#2452 - Roger Avary

Roger Avary is a director, producer, and Academy Award-winning screenwriter known for “Pulp Fiction,” which he co-wrote with Quentin Tarantino, as well as “The Rules of Attraction” and “Killing Zoe.” He is the co-host, along with Tarantino, of “The Video Archives Podcast.”www.youtube.com/@videoarchivespodcastwww.patreon.com/videoarchiveswww.avary.com Perplexity: Download the app or ask Perplexity anything at https://pplx.ai/rogan. Try ZipRecruiter FOR FREE at https://ziprecruiter.com/rogan Visible. Live in the know. https://www.visible.com/catfished Learn more about your ad choices. Visit podcastchoices.com/adchoices

Speaker names marked ? are inferred from speaking time and the show’s known hosts — they are not voice-verified.

• 0:01Speaker 00

  The Joe Rogan Experience.

• 0:05Speaker 01

  Training by day, Joe Rogan Podcast by night, all day.

• 0:12Joe Rogan?

  Come on, Roger. Yeah, fuck it. Fuck it. Fuck it. Go for it. Fuck it, we'll do it live. Yeah, do it live. That's a classic. Yeah. That's a classic, look behind the scenes. Do it live. Fucking crazy, crazy people telling you the news. Yeah.

• 0:29Speaker 03

  That's good, and the William Shatner one where, you know, the studio guy, you know, he says, Shatner's doing some ADR for the cartoon, the Star Trek cartoon, and he says, you know, he uses the word sabotage, and he gets corrected by the, by the studio guys, like, "Bill, it's pronounced sabotage." "Please, don't correct me, it disgusts me, it sickens me, and you say sabotage, I say sabotage." I absolutely love William Shatner.

• 1:09Joe Rogan?

  My favorite ones are the, uh, excuse me, uh, fuck, I can't remember his name, um, Rosebud, Orson Welles, Jesus Christ.

• 1:18Speaker 03

  Orson Welles.

• 1:19Joe Rogan?

  What happened?

• 1:20Speaker 04

  You started saying it.

• 1:20Joe Rogan?

  I know, what happened, my brain just said, nope, no access, when Orson Welles was doing the Gallo wine commercials, remember those days?

• 1:27Speaker 03

  Yeah, yeah.

• 1:28Joe Rogan?

  Orson Welles is-

• 1:29Speaker 03

  So no wine, before its time.

• 1:32Joe Rogan?

  I know, and then he was like-

• 1:33Speaker 03

  Everything was like an exhaustive sucking of air to come in, to speak.

• 1:37Joe Rogan?

  But then he was making fun of how shitty the wine was in between takes, like he was angry.

• 1:43Speaker 03

  Yeah. There is a CD that you can get, I can't remember what it's called, but I have them at home, and it's like all these radio things like that, where just when celebrities, you know, lose it on, while doing voiceover and ADR, it's hilarious.

• 1:59Joe Rogan?

  Orson Welles is a crazy story, right? Because when he made that movie, when he made Citizen Kane, which was about William Randolph Hearst.

• 2:06Speaker 03

  Yeah.

• 2:06Joe Rogan?

  William Randolph Hearst essentially shut down one of the most talented guys alive at the time, shut down his career.

• 2:13Speaker 03

  Yeah, because the movie was kind of an insult about, you know, the whole thing about Rosebud is that's the name of his girlfriend's clitoris. That was his nickname for her clitoris. And so Orson Welles was doing a kind of very, like, he was jabbing at him in a very low level way, like.

• 2:35Joe Rogan?

  Really?

• 2:36Speaker 03

  Yeah, Rosebud.

• 2:36Joe Rogan?

  How did he know that that was the nickname of his girlfriend's clitoris?

• 2:40Speaker 03

  People in Hollywood know these things.

• 2:41Joe Rogan?

  Oh, boy.

• 2:42Speaker 03

  Word gets around.

• 2:45Speaker 03

  Word gets around.

• 2:45Joe Rogan?

  I would keep that one just to her.

• 2:47Speaker 03

  Yeah.

• 2:48Joe Rogan?

  Who told?

• 2:49Speaker 03

  Yeah.

• 2:50Joe Rogan?

  That's crazy. But, I mean, if you go back to, like, War of Worlds and then Citizen Kane, I mean, this guy was a dynamo and then they shut him down.

• 2:58Speaker 03

  Well, yeah, and he was doing things that nobody else would do. It's like, he's like, oh, I want the camera down here, like, on the phone. Well, we can't get the camera lens down that low. You're like, what you're talking about is impossible to do. And so he would just grab, like, a pickaxe and just start chopping away at the studio concrete and dig a hole in the ground so you could put the camera down that low.

• 3:18Joe Rogan?

  Oh, really?

• 3:19Speaker 03

  Yeah, he would, he was obsessed with getting a vision on screen that was, even today is so advanced. There's a shot in the very beginning when young Kane is like a little kid and he's out there playing with Rosebud. He's out there playing with the sled in the snow and the camera is on him and then it kind of starts pulling back and it pulls through a window and then we see his parents and the trust attorney and the camera keeps backing up all the way into the room. Well, to do that in a studio and to have all that snow and everything, you need so much light, but you also need a lot of light inside the, because the exposure change.

• 3:59Speaker 03

  It's like an amazing, incredible Dolly shot, a reverse tracking shot. It's fantastic.

• 4:06Joe Rogan?

  And what year did he do this, too?

• 4:10Speaker 03

  I don't know the exact year.

• 4:12Joe Rogan?

  Citizen Kane has to be 40s, right?

• 4:14Speaker 03

  Yeah, yeah, probably. It's, yeah, it's in the 19, late 40s, I would think.

• 4:20Joe Rogan?

  Is that when it was, Jamie?

• 4:21Speaker 03

  Yeah. Tell us the.

• 4:25Speaker 03

  Forty-one. Early forty's, early forty's. Wow. Yeah. Wow, let me see that shot. Wartime. Can we find that? Wartime, it's a wartime film. What, Jamie?

• 4:33Speaker 04

  I was, I was looking for it, I was lost in some other ones.

• 4:35Speaker 03

  Wartime forty's, right. Yeah. Right, even crazier. Yeah, yeah. I didn't even think of that. Yeah. Oh my god. A lot of stuff going on back then. Probably hard to get people to go to the movies back then. No, it would be easy to go to the movies. In fact, wartime and depression, and when things are bad, that's usually the best time for entertainment because people just want to escape. Uh, well, that actually makes sense. Yeah.

• 4:59Speaker 05

  Be careful, Charles. Pull your muffler around your neck, Charles.

• 5:03Speaker 01

  Kane, I think we shall have to tell him now.

• 5:05Speaker 05

  Yes. I'll sign those papers now, Mr. Thatcher.

• 5:10Speaker 01

  You people seem to forget that I'm the boy's father.

• 5:12Speaker 05

  It's going to be done exactly the way I've told Mr. Thatcher.

• 5:15Speaker 01

  There ain't nothing wrong with Colorado. I don't see why we can't raise our own son just because we come into some money. If I want it, I can go to court. A father has a right to abort a that beats his bill and leaves worthless stock behind. That property is just as much my property as anybody's now that it's valuable. And if Fred Graves had any idea all this was going to happen, he'd have made out those certificates in both our names. However, they were made out in Mrs. Kane's name.

• 5:39Speaker 03

  So, in order to maintain that background exposure of the little kid in the window and the foreground, what's, what you're not knowing is how much light they're using on the interior part in order to create that balance between the two with the, with the film stocks back then. And the other thing is that table gets flown in, like, they move that table into the shot because it's in the way of the camera move. Wow. And so there's all sorts of like, you know, mathematics going on in the creation of this shot, and most people would just, you know, be like, oh, just, you know, shoot the kid outside and then cut inside, you know, just do it like that. But, you know, Wells was, I mean, he was thinking on a complete other level. It's just, we've robbed, we got robbed of so many films, if you really think about it, what he could have made. You know, yes and no.

• 6:24Speaker 03

  My favorite film of his is Touch of Evil, and there's this amazing shot with Charlton Heston where he's playing a Mexican, and he's got like this like pencil thin, uh, you know, mustache, this, and like Chuck Heston as a Mexican is fantastic. And then, everybody's so sweaty in the movie, and it takes place in Mexico, but it's shot in Venice, in California. And so the whole opening, which is this setting of a bomb in the trunk of a car, and then, yeah, here's the opening shot, and you can tell that it's actually downtown Venice.

• 6:54Joe Rogan?

  And this is supposed to be Mexico?

• 6:56Speaker 03

  Yeah, this is supposed to be like a border town in Mexico. I don't know if it's Tijuana or some other border town. But it's, he does this, this amazing, amazing, single shot.

• 7:08Joe Rogan?

  Wow.

• 7:09Speaker 03

  And which, back then, this is really hard to do. And this is kind of a, um, I mean, it's Charlton Heston essentially saying, I, uh, I believe in Orson Welles and his vision.

