnum opus, alien movie to end all alien movies, the bookend to a career exploring the unknown and portraying it wondrously for global audiences. The Hollywood legend is no stranger to movies about extraterrestrials. In Firelight, a movie he made at the age of 17 for $500, following a group of scientists as they investigate a series of strange abductions in their small Arizona town. To the legendary close encounters of the third kind, where civilian contactees and a group of elite researchers are led through synchronicities to converge on Devil's Tower in Wyoming for a face-to-face meeting with the Grey's. The ET, where a lovable shipwrecked little alien is given shelter by a band of suburban kids, to the cold machines, lifeless invaders raining terror on an urban New York landscape in the war of the worlds. To this, disclosure day, perhaps the capstone to them all, and maybe the most mystical and esoteric of Spielberg's long list of alien movies if I do say so myself. Spielberg's interest in UFOs isn't new, and it's not superficial. In fact, he cast Jay Allen Heineck, the chief astronomer of the Air Force's project Blue Book in Close Encounters of the Third Kind, and he portrayed Heineck's assistant, the French godfather of modern UFO research, Jacques Valle, casting the legendary French swatruffo to play him. "You were the person that Steven Spielberg modeled a character of a UFO researcher on his classic movie Close Encounters of the Third Kind." Famed UFO documentarian James Fox revealed a letter that Spielberg had sent regarding his 2009 documentary, "I know what I saw." In the letter, Spielberg praised the film, stating, "With great curiosity, I watched the documentary you sent over and found it compelling. Personally, I would like to think we are not alone, and even though I have devoted a generous percentage of my movies to extraterrestrial-related themes, I for one have never seen a UFO." At that time, in 2009, Fox was operating on a shoestring budget. UFO documentaries weren't really a thing, and Spielberg took the time to call his movie "Compellent." My point is, Spielberg genuinely loves UFOs. He's not a fear-weather fan, going with the tides or riding off the modern surge of interest. "The movie, for me, is a summation of my life and science fiction, which has started when I was 17 years old." Now, if you listen to Spielberg's interviews about disclosure day, you might be familiar with this narrative. He had five ideas for movies he wanted to make at this juncture in his life. He's now mostly spending time with family and just enjoying himself. And this concept, disclosure day, just happened to keep nagging at him. It rose above the rest, organically. Yes, he was also inspired by Leslie Cain's New York Times article in 2017. About the 2004 Nimitz incident with Commander David Fraver and his Navy crew seeing a tick-tack UFO off the coast of San Diego. It also included details about the existence of Senate Majority Leader Harry Reid's UFO program, named OSAP, that ran from 2007 to 2012. And finally, Spielberg notes as inspiration all of these whistleblowers coming out over the last decade, saying not only are UFOs real, but in many cases, they've seen firsthand evidence of them. So Stephen started taking notes in his notes app he hit up his longtime writing partner, David Copp, and magic ensued. But you, the audience, might be wondering, is the timing of this movie literally concurrent with sequential data dumps of UFO evidence from the Department of War really just appear coincidence at South by Southwest, when asked if we are in fact alone. Stephen caveotted his answer with this, "I only know what you know. I have no access to special information." But Toby Hooper, the director of Poltergeist in Texas Chainsaw Massacre, and a close contact of Spielbergs, apparently, said this. So we're sitting there, and all the producers, Bryce, everyone else is kind of talking, and I said to him, "So Toby, you're finally going to have one up on Stephen, because I know he's very competitive with his buddy, Steven Spielberg." And he goes, "What do you mean?" And I said, "Well, you're going to be the first one to put a crop circle on film." And he hasn't done that yet. And he's like, "Yeah, I'm never going to be Stephen in that category." And I go, "What do you mean? Why?" and he goes, "You know, after JAWS, he was like really a big deal." And apparently he had approached by some guys from Naval Intelligence or something, and they came and offered him a deal. And he actually say Naval Intelligence. Yes, he did. And yeah, and he took it, and he got all sorts of information. I mean, close encounters is based on a true story. And I was like, "What?" And he goes, "Yeah, I mean, ET2, he got access to a bunch of really interesting case files and stuff." And yet I ask you, is not an alien force already among us? And President Ronald Reagan, during a showing of ET to high-level national security personnel at the White House, apparently said this as relayed to us by Spielberg himself. "And he said, "I want to thank you for bringing ET to the White House and we really enjoyed your movie." And then he looked around the room and he said, "And there are a number of people in this room who know that everything on that screen is absolutely true." And he said it without smiling. And then everybody laughed, by the way, the whole room laughed because he presented it like a joke, but he wasn't smiling because he said it. Accordingly, there's a long history of Easter eggs, little hints of UFO truths dropped by Spielberg that are way ahead of their time in all of his movies. He shows crates in closing counters of the third kind with the names Lockheed and TRW, due likely active legacy UFO crash retrieval programs at the time of the movie's making. In the movie, Richard Dreyfus even gets a sunburn due to UV damage when he comes into close contact with the UFO. That movie is probably the first time the wider public has heard anything about electromagnetic radiation damage or burns from a UFO encounter. But now the UFO whistleblowers we listen to most are talking about this all the time. "Well, that sounds like visible ban light being blue shifted into ultraviolet and you're getting literally a sunburn." The tones played to make alien contact at Devil's Tower in Wyoming were probably directly inspired by ether ship. A musical duo in the 70s which pioneered sonic Zeno linguistics in performance art ensemble. Basically, they used sound and light to attempt communication with non-human extraterrestrial intelligence. Now in the face of it, this might sound like a bunch of hippies who've done too much LSD and have lost their mind. But the group was contacted by Valerie Ransone, who was an intelligence operative during the Nixon years connected at the highest levels of government. Ransone really wanted to use their work to attempt official extraterrestrial contact through a growing field at the time called semiotics. Ransone was also coordinating with Jacques Vallet on this effort. And again, Jacques is depicted by François Truffaut as this eccentric French scientist literally on Devil's Tower trying to make contact with aliens through different musical tones. So this whole ether ship saga sounds a lot like close encounters of the third kind if you ask me. I just found out that ET may also have been loosely based on a true story from the 70s. The ET thing we haven't done the episode yet but we're going to do a whole episode. It's actually based on a true story. I didn't know that. Yeah. In Kentucky or something. Well, that's what got it started. That's what got it started. That was the impetus for it. Oh wow. We're a family found an alien on a farm and they hit it in their barn and the whole thing. It was a movie called Night Skies which he was developing as a producer. I had no idea. Yeah. And it was communicating with a kid who was autistic. If you recall the plot, there's a symbiotic connection between ET and Elliot, the little boy that takes him in. Their behaviors perfectly mirror one another. When ET drinks a beer, Elliot gets drunk at school. When ET gets critically ill, Elliot's body mimics the decline. In fact, they have to sever their connection when ET's health goes downhill so Elliot can survive. This mimicking phenomena is remarkably similar to how crash retrieval operators explain the relationship to the crafts they encounter. It's almost as if the crafts they're coming into contact with awaken feelings deep inside of them. And they listen to the experience of Jake Barber. I felt that there was something conscious about the craft during the recovery process that had tapped into me and was disruptive in the most beautiful way in my ability to operate a helicopter and almost led to me punching this craft off and creating a whole other crash right like in between where I picked it up and dropped it off. Finally, we can't forget that Spielberg produced back to the future. A movie directed by Robert Semeckis, the legendary filmmaker behind Contact. The movie involves time travel and perhaps not coincidentally, the wacky scientist who discovers time travel is named Emmett, with two T's, Brown, Thomas Townsend Brown, an obscure yet legendary inventor, notorious, but only in certain intelligence circles at the time the movie was made. Nothing was responsible for the famous Philadelphia experiment in the early 40s. He also thought that he had unlocked time travel with his gravity manipulation technology. If you think that's far fetched, then you have to realize that gravity and time are very interrelated in general relativity. And you also have to deal with the fact that we have an FBI document saying that Brown was deeper than anyone in the Navy on radar. You see the wacky scientist from back to the future, Doc Brown, was also Townsend Brown's nickname. His time and gravity manipulating experiments involved high voltage capacitors. Doc Brown's time travel machine that he invented was called a flux capacitor. The house in the movie is in Pasadena, where Townsend Brown lived and his original lab was for many years. And Doc Brown goes back in time from 1985, the year Townsend Brown died to 1955, the year Brown proved his experiments. I spoke to Brown's daughter directly, who is sure that the character is based on him. You're the only one in the smooth stuff, so I can greatly leave you. So you tell me if all of that's a coincidence. Gilbert and Zemeckis also hinted at the fact in the movie that aliens might actually just be a popular modern meme, and it's really all a cover for time travel. When Marty McFly uses the DeLorean time machine to go back in time, it crashes into a family's house, the Peabodies. Their youngest child Sherman Peabody points at the DeLorean and shouts that it's a flying saucer. He thinks Marty and his radiation suit is an alien who's come from space. He's holding a comic in his hand about space aliens, implying that he's been primed or conditioned to believe that anything anomalous is from outer space. One smarty McFly was back in the 50s, he also needed to ensure that he wouldn't alter timelines too drastically. He needed his father George to end up with his mom Lorraine so he wouldn't disappear in the future. It's a classic physics paradox around time travel, so he decides to sneak into George his father's bedroom at night while George is asleep, wearing his radiation suit and playing a loud distorted Van Halen tape he poses as an alien, calling himself Darth Vader from the planet Vulcan. Marty threatens his father George and says that he must take Lorraine to the dance or face dire consequences. The disorienting music and the costume terrify George into compliance. The implication being that aliens are really just future human time travelers, showing up in the way that will impact us most, and in the 50s that form happen to be UFOs in space aliens. Spielberg apparently also privately told Deadpool creator Robert Leefield that aliens were time travelers, and implied that again in an interview with Stephen Colbert. What if they're not from an advanced civilization, 300 million light years from here? But what if it's us 500,000 years into the future? And then you have the little known story of the official Hollywood CIA liaison, Chase Brandon, who operated publicly as the agency's Hollywood point person for a decade, helping on movies like The Recruit, The Some of All Fears, Meet the Parents, and the Born Identity. Brandon had worked in black operations for decades, even training at the legendary farm. He knew the ropes, could help Hollywood directors write about intelligence in a less armed chair way, probably shape the narrative, and plant Easter eggs, hide truth and fiction. Now Brandon started his gig shaping public perception in 1996, the year that men in black did most of its filming. They needed to rework the plot before it was released a year later. Here's the kicker. Chase Brandon, the official Hollywood CIA liaison, was cousins with men in black co-star Tommy Lee Jones. And black was made by Amblin Entertainment, Spielberg's production outfit. As you know, if you take UFOs seriously, the men in black are a very real consistent phenomenon where tall, nondescript, and sometimes alien looking men in black attire try to