• 7:21Joe Rogan?

  This is crazy.

• 7:21Speaker 03

  See, that's downtown Venice. There's, the beach is just beyond that.

• 7:24Joe Rogan?

  Ah, wow. God, what year is this?

• 7:28Speaker 03

  Well, actually, I'm sorry, the beach might be behind us.

• 7:30Joe Rogan?

  What year was this?

• 7:31Speaker 04

  Fifty-eight?

• 7:32Speaker 03

  Yeah, nineteen fifty-eight.

• 7:33Joe Rogan?

  Wow. It's incredible shot.

• 7:39Speaker 03

  And, and this is incredibly difficult to do as well, because you've got a crane.

• 7:42Joe Rogan?

  And now you're following the people.

• 7:44Speaker 03

  Now you're following the people, and there's Charlton Heston with his mustache. And we know as an audience that there's a bomb in that car, but he doesn't know.

• 7:55Joe Rogan?

  Wow.

• 7:55Speaker 03

  And so, you know, he, he's still, you know, the...

• 7:59Joe Rogan?

  Just the fact that this is all one shot is crazy.

• 8:02Speaker 03

  And for back then, I mean, it's a big deal. Back then, the camera that you're using isn't just some little, uh, Handycam or something like that now, you know, an iPhone. It's a Mitchell BNCR, which is a, you know, it takes four guys to move that camera. It's made out of cast iron, you know, it's a, a giant camera with a blimp and...

• 8:21Joe Rogan?

  A blimp?

• 8:21Speaker 03

  A blimp is a, a soundproofing device. So you have the camera, and then you've got to build a giant, uh, casing for the camera.

• 8:28Joe Rogan?

  Cause it makes so much noise?

• 8:30Speaker 03

  You don't want to hear that.

• 8:31Joe Rogan?

  Oh, what did that look like? This episode is brought to you by Squarespace. If you're thinking about building a website, you should try Squarespace. I know because I use it. That's right, joe rogan dot com is powered by Squarespace. It has all the features that you need to create a standout website, like an AI-enhanced website builder, SEO optimization tools, and seamless checkouts with mobile pay links. Head to Squarespace dot com slash rogan for a free trial, and when you are ready... Ready to launch, use the offer code ROGEN to save 10% off your first purchase of a website or domain. Part of living a healthier lifestyle means being extra careful of what you put into your body.

• 9:16Joe Rogan?

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• 9:58Joe Rogan?

  Get a free immune support bundle, including a bottle of omega-3 fish oil and vitamin D tossed in with your first subscription order of AG1 Next Gen or AG1 Pro, backed by a 90-day money-back guarantee. That's drinkag1.com/joe. This episode is brought to you by Visible. As fall hits, we enter another season of change. Time to shift gears, drop the dead weight, and upgrade the wardrobe for the drop in temperature. But one thing that doesn't need to change? Your phone. The smartest upgrade this season isn't a new phone. It's a better wireless plan. Switch to Visible, the ultimate wireless hack.

• 10:39Joe Rogan?

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• 11:16Speaker 03

  I have one in my home. It's a...

• 11:19Joe Rogan?

  Of course you do.

• 11:22Speaker 03

  Well, I

• 11:23Joe Rogan?

  That shot's incredible. I would have never, I didn't know that film existed.

• 11:26Speaker 03

  I bought, I bought mine from this commercial director named Charles Wittenmeyer and he had a massive collection of stuff and then he liquidated everything. He just kind of cashed out of Los Angeles and he's, he had a warehouse full of stuff and so I went in and he's like, you know, well, here's, you can get this and you can get this. I was like, okay, the Mitchell BNCR and we went over to it and he's like, you know, this Mitchell BNCR was used, you know, to shoot The Godfather.

• 11:51Joe Rogan?

  So that's what it looks like with the big lid on it?

• 11:53Speaker 03

  Yeah, that's actually, yeah, that's basically the camera. That's, that's the camera.

• 11:57Joe Rogan?

  Is that the, the blimp is the thing on top of it?

• 11:59Speaker 03

  Yeah, the blimp is, well, the whole thing is actually, the whole thing is a blimp. I mean, well, there's, there's a smaller area with a blimp. With a blimp on it. The, the big one, like, the whole thing is a blimp and when, you can actually open up all of these, these trap doors on it to reveal the camera inside of it. And then the reels that are in, there you go. It's, there's an opened one, an opened up one.

• 12:22Joe Rogan?

  Wow.

• 12:23Speaker 03

  Looks like it's holding an ARI on the inside, an ARI 100.

• 12:26Joe Rogan?

  One of the things about old movies is they would let a scene cook. You know, you had so much time before people would talk and you just let like the average daily life sort of play out.

• 12:39Speaker 03

  Yeah.

• 12:40Joe Rogan?

  And it set the tone for the film and they don't, now it's like, it's like built for Netflix.

• 12:46Speaker 03

  Well, yeah, well, now you have a white paper that Netflix gives you and that I think, was it Ben Affleck that was talking about it? You know, how, you know, you've got to have a beat in the beginning and you've got to have this and this and this and regular things. And I mean, there was this book by Sid Field, which was a screenwriting book, that, you know, at one hand, it gave a kind of formula on what a movie should be, you know, by page seven, your inciting event should happen and by page 30, the first, you know, he had everything mapped out by page and that eventually found its way into the hands of studio executives and they were like, oh, now we know what a screenplay is supposed to be structured like, you know, in order to have proper story arcs and structures and a satisfying design.

• 13:29Speaker 03

  And, and that's just the next iteration is Netflix giving you a white paper saying you have to shoot with these cameras. You have to process at these labs. You have to have, you know, tech specs that are within this range. And that's now extending to story because they've analytically looked at what audiences are.

• 13:49Speaker 03

  You know, able to process now, which is less and less, probably because of the covid shot, you know, completely frying their pineal glands. So they can no longer pay attention to anything. And then on top of that, the, the mind controlled device of cell phones. And, um, you know, with all of that, they, they're now like, well, how do we maintain the audience? And so you end up with white papers.

• 14:15Joe Rogan?

  Don't you think it's options too? It's almost like if something is not really fascinating within the first 20, 30 seconds, people just wanna, let's see what else is on. They just wanna keep searching.

• 14:25Speaker 03

  Well, there is that. I mean, there's something magical about being in a movie theater. You know, it's, uh, you know, you're, you're, you're, you're in this congregation.

• 14:35Joe Rogan?

  Yeah.

• 14:36Speaker 03

  You know, Quentin always talks about how, you know, movies are my church. Well, it is a congregation and you're having, you're sitting in the dark next to someone you don't even know. They might have completely different ideologies, uh, you know, race, creed, color, like everything is different about them. And yet you're sitting in the dark next to them, having this ecstatic dream, this waking dream, sitting like insects, looking at the flicker on the screen. And you're sharing this kind of experience that you're physically trapped in, you know, like you, you don't, you know, you don't get up and leave the theater and, well, you might if you have to go to the bathroom or get some popcorn or something, but they'll even bring that to you now. You, uh, you know, you're having this kind of ecstatic experience, absorbing the movie

• 15:20Speaker 03

  with someone you don't know, and you're sharing your bodily electricity with them. And I think this kind of, uh, this is the magic that they often talk about of movies. It's not necessarily the, the movie itself on screen. It's the shared experience of being next to people.

• 15:37Joe Rogan?

  Yeah.

• 15:38Speaker 03

  And that, there is a kind of unseen electricity between people.

• 15:44Joe Rogan?

  Absolutely.

• 15:45Speaker 03

  That unifies us. And I think that there are dark forces in the universe that are attempting to divide people up and to take that away, to take away that congregation.

• 15:54Joe Rogan?

  Do you really think that that's on, by design? Or you think that's just a natural function of streaming and televisions and phones and having access to things instantaneously?

• 16:04Speaker 03

  I mean, I personally think that streaming was by design to eliminate residuals.

• 16:09Joe Rogan?

  By design, but isn't it just a function of new technology emerging?

• 16:13Speaker 03

  You notice that all of the executives... Well, yeah, I mean, part of it is technology, but technology gets pushed and brought to the forefront for specific reasons. And, you know, digital cinema hasn't been the greatest thing for the creative process, and I think we see that in the works that we're looking at. I mean, if you watch stuff on Netflix and whatnot, we can see that it doesn't have the same power and impact. And also, you know, when you were making a movie, when you were making a film, on film, it was like every time you turn on the camera, you're burning money. It's like, every single frame is like four cents, or whatever, whatever the calculation was.

• 16:56Speaker 03

  And so, that was actually an expensive part of the process. And so, you know, there was all this preparation to get everything ready, like, oh, we want to get all of the props in place, you know, right before we shoot, and the actors are in their trailer, and they're figuring out their, what they're gonna do, and then you're on your way to set, and people are like, hey, I'll see you in the moment. And what they mean by that is when the cameras turn on, and you actually hear that happening, suddenly everything pops into play. And suddenly, you're, you're performing in front of, you know, you're, and you're, what you're attempting to do is capture lightning in a bottle. And you don't even know that you have it right away. You ask your DP, like, do we have it? And it's like, oh, well, there's a, some dust in the frame, or a hair in the frame.