collect and suppress UFO sightings, wreckage, or truths. For really large-scale UFO flyovers or crashes, they almost always show up on the scene. So maybe, just maybe I'm speculating here, Tommy Lee Jones hit up his cousin, Chase Brandon, the brand new official Hollywood CIA point person for advice. Jones himself is no stranger to the intelligence world. He played the only person to ever get prosecuted in connection with the JFK assassination, Clay Shaw, and Oliver Stone's JFK. Now it's probably a good time to be super clear. I don't know how connected Spielberg is with intelligence, and I'm not knocking him at all as a filmmaker, or calling him some deep-state plant. I think his filmmaking is a gift to humanity. Everyone covering UFOs, and I mean everyone, has some intelligence contacts, or uses some information from intelligence. It's a main conduit of information about this stuff, however you look at it. I see UFO content creators all the time acting extremely irreverent about the intelligence world, and then proceed to state something as fact that they were clearly fed from intel sources. If you're trying to discuss the government's relationship to UFOs, of course some of your sources are going to come from the government. Having said that, I do think context matters, and the whole I wrote this movie on my notes app might not be the full picture. And accordingly I think Spielberg dropped some deep hardcore truths in disclosure day that maybe weren't completely based on open source research, and the fact that he might be connected should just make you want to search for those truths harder. So without further ado, let's unpack the bombshell truths Spielberg hid in this movie. For his indelible contributions to the field, let's make him this week's American Alchemist, Steven Spielberg. First, spoiler alert, here's the basic premise. There's a shadowy government-linked corporation called Wardex, and they're sitting on the single biggest secret in human history. Aliens are real, they've been here for decades, and they come in peace. Wardex isn't the government, they're their own government. Almost like a breakaway chain of command, far more powerful than our civilian elected leaders. The company is also hoarded and suppressed the scientific breakthroughs that have arisen from the alien presence, keeping everything to themselves to maintain their technological superiority. That is, until one of their own, breaks ranks. Enter Hugo Wakefield, a former Wardex higher up, turns defector, a kind of suitseer who decides the world deserves the truth. He hatches a plan to dump decades of evidence into the open all at once. His unlikely accomplice is a mild mannered somewhat hapless, but extremely intelligent cybersecurity guy named Daniel, played by Josh O'Connor. Daniel ends up sprinting across the country, going on the run, with proof of aliens literally stuffed in his backpack. I'm talking videos of alien bodies and cryonic chambers and hospitals, crash retrievals, the whole nine, along with an alien artifact called the device that enhances the telepathic powers of anyone touching it. So Daniel is on the run, taking this damning evidence with him, Wardex's former employer is hot on his heels, hunting him every step of the way. In parallel, there's Kansas City News anchor Margaret Fairchild, played by Emily Blunt, who spontaneously starts speaking Russian in her apartment with her confused boyfriend. She also seems to know things about random strangers. It's like dormant psychic powers have been activated inside of her. It gets so intense that when she goes live to do the weather at work one day, she loses the ability to speak altogether and starts making alien clicking noises, freaking out her colleagues, and garnering the attention of Wardex, who confirms that the clicking noises are in their records as a real documented alien language. And she's somehow connected to Daniel in some primordial inexplicable way. Daniel sees the viral clip of her on-air clicking noises and understands the language immediately. So Margaret and Daniel aren't just messengers, they've got strange unsettling powers that might be the actual key to making contact with whatever's up there. They each have one half of the puzzle. Hugo Wakefield is pulling the strings at a higher level. He's somehow able to call each of them perfectly right in the nick of time, engineer their interactions in narrow escapes from Wardex, and while these two are running for their lives, the rest of the world starts to crack. Corporate Titans, scientists, TV networks, even Nuts wrestling with their faith all at war over one impossible question. When the universe turns out to be way bigger than your God, your government, or your worldview ever admitted, does humanity come together or unravel and fall apart? Throw in World War III anxieties, crop circles, real historical UFO crashes and lore, and a final shot of a UFO descending out of the clouds straight out of close encounters. And Spielberg basically ties a beautiful bow on all of the alien movies he started making back in the 70s. Okay, so what about any of this? Is possibly real? Well I think a lot of it. Wardex operates a lot like the real UFO legacy crash retrieval program. Wardex is located in Northern Virginia. Wardex is also the site of Greyfox, an elite of the elite reconnaissance unit for the United States Army. Greyfox is not its own independent program, but rather one of the many historical top secret cover names for a Tier I unit within the Joint Special Operations Command, or JSOC, officially known as the US Army Intelligence Support Activity, or ISA. Within the military and intelligence community, the unit is most commonly referred to simply as "the activity" or "task force orange." The unit is so deeply embedded in Northern Virginia. Again, the location of Wardex in Disclosure Day, that one of the unit's most famous insider nicknames is the Army of Northern Virginia. This is exactly how they function. JSOC, or the Joint Special Operations Command, is the umbrella headquarters that controls America's elite special mission units. Delta Force is the direct action assault unit under JSOC, basically the door kickers. The activity, or Greyfox, is JSOC's dedicated intelligence unit, providing the signals intercepts, human intelligence, and on the ground target finding that tell Delta and seal team 6 where to go and who to hit. Greyfox is often first on the scene, knowing things about sensitive people and areas before anyone else. Again, we have some parallels here. Wardex stands for Watch, Recon, Develop, and Extract. They were forged from failure, born in the ashes of the disastrous 1980 Iran hostage rescue. When America's War, it would never send in special operations again, blind. They needed a unit that could see literally everything. Greyfox flew ghost planes over the jungles of El Salvador, snatching Gorilla Radio chatter out of thin air before the enemy even knew anyone was listening. They hunted the most feared drug lord on Earth, Pablo Escobar, pinpointing his phone signals until the net finally closed around him in Colombia. They were in the chaos over Mogadishu, the eyes in the storm during the brutal fire fight the world would come to know as Black Hawk down. They stalked war criminals throughout the shattered Balkans, turning whispers into coordinates. And after 9/11, they vanished into Afghanistan and Iraq, the invisible hand behind the hunt for terrorists, helping run down targets like Zarkawi himself. Now if you know anything about the UFO crash retrieval program, it's rumored to be closely coordinated with JSOC, or the joint special operations command, which is the umbrella organization, again, that Greyfox sits within. If this is true, Greyfox would be one of the first lines of defense for UFO crash retrievals globally. Maybe it's not a coincidence that that former American alchemist, and the UFO whistleblower responsible for that 2017 New York Times article, who also has honestly inspired a lot of modern disclosure, is a guy named Lou Elizondo. Lou's been a past guest on the show. As he'll be the first one to admit, Lou is definitely sitting on more sensitive UFO-related information than he relays in general interviews. "I get the sense that you're sitting on things that feel like very hard truth." "Time is not a luxury that we can afford." And you see Lou Elizondo is an alumni of Greyfox, so we have two pretty interesting data points. Greyfox does recon and goes into the most sensitive areas before JSOC does, and we know that JSOC probably has something to do with UFOs. And Lou Elizondo, a man who seems to know a lot more than he can say about UFOs, used to work there. Another entity, this time a private company located in Northern Virginia, is science applications and integrations technology, also known as SAIC and headquartered in Reston, North Virginia. SAIC has openly studied exotic propulsion, anti-gravity, directed energy, and other exotic science. They also seem to work hand in hand with Stargate, the CIA's Psychic Spy program. Finally, former NSA director Bobby Ray Inman, who's openly spoken about UFOs to researcher Bobby Oxler on a phone call, was on the board of SAIC. The former head of the all-domain anomalies resolution office, or Arrow, the official Pentagon UFO investigation group, also used to work at SAIC Sean Kirkpatrick. I have no idea if Greyfox and SAIC work together. It would likely be pretty classified enough the books if they did, but it's my belief that Greyfox probably uses remote viewing as an intelligence modality. If you're going into the most sensitive areas on Earth, why wouldn't you? And if any of this UFO crash retrieval stuff is real, of course you'd use remote viewing on it. And SAIC, being the inheritors of the CIA's best remote viewing protocols, makes them a great candidate for consulting with Greyfox. The fact that they're a private contractor also makes them not subject to freedom of information act requests for, say, UFO material. Again, sounds a lot like Wardex, and remember, in the movie Wardex uses remote viewing regularly. Noah Scanlan, played by Colin Firth, is the sinister leader of Wardex, and he regularly remote views, or as he calls it, "dives" on targets to figure out what they're up to. Some of the depictions of remote viewing are accurate down to a tee. For example, when Colin Firth remote views a subject, his eyes change color to match theirs, almost inhabiting the body of the person or thing he's remote viewing. Top government spy Lynn Buchanan said that's happened to him before on my show. Your eyes turned to the same color as the dumbest thing. That's what she said. That's what she told me, yeah. So it was like you were merging with him. Merging sort of, yeah. Well, in speaking of UFO legacy program gatekeepers, Noah Scanlan looks like the spitting image of former CIA director of science and technology, Glengafny, who many on my show have accused of running the entire UFO program. In fact, journalist George Napp even testified to Congress saying that Gaffney was personally responsible for blocking the transfer of UFO materials from Lockheed Martin to Bigelow Aerospace in 2008. Glenn Gaffney, CIA. Glenn Gaffney, CIA. Number two, the Majestic 12 and Deep State Timeline Wars. 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Twining is a play on the head of air material command for the Air Force in the 40s. The main responsible for all aircraft development back then. His real name was Nathan Twining. He was also one of the first head haunchos in the federal government to begin to take UFOs seriously. After Roswell and the famous sighting of pilot Kenneth Arnold months earlier, he wrote the famous twining memo on UFOs in 1947. A letter that's become canonical in UFO lore because Because he openly says that these aerial objects aren't visionary or fictitious. What may also not be fictitious is the Majestic 12 Committee he was rumored to be appointed to by President Truman, an elite group of scientists, military and intelligence officials who directly advised the president on UFOs. Remember that Hollywood liaison, Chase Brandon? While he wrote a book called Crypto's Conundrum, and in it was a committee that sounds exactly like Majestic 12, Brandon starts the book with a Francis Bacon quote, "Truth is so hard to tell that sometimes it needs fiction to make it plausible." This committee that sounds a lot like the Majestic 12 had access to a sacred object, similar to the device in disclosure day, but in this case it was a crystal tablet that gave them access to reading future timelines. When I interviewed the eminent statesman and White House advisor Harold Maumgren, this is what he had to say about the Majestic 12, who he believed was tracking him personally. Maumgren held pieces of a UFO in his hands directly given to him by head of the Albuquerque branch of the Atomic Energy Commission and the eventual founder of DARPA, Lawrence Preston Geiss, who also happens to be Jeff Bezos' maternal grandfather. Wow, that's amazing. These things that have come down. Maumgren's whole life feels led by synchronicities dealing with much higher ups. People like his mentor Richard Bissell, who founded Area 51 and was deputy director of the CIA. All of these