• 17:41Speaker 03

  Let's get another one. You get another one, and like, then you hold that all in the dark, all that film, because you can't expose it, and you send it off to the lab. And then some alchemist at the lab, at the castle, you know, puts it into a potion, and he, and the next day, what comes out are these like little stained glass windows, and you watch it, and you realize what you caught, and you're like, we did it! We, we captured something! Okay, now, everything is different. You, you know, you show up on set, and everything's digital, and you've got producers, and...

• 18:14Speaker 03

  Network executives and broadcasters and everybody's there, studio people in Video Village. And they set up like a little tent and everybody's sitting there in their Canadian Goose jackets on high chairs and they're looking at a big color corrected monitor and there's a guy doing color correction in a van. And they're basically watching an approximation of what it's gonna look like in the end. And they're sitting there, okay, on my first film, there was none of that. I had to stand next to the camera, we didn't even have videotape. Stand next to the camera and look at the actors and see, did the actors do what I wanted them to do? And now, you know, they just turn on the camera and it's, it costs more money to stop the camera and to restart it again, so you just let it roll.

• 18:57Speaker 03

  And you're just like letting it go. And you're like, hey, you know, the director now is like, hey, go back, start over and smile this time. And then they redo it. And then the editor is now like having to take those takes and separate them in the, in the editing room. And the actors are like, suddenly, the moment is gone, in other words. It's vanished. It's a- Is there a way to do both? I mean, is it the medium of film? I mean, it seems like it's the environment as well. You're describing an environmental thing, right? Video Village, executives. Yeah, and the problem is now suddenly you've got a chorus of people sitting there who are like, oh yeah, you got it, I saw, he got it, didn't he get it? Yeah, you got it. But you as the director still have to run back and forth to the camera and to the actors

• 19:41Speaker 03

  and everything and you're like trying to keep it all in place and, look, it, it's, neither is worse than the other. Right. They are both paint, but one is watercolor and one is oil paint. And those are opposingly different. Hmm. You know, if you were a, um, an oil artist during the British Renaissance of watercolor paint where all of a sudden watercolor came on, everybody wanted watercolor. Why would you try to make your, you know, watercolor paint look like oil or vice versa? They're just completely different mediums. They're both paint, but they're different. And so, digital has its, its advantages and its purposes. You can-

• 20:24Speaker 03

  You know, because you can run like a long mag of video. I call it video. Everybody calls it digital cinema, but that was, that was just to push it through. You know, and, and, and actually the technology is different. You know, with film, light travels through, through the glass. It travels through a gate. It exposes the silver and the acetate and, and, and then, and you keep it all in the dark and send it away. With video, the light travels through the glass. It strikes the golden sensor and then it bounces back into the glass. And that's why video or digital cinema is flatter by nature than, than most film.

• 21:06Speaker 03

  Because it, and so to combat this, filmmakers have started to do the exact opposite of what we used to do. It used to be that you would go to shoot something. You're, you're outside, you're on set. I've got my camera on Joe and I have the sun behind me because I want all that light on you for the most part. I'm over-exaggerating my point, but, and the analogy would, or the, the saying would be that at the end of the day, you go home and the back of your neck is sunburned because you've always had the light behind you. Now, because the image is flatter, they rotate the camera 180 degrees and they shoot into the sun to get lens flare. And lens flare gives you the, the, the illusion of depth where there is none.

• 21:48Joe Rogan?

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• 22:33Joe Rogan?

  recently on

• 22:34Speaker 03

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• 23:03Joe Rogan?

  I always thought that like when you would watch soap operas, I was like, why do they look so weird? And it's because they were shooting them on video instead of on film. Like when we were filming News Radio, the sitcom, we were doing it on film. And they were like really adamant about doing it on film, like they really wanted it to be on film. And then there was some process where you could make video look like film. And I was like, this is so interesting. It's like we're designed, like when you take your photo with your camera on your phone and you use portrait mode.

• 23:33Speaker 03

  Yeah.

• 23:33Joe Rogan?

  Which is you blur out the background, so you're making it shittier.

• 23:36Speaker 03

  You're doing an artificial.

• 23:37Joe Rogan?

  Yeah.

• 23:38Speaker 03

  That's because we associate, you know, we associate the faults of media as film. Like people think of like old movies as gate weave and sepia tone and dust and scratches and kind of fast motion. Well, when those movies were originally made, the motion was corrected by the cranking of the projector. And so it was natural motion. The, there was no sepia tone change. There was no dust. It was originally, and there was no gate weave because it was a fixed image. The image, the celluloid hadn't yet shrunk or anything like that.

• 24:17Speaker 03

  And so we now, we have this kind of filter, nostalgic filter that we associate with what an old movie looks like. And so if you want to make something look old, you start adding all this crap to it. You're adding the faults. And it's the faults of cinema that actually make it really good. It's not the perfection of cinema.

• 24:34Joe Rogan?

  That's so interesting.

• 24:35Speaker 03

  In my opinion.

• 24:36Joe Rogan?

  Because you would never be able to sell that if that cinema never existed. Like if cinema never existed and video came around and then it was normal video like soap opera style and then someone came along and said, hey, let's make it blurry in the background. And it's like, it's almost like we've become accustomed to the faults and nostalgically we look at them as if they're, it's a positive.

• 24:57Speaker 03

  And, and, and it's also led by, you know, everything is shot on iPhones now and so that's becoming the cinematic vernacular, the grammar that people are used to and they, they now expect that in a big movie. And so suddenly you see something like the latest James Gunn Superman or Guillermo, Guillermo del Toro's Frankenstein and they've got these crazy wide lenses where there's no distortion and, you know, kind of infinite depth and, and they're shot in a, in a very large format, but what they're replicating is an iPhone.

• 25:29Joe Rogan?

  Right.

• 25:30Speaker 03

  And it just, I, I, I watched both of those movies and I thought, okay, both of them are amazingly technically competent and they're made by, you know, like highly professional people, but, you know, it, it looks like iPhone footage.

• 25:46Joe Rogan?

  I'm a huge Guillermo del Toro fan. I even loved his book, The Strain. Like, it was really, it was really good till about like three quarters of the way through and it seemed like he just wanted to finish the book.

• 25:57Speaker 03

  Yeah, probably.

• 25:58Joe Rogan?

  Like a bunch of shit just sort of just happens in the last quarter of the book where I was like, this is kind of jarring.

• 26:03Speaker 03

  It became dinner time.

• 26:04Joe Rogan?

  It was almost like, oh, yeah, put this aside. It just seemed like, fuck, I can't keep going with this book. It's what it felt, felt like. It felt rushed. Just my, my opinion. But I'm a huge fan of that guy. So I love Pan's Labyrinth. I love a lot of his films, but I didn't like Frankenstein.

• 26:19Speaker 03

  I, you know, like I love Guillermo and I love his spirit and I love his artist, he is an amazing artist. He is, he's a, um, uh, just literally as a, as an artist, you know, his, his sketchbooks are beautiful and he brings a great amount of passion to his work. He, he brings that kind of Mexican, uh, passion to his work and I adore his, him as a, as a person, but to be perfectly honest, I'm not wild about his movies that much. I, you know, I, I have-

• 26:54Joe Rogan?

  You didn't like Pan's Labyrinth?

• 26:56Speaker 03

  I like parts of it, but as a whole, it just kinda, I don't know what it is, you know, about it, but I mean Blade 2 is probably my favorite film of his because it's like the least of, well, actually it's quite a bit of him, but it's just the most accessible for me.

• 27:16Joe Rogan?

  I didn't know he did Blade 2. Which one was that Patton Oswalt was in where he had the whole bit about Wesley Snipes and then they replaced him with a cooler Wesley Snipes?

• 27:27Speaker 03

  Yeah.

• 27:28Joe Rogan?

  I think that was 3.

• 27:29Speaker 03

  Yeah, it was probably Blade 3.

• 27:30Joe Rogan?

  Blade 3. I don't remember Blade 2. I don't remember Blade 2. Blade 1 was awesome, though.

• 27:34Speaker 03

  Yeah.

• 27:35Joe Rogan?

  That's my favorite of all the comic book vampire, well, comic book movies.

• 27:40Speaker 03

  Yeah.

• 27:41Joe Rogan?

  Because I was just a giant fan of the Blade comic book series.

• 27:43Speaker 03

  I also like his Pacific Rim movie, and I like parts of, like, the moment in Frankenstein that I think is, for me, the entire movie. Like, I could have, like, left the rest of it. So much of it was just so melancholic and, you know, it was just like, I just couldn't engage with it. And, but the part that I absolutely loved was at the Millers' house, where he's learning language.

• 28:09Joe Rogan?

  Mm-hmm.

• 28:10Speaker 03

  To me, that was the movie, when he's kind of secretly learning how to speak and how to be, and learning morals, and to me, I could have watched an entire movie about that sequence, and it was also beautifully made, that part. Just the rest of it with, I could have done without.

• 28:30Joe Rogan?

  It was just a little flat. I don't know.

• 28:32Speaker 03

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

• 28:36Joe Rogan?

  Right.

• 28:37Speaker 03

  Like, he could really, like, learn a lesson, well, I was gonna say he could learn a lesson from Ridley Scott, who just clips through things. Like, he takes, you know, there's a dialogue scene, I'm just gonna do the essentials and just get out, like it's a commercial. This dialogue scene doesn't need to be any longer than 30 seconds, and he just clips along. Somehow, yet, his movies are still like two hours long.

• 28:57Joe Rogan?

  Well, they're so involved. You know what I really loved? Nosferato. Did you see the new Nosferato?

• 29:03Speaker 03

  No, I haven't, you know.

• 29:07Speaker 03

  I don't want to sound like a persnickety guy, but I had to be in the right-

• 29:10Joe Rogan?

  I want you to be persnickety.

• 29:11Speaker 03

  I had to be in the right mood to engage with that movie because, um, I mean, I like that guy's first movie, The Vivitch, or The Witch.

• 29:19Joe Rogan?

  Mm-hmm.

• 29:19Speaker 03

  I actually-

• 29:20Joe Rogan?

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

• 29:22Speaker 03

  I love that film. I think that's a great movie, and he's like a production designer.

• 29:25Joe Rogan?

  He's doing a werewolf movie right now.

• 29:26Speaker 03

  Yeah, of course he is. Of course he is.

• 29:29Joe Rogan?

  I love a good werewolf movie.

• 29:30Speaker 03

  I did not like his Moby Dick-ish, uh, Lighthouse movie, um-

• 29:34Joe Rogan?

  Oh, I didn't see that. That was the Willem Dafoe-

• 29:36Speaker 03

  Yeah, the Willem Dafoe one. It was just, uh, just garish and kind of, I felt like, lost its way halfway through. And, um, but, uh, and then, you know, this latest one, Nosferatu. Look, I am a Werner Herzog nut, and so, I, like, I adore Werner Herzog, and I love his Nosferatu. So, for me to, you know, like, watch this guy's version of that-

• 30:07Joe Rogan?

  Which one was Werner's?

• 30:07Speaker 03

  I have to be in the right mood. I have to be in the right mood. I just wasn't yet in the right mood to accept it.

• 30:11Joe Rogan?

  Which one is Werner's? Who, who plays Nosferatu?

• 30:14Speaker 03

  Oh, Klaus, the, the incomparable Klaus Kinski. And, uh-

• 30:19Joe Rogan?

  I know, I've seen it.

• 30:20Speaker 03

  I mean, the thing about Werner Herzog, when he made his Nosferatu, what's, you know, uh, the Murnau movie, which is the original Nosferatu, the, the very first one with Max Schreck.

• 30:31Joe Rogan?

  Yeah. I saw it at the library when I was, like-

• 30:33Speaker 03

  Exactly.

• 30:34Joe Rogan?

  Ten years old.

• 30:35Speaker 03

  So, the thing about Werner Herzog as a filmmaker is that most filmmakers have their forefathers that they can look back to. They can, you know, they have a generation before them that they can kind of imprint on. And because of the brutality and, uh, tragedy of World War II, uh, he had none. There were no German filmmakers that he could look to. And so, he had to look to his grandfather, basically, which was Murnau, when he made it. And so, his film is almost like haunted by the, by the original. And then he bring, you know, Werner Herzog grew up not using a telephone until he was in his teens. He'd never seen a telephone before. He had grown up like in, you know, Upper Bavaria, in, in the mountains.

• 31:18Speaker 03

  And, you know, so he, he comes, like, his film is almost displaced in time. It's like skipped a generation. And he does things like, uh, you know, he'll show two actors in the most emotional part of the movie when- Mina and Jonathan Harker are, you know, at the beach and they're basically saying goodbye. Normally, in a Hollywood film, they would cut to a close-up so that we could see the tears. You know, we would cut to that close-up. But because his film is, you know, because he's displaced in time, he stays back. Like, he doesn't even bother shooting a close-up. To him, it's more melancholic to show them just isolated as figures, you know, in a wide shot. And it truly is.

• 32:01Speaker 03

  And so his film is, is super powerful that way. And then you have Klaus Kinski, you know, who is, you know, like, the madman actor of, of German cinema. And who is, you know, who, who was like, I mean, there's a documentary called My Best Fiend, which, which is about the relationship, you know, between Herzog and Kinski. And there's an amazing scene in the beginning of that where he, Werner Herzog, visits the apartment that he rented, and I think it was in Berlin, that, you know, that where he was first becoming a filmmaker and where he first met Klaus Kinski.

• 32:41Speaker 03

  And he goes there and it's now occupied by these two, you know, just very conservative, this German couple. And, and he starts going through the house and saying, "Oh, yes, here, this is where Klaus, you know, went crazy and he started smashing it and shitting on the walls and like, you know, like, because he was an insane guy. He was like, his whole thing was about provocation. And so he brings a kind of crazy vampire. I mean, it feels like a real vampire.

• 33:11Joe Rogan?

  I remember it now, but I haven't seen it. For, what year was that?

• 33:14Speaker 03

  You mean the Kinski one?

• 33:16Joe Rogan?

  Yes.

• 33:16Speaker 03

  Uh, I think it was in the seventies, so I'm thinking it was like seventy-eight or seventy-nine, maybe even earlier.

• 33:21Joe Rogan?

  I know I've seen all the Nosferatops. Um, let me see, give me a, um,

• 33:25Speaker 03

  I will eventually see this new, I will eventually see this new one.

• 33:29Joe Rogan?

  It's fucking good, man. It's good. The dude who plays the vampire, what's his name? The guy who played, uh, the clown in It? Bill Skarsgård. Oh, yeah, Bill Skarsgård. He's so good. Well, He's so good.

• 33:45Joe Rogan?

  So is this the scene when he meets the vampire? I don't know, I just clicked on it.

• 33:49Speaker 03

  Yeah, this,

• 33:49Joe Rogan?

  Oh, he cuts it.

• 33:50Speaker 03

  Well, this is, yeah, this is, I mean, that's,

• 33:56Speaker 03

  I mean, Kinski brings just an amazing, deep empathy.

• 34:03Speaker 06

  It could give you blood poisoning.

• 34:05Speaker 03

  Oh, this is the English version.

• 34:08Speaker 06

  Let me do it. It's the oldest remedy in the world. Oh, forget it. It's hardly worth mentioning. Just a little cut.

• 34:27Speaker 06

  You, you know, it's only for the best.

• 34:39Speaker 03

  The original, in German, yes, it's incredible.

• 34:47Joe Rogan?

  That's so awesome.

• 34:48Speaker 03

  And that's probably Kinski, like, you know, they're supposed to cut and Kinski just keeps going.

• 34:54Joe Rogan?

  Yeah, I mean, Bruno Ganz, I think it's Bruno Ganz, is probably terrified in real life.

• 35:01Speaker 03

  Because he doesn't know. Kinski's crazy enough where he'll bite him.

• 35:04Joe Rogan?

  Right. And he's got those fake teeth and...

• 35:06Speaker 03

  Yeah.

• 35:14Speaker 06

  Let's sit up for a while.

• 35:20Joe Rogan?

  All right, show me a clip from the new one. You gotta see the new Nosferatu.

• 35:26Speaker 03

  I mean, I had never seen a vampire like that. And then I think Salem's Lot was made after the TV movie Salem's Lot.

• 35:31Joe Rogan?

  Yeah, Salem's Lot is super similar to it.

• 35:33Speaker 03

  Yeah.

• 35:34Joe Rogan?

  There's a scene when he meets the guy at the castle.

• 35:41Speaker 03

  I did see one scene from this online with Lily Rose Depp kind of reacting to something which was like very compelling.

• 35:48Joe Rogan?

  Go full screen to this. This is when he makes it into the castle. This episode is brought to you by the Apple Sports App. Guys, this is the ultimate best time of the year to be a sports fan. Football, baseball, basketball, hockey, soccer. The calendar is stacked, but it can also be hard to keep track of it all. And that is where the Apple Sports App comes into play. It is the fastest and easiest way to stay on top of all the action. With scores and play-by-play automatically showing up on your iPhone when the teams you follow are playing. That means you don't have to figure out when the games are on and how your team is doing, which is especially nice when you're following a bunch of teams and your friends are constantly blowing up the group chat.

• 36:33Joe Rogan?