synchronicities seemed to lead Maumgren to the ultimate disclosures he made at the end of his life, similar to Daniel and Margaret. In Crypto's Conundrum, this Majestic 12-like committee is brought together by synchronicities, and by beings that seem to know more about the individual members of this committee, then they know about each other. In our interview, Maumgren made it clear that he had a very important, but almost hermetic purpose. And when I dared to ask him about the existence of a time-traveling intelligence agency at the risk of completely embarrassing myself in front of this elder statesman, he went silent. Now, the Majestic 12 was most famously written about in a series of documents anonymously dropped in the hands of various UFO researchers throughout the 80s and 90s. I personally think many of these documents were created by longtime CIA counterintelligence agent James Jesus Angleton, mainly to catch Soviet spies. A lot of what's in them is seductively adjacent to truth, rather than true, or just plain false at times. But there are things about the documents that line up with real historical dates. For example, the Forrestal memo was a memorandum from Truman to defend Secretary James Forrestal dated September 24, 1947, authorizing him and van of our bush to proceed with creating the Majestic 12. Legendary UFO researcher Stanton Friedman anchored this to real history by noting that the first National Security Council meeting was held September 26, 1947, and it involved Truman, Forrestal, Sowers, and Hillencoder. A date he argues aligns perfectly with the documents' own timeline for the Majestic 12's establishment, and the Majestic 12 documents were the first to reveal that meeting. The other thing I'd say is if UFOs are real and by God it really seems like they are at this point with all of these department wardrops, whistleblowers, all of the evidence were now get it, then of course you'd set up an elite advisory panel. And the people on the Majestic 12 documents list would be your top candidates. According to Chase Brandon, this committee or group was way more than your run-of-the-mill advisory panel. Thinking about cosmic scale problems, think Philip K. Dick's adjustment team, which spawned the Matt Damon movie The Adjustment Bureau, intelligence operatives that have the power to change variables in reality itself in order to alter timelines. Again, this theme shows up in real modern UFO history. A book I can't recommend enough, especially to the mystics out there interested in the deeper threads of modern ufology, is Diana Pusolka's American Cosmic. One of her primary sources for that book is NASA Mission Controller, an NRO operative, Tim Taylor. In the book, Pusolka claims that Taylor was part of a secret space program involving UFOs, but when she really pressed him on his job, he said it involved adjusting timelines, like the movie The Adjustment Bureau. When I knew Tyler, he was always talking about time travel. And yeah, whenever a new movie about time travel would come out, he would go see it. Like the adjustment bureau. Yeah, that's fascinating. He relayed the same thing to UFO super-experiencer Chris Bloodsoh. Taylor also told Bloodsoh's son, Ryan, that he was part of a secret time travel group, and that mid-century anti-gravity inventor Thomas Towns and Brown was the president of it. A statement I would completely discount if there wasn't an Amazon review from Towns and Brown's daughter on Tim Taylor's obscure autobiography. This book, Launch Fever, was written almost 15 years before Diana Pusolka's American cosmic had ever been written, so it does seem like there's a connection between Towns and Brown and Tim Taylor. And independently, if you read Towns and Brown's biography, The Man Who Master Gravity by Paul Schatzkin, Brown was constantly saying that his time travel technology was taken by a group in NASA in the Bahamas, and his daughter is on record remembering him frequently going to the Bahamas, alongside Churchill's super spy in the inspiration for James Bond, William Stevenson. Low and behold, Tim Taylor's autobiography is full of trips to the Bahamas, where he cryptically writes that time moved differently. Anyways, we are going deep down a rabbit hole now that is going to be very hard to get out of if we don't stop now. But the point is, these intelligence factions, a deep state war, if you will, related to time, isn't just in UFO fiction. It comes up in real UFO research. Of course, we can't take all of this research at face value, but it is a very real fact pattern that we have to contend with. There's also a Netflix show called Dark and according to Jay Anderson at Project Unity, a senior member of the American intelligence community told him that the show almost perfectly encapsulates the true UFO program. In the show, there are two warring factions in the deep state who can both manipulate timelines, and they each want diametrically opposed things. One wants disclosure representing the apocalypse in the show attempting to accelerate or hasten it, and the other wants to hold things back or deter it, so you have these groups deep in intelligence almost architecting reality. In disclosure day, Hugo Wakefield is pulling the strings on the majestic 12 side of things. Fittingly, he's calling all the shots and calling Daniel and Margaret in a staging room for sets. He's wearing a headset and on the phone with both protagonists, while he's directing set designers in the background, it's as if he's manipulating reality itself. And he literally tells Daniel and Margaret they are just hapless passengers in their own lives, who must have faith in his plans for them. He gets them out of some pretty tight spots, always adjusting the minimal amount of variables for them to survive, acting with complete faith, they will. Engineering synchronicities and timelines, while debating Colin Firth's character Noah, his arch nemesis leading Wardex, who is actively trying to deter disclosure. In an emotional plea to him, Wakefield points out that Scanlan stated reason for holding disclosure back, social stability, and the idea that people can't handle the truth, is just a cover for protecting the rich and powerful. So again, the society in disclosure day is one in which remote viewing, side wars and timeline manipulation are occurring at the highest level, and all terrestrial politics exist downstream of that. Fittingly, in the opening scene of the movie, Daniel and his Wardex captors are at a wrestling match. Everyone is waving American flags and wearing American flag hats. This symbolizes the charade that is modern politics and the deeper