  The Apple Sports App gives you all the important game details for your favorite sports teams, fast and simple. Download Apple Sports for free on the App Store or find it on your new iPhone. This episode is brought to you by The Mosquito Bowl. Here's a story that's pretty incredible. After Pearl Harbor, four of the best college football players in America walk away from promising NFL careers to enlist in the Marines and fight in World War II. And the craziest part, it's a true story. These guys had their whole lives ahead of them, but traded the glory of the gridiron for the brutal reality of combat, where the stakes were life and death.

• 37:16Joe Rogan?

  Directed by Peter Berg, the guy behind Friday Night Lights, and starring Nicholas Galatine, Bill Skarsgård, Ray Nicholson, and Tom Francis. The Mosquito Bowl, now playing in theaters.

• 37:30Joe Rogan?

  It's really dark, man. He did a fantastic job of like capturing the creepiness of it and also the surreal aspect of him being under the trance of this vampire. You recognize that reality is all fucked up and skewed. Like, time passes very quickly. It doesn't make sense. He's super confused as to what's going on.

• 38:01Speaker 03

  I mean, I have to say, this movie feels haunted, as haunted by the Herzog version as Herzog was haunted by the Murnau version.

• 38:10Joe Rogan?

  For you, right.

• 38:12Speaker 03

  It would be, like, I encourage anybody to, like, enjoy all three of them, I guess.

• 38:17Joe Rogan?

  Yeah, I wonder if he was haunted by that, or I wonder if he was haunted by the original. But this is, uh, with the use of all...

• 38:25Speaker 03

  The little step frame.

• 38:26Joe Rogan?

  Modern ability, yeah. But it's just the way they made the castle and the way they made him is very unique. There's so many aspects of it that I thought were very unique. Even the way the vampire feeds on people is unique.

• 38:39Speaker 03

  This guy is a, he's a very, very, very good filmmaker. I just, uh...

• 38:45Speaker 07

  You are late. The midnight hour has passed. And my attendance has worn red eye.

• 39:01Speaker 03

  I don't know so much about the way he's talking.

• 39:05Joe Rogan?

  It's weird, but it grows on you. It grows on you.

• 39:09Speaker 03

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

• 39:12Joe Rogan?

  Yeah, like, like this, the guy just disappears and all of a sudden he's way far away. There's a lot of that in this movie. So the scene when they get him to sign papers, when he's, get up to that.

• 39:25Speaker 06

  Questions about the, um...

• 39:27Joe Rogan?

  Right there.

• 39:28Speaker 07

  We yet keep close many superstitions here that may seem backward to a young man of your high learning.

• 39:44Speaker 03

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

• 39:49Joe Rogan?

  Before they made that painting.

• 39:50Speaker 03

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

• 39:55Joe Rogan?

  Well, isn't he related to Vlad Tepes?

• 39:58Speaker 03

  Yeah, it doesn't surprise me. I mean, he's, he's German, he's of German ancestry, so...

• 40:03Joe Rogan?

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

• 40:09Speaker 03

  That would track, that would, that would track with the whole baby-eating thing.

• 40:13Joe Rogan?

  They give you a look of what he looks like.

• 42:33Speaker 03

  We are, I can't remember the name of it. But it's like a comedy version of vampires, like kind of all living in a house and sort of- How old was that? This was made in, sometime in the mid 2000s, I think. Hmm. Vampires living in a house?

• 42:51Speaker 04

  What we do in the shadows?

• 42:52Speaker 03

  Yeah, What We Do in the Shadows. Did you see that?

• 42:54Speaker 04

  Nope.

• 42:55Speaker 03

  That is an incredible vampire movie. Really? It's kind of like a mockumentary, like where they're, they're, but it's, it takes all of the kind of vampire mythology and it makes it really, really fun. I've never even heard of this. It's fantastic. This is his best film. This is, I'm sure, the foundation of everything he's done has been on What We Do, for me, What We Do in the Shadows. Huh. That's so crazy. I never even heard of it. Yeah, it's, it's wonderful. Show me the trailer, Jamie.

• 43:29Speaker 03

  We are granted protection of subjects in this film? Oh, it's like a Blair Witch Project type deal.

• 43:36Speaker 00

  It's been like this the whole time. Deacon on dishes and it still hasn't moved in five years. You're a cool guy, but you're not pulling your weight in the flat. Oh, I'm glad to hear that I'm cool. No, that's not the point, though. You're missing the point. Not the flat meeting about how cool you are. When you get three vampires in a flat, obviously there's going to be a lot of tension.

• 44:02Speaker 00

  The Argo was an 18th century dandy. Look, a ghost's cup. Vladaslav is a bit of a pervert. This is my torture chamber. Deacon's like the young bad boy of the group. I'm supposed to pay rent, but I don't.

• 44:20Speaker 00

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

• 44:27Speaker 00

  Will you invite us in? We need some fresh blood.

• 44:31Speaker 03

  The whole movie's like that. It's fantastic. Oh, that's funny.

• 44:36Speaker 03

  Will you invite us in? Just invite us in. The bouncer's like, no. And they can't do anything about it, because they're vampires. Let the right one in. Oh, okay, that is, of all the modern vampire movies, I mean, I haven't seen the, what's his name, Eggers? The American version of it? Um, no, I hate the American version. The American version is, let them in, is terrible.

• 44:59Speaker 03

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

• 45:03Joe Rogan?

  I didn't mind it.

• 45:05Speaker 03

  I hated the, uh, but because I loved the-

• 45:08Joe Rogan?

  I loved the foreign version.

• 45:09Speaker 03

  Who, which country was it from?

• 45:11Joe Rogan?

  I think it's Sweden.

• 45:12Speaker 03

  Sweden, it's really good. It's, it's an outstanding, outstanding film. The book is fabulous as well. It's an amazing novel.

• 45:19Joe Rogan?

  Yeah, I just love a good horror movie, a well-made horror movie. Cause like, the suspension of disbelief is like inherent to the enjoyment of the film, like, you know, like just, show me, show me how the guy turns into a monster. Show me.

• 45:33Speaker 03

  Yeah, make it, make it so, make it so. And, and also you can see, uh, you know, like, I mean, they have been making Dracula movies again and again and again. It seems like every year there's another vampire movie coming out, or every couple of years at least. And, you know, there never seems to be exhausted, the market never seems to be exhausted-

• 45:55Joe Rogan?

  Right.

• 45:55Speaker 03

  -by it. You know, it's zombie movies, they, they continue making them, you know, it's like-

• 46:00Joe Rogan?

  That's the most overused genre, is zombie films. Zombie films, zombie TV shows, I mean, how many versions of The Walking Dead are there? There's multiple.

• 46:09Speaker 03

  Yeah, and I'm not a big fan of the, I like, I mean-

• 46:12Joe Rogan?

  The beginning was great. I think first season of The Walking Dead was great.

• 46:15Speaker 03

  When I realized, oh, it's just sadism. And, I mean, I get the point, after the first season I realized, oh, the point is that The Walking Dead are the living. They're actually The Walking Dead.

• 46:26Joe Rogan?

  Yeah.

• 46:27Speaker 03

  Because they've become emotionally-

• 46:29Joe Rogan?

  I didn't like, it got into the point where they were just, it was just murder porn.

• 46:34Speaker 03

  Yeah, and, and, and that, I mean, I think I even talked about this before, that, like, that's a real problem with television, is that they're just trying to get the serotonin levels spiked by killing someone that you care about.

• 46:46Joe Rogan?

  Mm-hmm.

• 46:47Speaker 03

  And, you know, real television, you return because you love the characters and you want to return to it.

• 46:52Joe Rogan?

  Well, sometimes it's done well. Like, Game of Thrones did a fantastic job of doing that.

• 46:57Speaker 03

  But even that kind of lost its way after a while. I mean, actually-

• 47:01Joe Rogan?

  Well, they did like eight seasons. I'm, I'm re-watching it right now. We're actually on season three right now. It's fucking great. I, I kind of forgot how great it was. But when you get to binge it, and you don't have to wait, like, like, there was years in between seasons. Cause it took so long to produce.

• 47:17Speaker 03

  Have you seen The Pendragon Cycle? The, um, the Rise of the Merlin?

• 47:23Joe Rogan?

  No.

• 47:24Speaker 03

  Okay, so- These days, like, you almost don't know where television, where to find television. And that's because you can find it anywhere. Like, and the main, the mainstay producers of it, the studios and everything, they're no longer reliable in producing quality television. And so suddenly, we see stuff rising, you know, out of places that is completely unexpected. And this was produced by The Daily Wire of all people. What? Yes. And the CEO of The Daily Wire directed it. This guy Jeremy Boring. Yeah. I hope I'm not mispronouncing his name. His name is Boring.

• 48:04Speaker 03

  But, um... And this is good? Okay, this is, to me, this is better than, uh, you know, it's, I have a very high watermark for, um, for Arthurian mythology. Like, to me, Excalibur is the high watermark. And this really went there. This, like, I had a chip on my shoulder when I started watching this. I was like, okay, this is very unlikely that I'm going to enjoy this production. But they did it for like, for a micro-budget, effectively. They made something that is absolutely, kind of reinvents the mythology, and they do it like proper television, where you kind of love the characters, and they weave an entire reality and universe that is just fantastic.