works going on behind the scenes. He's saying, the person is a storage mechanism, and can walk right through any security system, undetected, is carrying all that information in the DNA of a human. Whoa, it's just fascinating. So it's almost like we're walking hard drives. Number four, humans as walking hard drives and encrypted puzzle pieces. Margaret Fairchild, Emily Blunt's character, is the right brain. Pure empathy. Daniel is the left brain, pure logic, math, and reasoning. Together, they are encoded with cryptographic messages, downloaded into them when they were abducted by aliens as kids. They were lured out of their respective bedrooms by a troop of friendly looking animals. Hansel and Gretel is used as an analogy for these abductions, which it also is, interestingly, by UFO researcher Carla Turner. In her mind, aliens often presented a friendly veneer for a more sinister motive. In this case, the aliens' motive wasn't sinister at all, They imprinted a message in both. to be decoded when the time was right. Had they not been compartmentalized from their own message, they may have acted too early on it, or rashly, or may not have properly integrated the information. - Where do you think of past civilization? If they're trying to make themselves known, what do you think they would do? Leave something in a Lagrangian point? - Ha, ha, ha. - Well, that's a great question, isn't it? If you're gonna make something truly enduring, truly enduring, there's really only two ways to do it. You either put something out in deep space, where the chances are of it coming into contact with something of minimal, or biology, genetics. Because genetics is a fingerprint, and that will continue as long as a species survives and finds other places to live. So will that message, and you can put a lot, and the beauty about DNA is that it self-replicates. - You go Wakefield along with acting as a sort of majestic 12-reality architect, also plays the role of Harvard psychiatrist, John Mack. In the 90s, Mack would use holotropic breathwork and hypnotic regressions to recover the abduction memories of his patients. In this case, he aids in Margaret and Daniels, recreating Margaret's childhood home for her to re-experience her alien encounter, and experience Noesis, knowledge of her true soul self and her purpose on earth, the key to fulfilling her purpose and her disclosure mission. Now, this part isn't even speculation. We basically know that this whole scene is inspired by real hypnotic regressions executed by people like John Mack, because Coleman Domingo, who plays Hugo Wakefield, basically admitted that. But here's where I'm going to speculate even more. Margaret's psychic powers are reactivated in her apartment by a red cardinal, and now I could be completely off base here. But I think red cardinal is actually an homage to the CIA's Project Bluebird, which was the original name for its mind control efforts and what became M.K. Ultra. Bluebird took its name from Maurice Metterlinks 1908 play The Bluebird. The play, like Hansel and Gretel, revolves around two children searching for the bluebird of happiness, questing for answers and moving through shadow realms and encountering fantastical creatures and sometimes scary ones along the way. Former American alchemist Peter Leventer finds the play deeply meaningful in its hidden esoteric structure. On the surface, it's a children's fairy tale. Instead of finding the bluebird of happiness, every bird they catch escapes, changes color, or dies. They wake up on Christmas morning back in their own cottage and discovered that their own pet turtle dove had been blue all along. The moral, like Sedartha or the alchemist, is that happiness isn't found in distant exotic places. It's been at home all along. This also encapsulates the UFO issue. Searching for the alien artifacts and UFO crash retrievals are ingredients for disappointment. Leventer says that the whole play is an initiatory process like a Masonic initiation laid out in dramatic form. He says it's a coded ritual of consciousness transformation, which is precisely why he finds its connection to a consciousness altering CIA program significant rather than coincidental. Number five, let's get into some real UFO crashes depicted in this movie. In Disclosure Day, they show video of the Roswell wreckage and the Kexberg UFO crash. I will say that the craft at Kexberg in the movie was incorrectly portrayed as a flying saucer. When in reality, it was shaped like a bell or a corn. The aliens here are also typical grays, which bud Hopkins even said Spielberg based off of real experience or testimonies for close encounters of the third kind. - The election of drawings, very similar to these, the date from actually back into the late '60s and early '70s that Dr. Ellen Heineck handed to Spielberg to use for his special effects. So those figures in that movie were based on accurate UFO research. - I think Roswell and Kexberg crashes happened and I won't get too deep into corroborating Roswell because honestly that deserves its own video. But, Army Intelligence Officer Jesse Marcel held the wreckage in his hands, even showing it to his son. We even have a possible piece from the crash, which is made of Bismuth, a very important material for anti-gravity experiments. Go check out my episodes with Thomas Townsend Brown and my interview with Bob Lazar, if you want to know more about that. - You said Bismuth seemed to have come up like that was something. - There's something about Bismuth. - But I actually looked at one of these alleged Roswell pieces with Stanford professor Gary Nolan. And the godfather of UFO science himself, Hal Putoff, called in to tell us about the piece's origins. - The story was that it was sent anonymously by someone claiming to be an Army officer in written in the diary was that it was a piece from Roswell. - The Roswell film depicted in disclosure day is pretty explicit and intense. You see an injured alien. Was Spielberg going off of any tips he got from the inside? - I had to base our aliens on what people have reported who claimed to have had close encounters with the third kind. - The movie also says that the Kexberg crash cleanup was overseen by a civilian. This civilian is likely Dr. Eric Walker, a legend majestic 12 member and president of Penn State. When UFO researcher Bill Steinman directly asked Walker about the majestic 12, he said he'd known about them for decades. He also told Steinman that because he didn't understand extra-sensory perception, he was going to be chasing his tail. The truth is more about a person's orientation towards the truth. It's not about