• 48:48Speaker 03

  And it's done for like, you know, for very, very little, you know. They're spending billions making these Lord of the Rings things, and like, nobody cares. They're just awful to watch. And in the meantime, these guys just, you know, without anybody paying attention, cranked this out. And I've only seen four episodes of it, but I am like, completely blown away by it. That's so interesting. The Daily Wire. I haven't heard anything about, I think that's part of the problem. Well, that's because, well, like, we don't hear about a lot of things. And media is like, the least of it.

• 49:25Joe Rogan?

  Good point. But certainly with Daily Wire, the problem is it's like associated with this right-wing production company.

• 49:31Speaker 03

  If you can get over that and like and and put that behind you, then I mean, this is to me as good as classic television.

• 49:40Joe Rogan?

  It's I my prejudice was initially, oh, they're gonna somehow or another embed right-wing ideology in this.

• 49:49Speaker 03

  Well, everybody's embedding their own ideology. Whenever you make any media, there's usually you have corporate propaganda and personal propaganda. And you're and usually there was a balance between the two. You know, if you're making Midnight Express, for example. Okay, that movie was nothing like the book at all.

• 50:08Joe Rogan?

  Really?

• 50:09Speaker 03

  Not not even close to the book. And it's a complete alternate experience. And you wonder, why did that movie? Why was that movie such a big success? Why was that movie such a overwhelmingly like Oscars and everything? Okay, I think it had a little bit more to do with the politics of what was going on with Turkey at that time than anything else. And and and, you know, what's his name, Billy Hayes, who, you know, experienced it, lived it, spent the rest of his life basically apologizing for the movie. And

• 50:42Joe Rogan?

  Why?

• 50:43Speaker 03

  Because none of he wasn't like raped in a Turkish prison. And that's like, that's like

• 50:49Joe Rogan?

  The original guy who wrote the book.

• 50:50Speaker 03

  That's like a joke that gets, you know, you know, in airplane, they're making jokes about it.

• 50:54Joe Rogan?

  Right.

• 50:55Speaker 03

  And so, yeah, Billy Hayes, he was the the actual character or the person who lived the experience. And and so, the movie is a kind of propaganda element. And that's like all Hollywood does it. We, you know, you kind of accept whenever you're making a movie that you're being used in a certain level to do something, whether it's to, you know, on a very basic level, whether it's just to like, you know, mortify or scare audiences or, you know, to, you know, to do things. And we see that more and more, obviously in media, as the director, the personal propaganda, when you have something personal that you want to get on screen, has become more and more diminished. And you have, you know, sort of more corporate propaganda kind of taking over. And I think the the the most probably

• 51:40Speaker 03

  crass example of that is DEI stuff, you know, in movies and pushing

• 51:47Joe Rogan?

  Mm hmm.

• 51:48Speaker 03

  characters in situations that are just completely out of whack.

• 51:50Joe Rogan?

  Did you see the Star Trek that they tried to make like that?

• 51:55Speaker 03

  Okay, I'm like a big Star Trek guy. I watch Star Trek every day in my house. We watch like two or three episodes and I'm not kidding. My wife is like a Trekkie. She is like crazy for Star Trek. And so she puts Star Trek on, you know, like at around five o'clock, Star Trek comes on. Original? Well. Or Picard. We cycle through, we go chronologically from, you know, the original series through The Next Generation and then DS9 and then Voyager and then Enterprise. And then we look back to, and sometimes, you know, when you show an episode like in DS9, there's an episode called Trials and Tribulations where all the characters go into the past and they kind of interact with Trouble with Tribbles. And they kind of blend them into the set

• 52:40Speaker 03

  and everything that's happening. We'll then go back and watch Trouble with Tribbles or, you know, same thing with Wrath of Khan. We'll do this, you know. So we'll, we'll kind of connect it all together. And so, but every day, there's at least two or three episodes of Star Trek playing in my house. It's like, I usually have to wrestle away the controller to say, we're watching a movie now. And so, and my children were like basically raised on Star Trek and, you know, the sort of morals behind Star Trek and, you know, and people complain about, oh, you know, I don't like DS9 as much. It's not as dynamic. I hate Bejor and blah, blah, blah. But I think Captain Sisko is one of the most amazing

• 53:24Speaker 03

  captains there is because he's also a father and there's all these like father-son lessons that are going on throughout it. It's like really elaborate television. And by the way, all that kind of DEI stuff is still in it. It's still there. They're, you know, they're exploring all sorts of things. In Star Trek: The Next Generation, Riker, who's like the second in command to Picard. In that one, there's an episode where he goes to a planet of neuters that are just, you know, they have one gender and he falls in love with one and they kind of waken up out of their single gender thing and realize, oh, I'm female and that person then gets

• 54:04Speaker 03

  taken and reprogrammed. And then there's an episode where Cork is turned into a woman in order to, for some cockamamie reason that they come up with in the show and he kind of likes it. He's like getting into it. So it's not like they aren't exploring gender and-

• 54:21Joe Rogan?

  They're not just beating you over the head with it.

• 54:22Speaker 03

  It's somehow integrated into good storytelling and I think something happened at, you know, at the studios where they fired all of the legacy people and they hired on a bunch of new people who just weren't as good at storytelling and/or as respectful of the, you know, the canon, I guess you could say-

• 54:45Joe Rogan?

  Right.

• 54:45Speaker 03

  Is what it was. But, you know, those seasons of Star Trek are, which I guess you could call the, from the Gene Roddenberry into the Rick Berman era. And, I mean, they had such amazing writers. They had guys like Renea Shaveria and Narin Shankar and they had technical advisors and, you know, so if you were just into the tech, you could really like, you know, and most of our technology and most of our aspirations have come from Star Trek. You know, our telephones are basically, you know, like tricorders-

• 55:18Joe Rogan?

  Tricorders, yeah.

• 55:19Speaker 03

  And we're all, and, you know, when we see it on Star Trek, like, oh, we talked to the computer. Well, I want to have that. And so somebody figures out a way to develop that and to make it so. And now we have that.

• 55:29Joe Rogan?

  Didn't he actually say, "Computer"?

• 55:31Speaker 03

  Yeah.

• 55:31Joe Rogan?

  Like he would say, "Computer" and ask you a question?

• 55:33Speaker 03

  Yeah, well-

• 55:34Joe Rogan?

  Like, "Hey, Siri!" "Hey, Siri", they think. Yeah.

• 55:38Speaker 03

  And so, you know, it's a, I mean, I think it's a fantastic show. And then this dweeb Alex Kurtzman comes along and just shits all over everything, just like craps all over it. And, I mean, I went in and met with the guy. You know, I was like, hey, I will write for for scale. You know, I'll write on your new show. I'd like, I just want to be part of it. Just as an opportunity to work on Star Trek. And he was, and I basically found out he didn't want anybody who had any kind of fondness for the original show. He wanted to do something new and to create something new. And boy, has he shit the bed, like in a big way. And this latest thing that he that they've made this

• 56:19Speaker 03

  Starfleet Academy. Now, it's still ongoing. Maybe it writes itself at some point. I think they canceled it. Did they? Good. The newest, the newest woke, super woke version. They read the room. They read the room. Finally. Is it, um, if they didn't, they stop the idea of a season two? That fucking Alex Kurtzman, man. His company's called, uh, Secret Hideout, I think. He's gonna need a secret hideout after all these, like, after destroying Star Trek for, like, this latest generation. Are we talking about the newest one, the one with Tig Notaro? That's the newest one?

• 56:51Joe Rogan?

  Starfleet Academy?

• 56:52Speaker 03

  Starfleet Academy is an abomination. Uh, Is that what you're talking about? I could not, I could not get, yes. I could not get through three episodes of Discovery. And, I mean, they're just like, it is just awful. Awful storytelling. Well, it's also clunky dialogue and bad acting. Just horrible. And they're, they're more interested in, um, in the corporate, corporate politi, in the corporate propaganda than they are with any kind of personal propaganda. Right. It seems like that's the imperative. It's like they get across this inclusive, I, The card, the card was terrible. It was, it was sad, actually. It was just depressing for me. And so, like, when, you know, when Seth, what's his name, did that show, The

• 57:36Speaker 03

  Orville? And, like, that is, like, you know, the proper successor. Like, they brought back guys like James Conroy. The, uh, But I don't know what The Orville is. Uh, it was kind of like a comedy version Seth MacFarlane did. But he hired all the original people that they had fired from Star Trek and basically used them to do his show. And it actually feels a little bit more like a, like a continuation.

• 58:02Joe Rogan?

  I've never heard of this either. And it's on Hulu?

• 58:05Speaker 03

  Yeah, yeah.

• 58:06Joe Rogan?

  Is it, it is a Star Trek?