learning a little piece of information. Walker was executive secretary of the research and development board in the 1950s. In the '60s, his ordinance research laboratory at Penn State did Navy underwater acoustics and weapons work. And as a university president, he continued to sit on numerous federal science and defense advisory bodies, but he was technically just a civilian. And a civilian rumored to oversee the Kexberg crash retrieval in 1965. Penn State was just a two and a half hour drive away from the crash. - The folks we look at now on the honeymoon are replaced by Jackie Gleason and Audrey Meadows. - Number six, Joe Rogan's favorite apocryphal UFO story might be true. - Nixon and Jackie Gleason were drinking, and they were having a good old time, and Nixon was like, "You want to see some shit?" And I want to show you a UFO. - This is the full story. Picture Jackie Gleason at the height of his fame. The honeymooners and away we go, the biggest grin in America. But behind the showmen was a man with an obsession that bordered on religious. By 1973, Gleason had built a house in peak skill, New York, shaped like a flying saucer. He called it the mother ship. With curved walls and a UFO library running to 1700 books, he'd later subscribe to the UFO secrecy newsletter, Just Cause, published by citizens against UFO secrecy. This wasn't a bit. The funniest man in America genuinely believed we were not alone. And he wanted more than almost anything to know. Enter Richard Nixon. The two were genuine friends. Golf partners, cigar companions. Gleason had been a long time Nixon supporter. And here's the one piece of this story that is rock solid, documented fact. On February 19th, 1973, Nixon met Gleason on the 18th green of a Florida golf course. Everything after this is where history ends and the legend begins. As the story goes, Nixon allegedly turned up at Gleason's door with no secret service present. The two men supposedly drove through the night to homestead air force base in Florida. Armed guards escorted Gleason to a building in a remote part of the base. Inside, the legend turns genuinely chilling. Gleason described going into an inner chamber where there were six or eight what looked like glass topped coke freezers. And inside them, there were mangled remains. He first took to be the bodies of children. Then the initial horror clarified itself. They were the embalmed bodies of four small alien beings. About two feet long with small bald heads and big ears. This is the emotional core and it's the detail that's launched a thousand retellings. Gleason's wife Beverly said that around 11.30 pm that night her husband came home, slumped white face into an armchair and finally blurted. I've been at homestead air force base and I've seen the bodies of some aliens from outer space. It's top secret. Only a few people know. But the president arranged for me to be escorted in there and see them. The man who made a nation laugh sat in his own living room rattled to his core. Gleason swore Beverly to secrecy. But here's where it gets very human. The marriage didn't last. After their divorce, Beverly, now Beverly McKitrick freely discussed the story. And in 1983, she took it to a tabloid. She gave the interview to the national inquire. Claiming the events happened on February 19th 1973 recounting exactly what Gleason told her. She'd reportedly written the whole saga up in an unpublished manuscript about Gleason called The Great One. Who knows if this story is true, it's certainly a weird chain of custody. But Spielberg depicted all of it down to the core details in disclosure day. Maybe Trump will treat Rogan to a modern Jackie Gleason experience and show him the goods. Number 7 - The Movie Accurately portrays UFO science. When Margaret Wakefield finishes her regression, Wardek starts to close in on her, Daniel and Hugo. So she grabs hold of the device, which turns her entire house and everything in it into a flaming little firecracker floating in the air. The holographic principle is that the lower-dimensional boundary, like a 2D surface of a black hole, can encode the 3D information about it. This principle is often alluded to by UFO whistleblowers like David Grush. It seems like UFOs are rendered in 3D reality, but are coming from a higher dimensional space, just like Margaret, Hugo, and Daniel collapsing into a little firecracker. In other cases, UFOs are often seen as 3D objects that are windows into even higher dimensional space we can't conceive of. "I cannot show you a tesseract because I and you are trapped in 3D dimensions. But what I can show you is the shadow in 3D dimensions of a 4D hypercube or tesseract. This is it." Jacques Valle even discusses a case in San Jose that's typical of this holographic experience, where the UFO appeared much smaller on the outside than it ended up being on the inside. When you went inside, you said, "You know, there was this being and the being took you on a staircase." I say, "Where did the staircase go?" Well, the staircase went up the side of this big round room. I say, "How would you compare it?" It's well like a movie house, you know, like an M5 theater. I said, "That's bigger than your house. Why is the inside bigger than the outside?" UFOs and aliens also seem to engage in something called signature management. Basically, they can completely manipulate our perception of them. "Different forms and maybe different sources. These days, since our technology platforms are so high to generate effects and our detection platforms are so well advanced so we could see a lot more." And that's exactly what Margaret Fairchild does to escape Wardex. She shows up as past loved ones in their lives. She even turns into Noah Scanlan's ex-wife. In other words, she shapeshifts and she weaponizes her empathy. Finally, there's a recurring trope in the movie that you can't "dive" on an experiencer. You can't remote-view them. It feels too specific to if not come from an inside source. There's also a fascinating and clearly deliberate discrepancy between the disclosure-day trailer and what ends up making the cut in the movie. A discrepancy that possibly implies that there are a billion people on earth that aren't actually people. The line in the trailer was, "7 billion people have the right to know the truth." Which set everybody off, because people were saying, "Either they don't know how many people are on the planet," which seems unlikely, or maybe it doesn't take place in the present, or maybe a billion people are alien hybrids or whatever, but isn't it interesting it's in the trailer? And then it's not in the movie. The final piece of