• 58:08Speaker 03

  Or is it? No, it's not Star Trek. It's The Orville.

• 58:10Joe Rogan?

  So they just ripped off Star Trek?

• 58:12Speaker 03

  They basically just ripped off Star Trek and they, they have a sort of like tongue in cheek quality, but they, they bring all the, you know, all the writers from the original and showrunners and, uh, you know, people like that and the original directors like, um, you know, like Jim Con- God, I'm like blanking on his name. Conroy, Con- I want to say Conroy, but it's, I think it's, ah, whatever. Um, and, uh, so they bring everybody back and it has a little bit more of the same spirit. Another really good Star Trek-ish thing is Galaxy Quest. Something that got kind of buried and with, uh,

• 58:45Joe Rogan?

  Sigourney Weaver?

• 58:46Speaker 03

  Sigourney Weaver.

• 58:47Joe Rogan?

  Yeah, that was good.

• 58:48Speaker 03

  Galaxy Quest is hilarious. If you love the original series of Star Trek, Galaxy Quest is amazing. Like, it, it's so fantastic. It's-

• 58:57Joe Rogan?

  I love Sigourney Weaver.

• 58:59Speaker 03

  Yeah.

• 58:59Joe Rogan?

  She's one of my all-time favorites. That, that's a good example of a movie that was like a DEI movie that you never even noticed it was Alien.

• 59:08Speaker 03

  Yeah.

• 59:08Joe Rogan?

  You have a female lead and you, you never think about it that she's the hero.

• 59:12Speaker 03

  We didn't have like powerful women in movies before. We've like had them throughout history.

• 59:17Joe Rogan?

  Right.

• 59:17Speaker 03

  You know, uh, the history of cinema is built on, uh, you know, and, and by the way, a, you know, a complex woman character can have faults.

• 59:26Joe Rogan?

  Right.

• 59:27Speaker 03

  Like that's part of it is characters have faults. Characters have things wrong with them. You know, they're not always just, you know, like, you know, uh, I can, you know.

• 59:37Joe Rogan?

  Dominant and noble.

• 59:38Speaker 03

  Dominant and, and like can do everything immediately.

• 59:41Joe Rogan?

  Exactly. Like the, some of the Star Wars ones that went woke. There was, there was a few of those.

• 59:46Speaker 03

  Well, yeah. I mean, you know, it's funny. You had, I think it was, I think it was here. Ben Affleck was on and they were talking about AI and how it always goes to the middle and, well, you know, it's always goes to the middle. It always goes to the middle. And I was like, Like J.J. Abrams always goes to the middle. And boy, was that Star Wars he did the middle. Where he just basically took the Luke Skywalker story and just reinterpreted it with a strong, strong woman, you know, character.

• 1:00:14Joe Rogan?

  Mm-hmm.

• 1:00:14Speaker 03

  And I, I just thought it was bland and just tasteless.

• 1:00:19Joe Rogan?

  Yeah.

• 1:00:19Speaker 03

  And just, you know, nothing new. He just went to the middle. So you don't need A.I. to go to the middle.

• 1:00:25Joe Rogan?

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• 1:01:09Joe Rogan?

  Don't fall for the trap of getting catfished by wireless. Visit visible.com to learn more and start loving your wireless carrier. Terms apply. See visible.com for plan features and network management details. No. No, you just need a mandate. And the, the thing about Alien 2 was like you didn't know who the hero was.

• 1:01:32Speaker 03

  Alien 2 or Alien, you mean Aliens?

• 1:01:34Joe Rogan?

  As well. I mean, Alien 1. I didn't like Aliens 2 as much. It was fun, but it was like, why are they so easy to kill now? Why are they so obvious?

• 1:01:42Speaker 03

  Well, they were, you know, space marines and marines are tough. Marines are badass and marines can like, and uh...

• 1:01:49Joe Rogan?

  But the first Alien was clever.

• 1:01:50Speaker 03

  They still overwhelmed them.

• 1:01:51Joe Rogan?

  I know, but the first Alien was clever. He was hiding. He would sneak around. He would jump. He didn't get to see much of it, and that was also cool too, because it kind of captured you with the suspense of what it...

• 1:02:02Speaker 03

  It's one of the best movies ever made.

• 1:02:03Joe Rogan?

  Ever.

• 1:02:04Speaker 03

  And...

• 1:02:04Joe Rogan?

  And it's a 1979 movie too, which is crazy. People don't even know how old it is.

• 1:02:08Speaker 03

  Well, it's funny, I recently went back and started watching all the Ridley Scott movies I hadn't seen. You know, like, there's a ton of them that I just, you know, kind of missed along the way. And I started off with, um, uh, God, what was it? I, um, oh, I started off with Napoleon and like, cause I just missed it when it came out. And I'm like, what, what happened to Ridley Scott? It's all, and I have not liked any of his recent Alien movies. I just think they're, I'm confused by them.

• 1:02:38Joe Rogan?

  The Prometheus ones.

• 1:02:40Speaker 03

  It's just like, when you need a web episode in order to understand what the hell he's talking about in the movie, you failed. And, and they're just like, they're high, they're technically, technical marvels, like, nobody shoots big canvas cinema like Ridley Scott, like, no one shoots a helicopter crashing like Ridley Scott shoots a helicopter crashing. And, and, and, you know, you watch Napoleon and sure, the Battle of Austerlitz, amazing to watch, you know, cannonballs going into the, the lake and the ice breaking and people falling in the water. But the minute anybody talks in that movie, it just collapses on its own weight. It's just like,

• 1:03:20Speaker 03

  you just don't care. My wife was like, this is the worst date movie. You're not gonna sleep with me after this.

• 1:03:28Joe Rogan?

  What's wrong with it? I didn't see it.

• 1:03:30Speaker 03

  It's, well, Joaquin Phoenix, who, and I think he made a choice, because I consider him to be an excellent actor. But in this movie, I think he made a choice to just play it like, you know, contemporary, like, he just kinda talks. Everybody else is doing sort of a British or French-ish accent, like, they're all kind of pretending that they're in a, in a period piece, but not Joaquin Phoenix. He just plays it like he just, you know, walked off Hollywood Boulevard. And, and he, and, and just like the battle, there's no passion in any of his performance. It's kind of this weird, dead, dead performance. And, and so I-

• 1:04:07Joe Rogan?

  You think he did it on purpose to portray like a sociopath?

• 1:04:09Speaker 03

  I, I think he came on, he was like, I am gonna do whatever I wanna do the way Napoleon would. And, and, and I'm not, and I'm not gonna try, I'm a Corsican and I'm not, I'm gonna be an outsider to all of these other people who are, I think there was an intellectual idea behind what he did and it completely failed. And so I'm like, okay, I adore watching Ridley Scott do these big scenes, but, ugh, what a terrible movie. And, you know, like, failure, and then I, and so then after that, I'm like, okay, let's, let's watch something else. Well, oh, he did Exodus. I've never seen that. Gods and Kings with Christian Bale. Same thing. It's like you start watching that movie and there's some interesting things in the film. He's got like chariot battles and you know archers shooting things and like you know,

• 1:04:54Speaker 03

  whenever he's doing that like Ridley Scott's like, oh, this is my day on set and he's got a cigar and 20 cameras. You know, put cameras everywhere and he's like shoot from every angle and he's like a like a great general. You know, uh, shooting, but the minute anybody talks, that movie falls apart and actually, I mean, I don't know how to say this, but that movie almost did its best to turn me on the Jews. Like I'm watching it and I'm like, this is like, first of all, is anybody even Jewish making this? Like, it seems like nobody involved in it was was Jewish and like they start like, you know.

• 1:05:28Joe Rogan?

  How is that even possible?

• 1:05:29Speaker 03

  Well, Moses as a character, when he's an Egyptian, when he's like the adopted Egyptian brother, I'm like totally with him. For some reason, then he becomes Moses after getting like hit in the head with a rock. And, uh, and all of a sudden he's, uh, you know, kind of, he's like a lunatic and like, you're like, everybody's following him. Like he's like, he's distaste, he's distasteful all of a sudden. And but every now and then they would show a battle scene and it's like, okay, I can like Ridley Scott's doing his thing again, but like, and you know, who's also really good in it is, um, God, I can't remember Joel Egerton, who plays Ramses.

• 1:06:07Speaker 03

  It's really funny because Joel Egerton is, you know, usually you imagine Egyptians when they're cast as being kind of tall and, you know, sort of noble looking and everything. He's kind of like this butch, like sort of tough, you know, wide bodied butch, uh, Ramses, like just kind of like a tough Ramses. And every now and then his Australian accent comes out and so he's like, oh, he's like an Australian Ramses. And John Turturro places his father, uh, who, you know, a bald, I'm like, is that John Turturro? Like what a crazy choice this is. And so there were all sorts of like interesting things going on in the movie. But again, I was like, oh, this is awful.

• 1:06:46Joe Rogan?