possible truth in disclosure days has been speculated on by UFO researchers like Chris Ramsey. And it's a super fascinating question we all have to ask. Was there a real piece of physical evidence, perhaps material from a craft, a video, or a photo of a UFO or an alien being in this movie that was actually real? This would be impossible to deduce, especially in the closing montage, in which all of Ward X's UFO evidence gets aired live on Margaret Fairchild's cable news show. There are so many wild photos and videos of UFO crashes. Alien bodies getting inspected, UFOs caught on thermal imaging, flying in a V-formation and diving underwater. Most of these photos and videos look pretty abjectly fake, but were any of them actual UFO material shown in the movie? It would be a pretty reasonable reward for America's pre-eminent alien movie director, who has clearly released a lot of truth in fiction in the past. I think the public's urge to know is more like a right to know. UFO apology could be considered by some mythology, but when you look at the consistency of the reporting, it's so consistent for 80 years. You know, I am on much from a ground now, certainly for me to believe that they're here. So maybe they gave Spielberg access to the goods while making his ultimate capstone movie. The disclosure day started production in February of 2025, just a few months after the crazy New Jersey drones flap of UFOs being seen across the state. And the movie was filmed in Morris County, New Jersey, probably only a half hour drive from Picatinny Arsenal, where a lot of the first UFOs were seen. As you know, from previous interviews we've done, UFOs often show up during exotic science experimentation, but also during the handling or transport of UFO material. This was just a few months before the filming of disclosure day. Did that movement cause the Jersey drone UFO flap? Future American Alchemist and News Nation reporter Rob Jones has a very interesting theory. He thinks that the Lockheed Martin UFO that was going to get transferred to Bigelow Aerospace in 2008, but was actually blocked by the CIA, ended up at Picatinny Arsenal in New Jersey. I believe the company's currently holds that material as a company by the name of Peroton. Okay. Peroton Labs, one of their subsidiaries. Okay. Where are they based? New Jersey. Whoa, which is where the disclosure day Spielberg stuff is being filmed. Yeah, but it's also where the drone flap is. It's also where the drone flap happened. Right. And they have offices like Picatinny Arsenal. Whoa. Crazy. Okay, so there you have it. All of the possible truths hiding in plain sight in disclosure day. There are other more obvious overlaps with reality like depicting a world on the brink of World War III. Searching for meaning amidst the decline of religion, experiences struggling with their past and struggling to interact with normies as you see with Margaret and her boyfriend and the use of decommissioned air force bases as UFO legacy program operations. But this is the list that I thought was most mind blowing and crosses over with hardcore UFO research that we and others in the space have done. Sadly, Steven Spielberg has turned down an interview with American Alchemy, so we will never get a chance to fully nerd out on UFOs with him. Unless one of you in the audience happens to be connected with him and wants to advocate. But regardless, he should be celebrated and congratulated for a legendary and in my opinion, very deep movie. His ultimate message is that in a fragmented world of miscommunication, strife and chaos, listening and being receptive is what will keep us alive and what will allow us to weather the ontological shock of the truth when the truth does arrive. That's probably something we can all agree on that in the age of everyone having a digital soapbox, shouting on social media and believing they are worthy of philosophical axioms on Twitter and other platforms. We could all use a little humility, a little quiet and genuine intake of each other's points of views. If there is a prime directive and the aliens are waiting for certain conditions to arrive and interact with humanity, I think that that might be one of them. The final question this movie asks is what side will you choose? Uncomfortable truths or convenience? Individual enlightenment or institutional stability, self-interest or that of the whole? That is perhaps the most real thing about this entire movie. The choice is yours and all of ours. Until next time, my name is Jesse Michaels and this is American Alchemy. If you want to access our episodes 24 hours early and want to watch them completely add free, please consider supporting the show by joining our YouTube membership. Just click the link in the description to join today. Your support helps us so much and it allows us to keep making the show and go deeper into the kinds of stories we care most about. In a little early access and not getting bogged down by ads, it's kind of a cool perk, so join today. If you've made it this far in the show, then I know you care enough to hear about this. Our show American Alchemy is growing super fast. It's bursting at the seams and we are looking for an amazing editor to join the team. If you're an experienced YouTube editor, podcast editor, trailer editor or documentary style editor, maybe you're even a traditional Hollywood editor and you're just really into our content. And you want to work on some of the most mind-bending stories in the world. We really want to hear from you. We're especially looking for people who are deep into the content and who have a real editorial eye. Someone who can dig through long and sometimes dense conversations, find the most powerful moments, build tension, create great hooks. Basically people who can turn these raw conversations into very high quality, almost cinematic episodes. Strong technical skills are a prerequisite, but especially for the documentaries we make, we really need somebody with taste who has strong instincts around pacing, music, sound design story. structure, you know, all the things. And big bonus points, if you're genuinely into UFOs, consciousness, frontier science, and big questions about the nature of reality. So if you're a strong experienced editor, and you know how to keep audiences engaged, and you want to work with us on some of the coolest stories in the world, please email all your relevant work and your application to apply at jesseymichelsmedia.com. And if you have a friend who would be great for this role, please let them know. Thank you so much and we look forward to hearing from you and maybe working with you.