  Is it impossible for you to watch a movie without just becoming hypercritical about all these different aspects? Like how I would do it, what I don't like?

• 1:06:55Speaker 03

  Yes and no. So the next Ridley Scott movie I watched, which I stayed away from and with great apologies to Matt Damon and Ben Affleck was The Last Duel. And I just kind of avoided it. I was doing other things at the time and the poster looked awful and it was like, I'm not gonna go see that. And then I, uh, I, I, I put it on after watching these other two and I was like, okay, here we go. Let's go again. And low and behold, one of the best films of the century. Really? Absolutely. First of all, those guys know how to write a script. And I know that they wrote it with Nicole Hafsanat or whatever her name is.

• 1:07:34Speaker 03

  But and look at, and look at Ben Affleck, like, when I saw him blonde, I was like, that's one of the reasons it kept me away from it. But he's hilarious in the movie. He's a genius in the film. I never even heard about this. I was gripped by this film. And this is a great date movie. Like this, my wife got turned on after this film. Believe it or not. That's hilarious. I don't know anything about. And Adam Driver is magnificent and like this relationship that these two guys have and it's kind of a Rashomon story. Meaning that, uh, like Akira Kurosawa's Rashomon, which was three stories that are all sort of the same event told from different perspectives. And so, and Matt Damon is like a revelation. And this movie says so much about Hollywood. Like when I watched this, I was like, okay,

• 1:08:18Speaker 03

  I'm Matt Damon and Quentin is, uh, Adam Driver, for sure. Like Adam Driver totally knows how to, like, you learn about Hollywood in this film, and I'm sure they're writing it, like, knowing about Hollywood. That the way to really get along in court is to join the orgies. You know, to be in the orgy with everybody is like how you get along. It's like, uh, uh, we, we all fuck together and that's how we do it. But Matt Damon, who by all accounts in this is a great, you know, he's a fighter, he's a great knight, he had, he's true in his heart. But he's just a, a, like a pill to hang out with and he doesn't go to the orgies. And because of that, he's just kind of marginalized. And the whole movie plays off of this friendship that just kind of goes awry where jealousy comes into play.

• 1:09:04Speaker 03

  And, uh, and, and it's ruinous to everything until they're finally fighting in the very end. And this is where Ridley Scott just does what he does, which is he has this. Insane fight between these two guys, which like was just every blow was painful to look at. This to me was the best Ridley Scott movie I've seen of the century. I mean, I guess Black Hawk Down, I also very much like Gladiator, although Gladiator 2, I throw that in.

• 1:09:32Joe Rogan?

  I never saw that.

• 1:09:33Speaker 03

  Throw that in with Exodus, Gods and Monsters. It was actually boring to watch.

• 1:09:37Joe Rogan?

  I loved Gladiator 1, though.

• 1:09:39Speaker 03

  Gladiator 1 is magnificent. It had some kind of secret sauce in it that was fantastic. And Gladiator 2, it just kind of goes through the paces. It's just kind of everybody shows up. Speaking of showing up, when Sigourney Weaver shows up in Exodus, Gods and Monsters, she's not even trying at all. She knows that she's there for a paycheck. Like, she just shows up and she's just like, does not put on an accent of any kind, she just shows up and just speaks the lines and I'm out of here, I'm going into Morocco or whatever, into town. I'm gonna go party for a while.

• 1:10:12Joe Rogan?

  Do you think she just thought it was a bad film and just checked out?

• 1:10:15Speaker 03

  I'm not sure what she was thinking, but like, she may have been thinking what, I mean, maybe she was trying, but I don't, it just didn't look like it. It just looked like she was...

• 1:10:25Joe Rogan?

  Well, that's gotta be a weird thing when an actor makes a choice with a character and it just doesn't work, and they don't realize it, but they're committed to it.

• 1:10:32Speaker 03

  And the other Ridley Scott movie that I just watched that I hadn't seen, again, I avoided it, partly because of the title of the film, and there's just nothing excited. I thought it was a comedy. In fact, I'd been avoiding it, it was on my Plex, there it is, I look at the thing, it looks like a comedy, it's got Javier Bardem and Cameron Diaz, and they're all kind of, Javier Bardem looking exactly like Robert Downey Jr., like, in it, like, just kind of this crazy, Robert Downey Jr. in his crazy phase, you know, with like colorful glasses and everything, Robert Downey Jr. with like a broken up nose, or whatever's going on with that nose, and, okay, so I put on The Counselor, and... This movie, so looking at that, I thought this was a comedy. I thought, oh, it's gonna be Totally looks like a comedy.

• 1:11:17Speaker 03

  A romantic comedy. This movie, after I saw it, I was like, I feel like I've seen too much. I feel like I know too much now about the world. Like, it's, and it's made like right before, and I think this movie was kind of a disaster for Ridley Scott, and he, you know, had to recover from it, probably, because of the failure of it, but- I never even heard of it. It's written by, oh my god, Cormac McCarthy. Whoa. And so it is dark, dark, dark. And it is an analysis of how power works in the modern world, which is basically a giant cartel. The cartel runs everything, and you

• 1:12:02Speaker 03

  cannot escape the cartel. And it is such a spectacular, I think that's such a spectacular movie. I loved it. I loved it. When did that come out? Like, 2014, I think.

• 1:12:13Speaker 04

  2013.

• 1:12:14Speaker 03

  2013. Did you ever hear of it? Jamie?

• 1:12:17Speaker 04

  I don't think so.

• 1:12:18Speaker 03

  There's too much content. Well, there's too much content, and yet Ridley Scott, and he's cranking out movies like every year he's doing a movie. It's like, just knocking them back, knocking them back. He's constantly making films, and so that was why I hadn't, and so finally I was like, well, I gotta catch up on some Ridley Scott. And Quentin had been talking about Black Hawk Down, and how much he loved it, and how he thought it was the best film of the century, and, you know, he's largely correct. That's not a bad, I could have done without the UNICEF commercial at the very beginning, where it's just like, you know, a little UNICEF commercial about people starving in Africa and Somalia. But the rest of the movie is just insanely beautiful, and so I wanted to check out all the movies I hadn't seen

• 1:13:03Speaker 03

  of his. And so that's why I started researching them and looking them up again, and like, the counselor, how did that fall through the cracks? And it gets terrible reviews, like, people hated the film, apparently, and- What's the criticism? Uh, people, like, I think, they were just like, we don't believe it. They just don't believe that that's what the world is like. And, you know, I found the film to be, like-

• 1:13:27Joe Rogan?

  Do you think that's just because of the time period it was released?

• 1:13:29Speaker 03

  Yeah.

• 1:13:29Joe Rogan?

  I think it was more innocent.

• 1:13:30Speaker 03

  I think Ridley Scott knows things that, and Cormac McCarthy know things about the world that they put on film before everything was known. Like, I think if that movie was released today, people would be like, "Yeah, that's what's happening today."

• 1:13:46Joe Rogan?

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• 1:14:49Joe Rogan?

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• 1:15:35Joe Rogan?

  Yeah.

• 1:15:36Speaker 03

  And so, yeah. Oh, yeah. Oh, they're putting people in sulfuric acid into, uh, milk, into drums.

• 1:15:41Joe Rogan?

  Yeah, what the fuck?

• 1:15:42Speaker 03

  And shipping them around the world, you know, as a joke. You know, like...

• 1:15:47Joe Rogan?

  That's in the film?

• 1:15:48Speaker 03

  Yeah, there's all sorts...

• 1:15:48Joe Rogan?

  Well, did you see the thing in The Epstein Files?

• 1:15:50Speaker 03

  Oh, yeah. Like, those Epstein Files, in fact... I can't believe that like everybody's just kind of like, huh huh, okay, and they're moving on with their lives. Did you see that guy at the Atlanta airport? Uh, flipping out the well-dressed black dude who just freaks out at in the Atlanta.

• 1:16:05Joe Rogan?

  When?

• 1:16:05Speaker 03

  Uh, just like a couple of days ago. On, uh, I saw it on YouTube and I saw it on Twitter or X. And, uh, this guy's just freaking out in the Atlanta airport. He's like, I read the Epstein files, like all of you, you're going about your lives like nothing's happening. Look at your old zombies. And he's right. It's like Invasion of the Body Snatchers. Everybody is just numb to everything like dudes. We had a global pandemic, uh, aliens, uh, you know, all these like revelations. People are, you know, eating babies. Uh, here's.

• 1:16:41Joe Rogan?

  This is the guy?

• 1:16:43Joe Rogan?

  Files have been released and all of y'all are acting normal.

• 1:16:48Speaker 03

  All of y'all.

• 1:16:52Speaker 03

  And there's a longer version of that where he's, but he's basically like, you're all acting like nothing's happening. Like what the fuck? You know, you're all just pretending you're just drones going on in your normal lives.

• 1:17:03Joe Rogan?

  Waiting for a condensed version that lays out all the facts. It's the people that are like really interested in reading all the emails.

• 1:17:11Speaker 03

  I think the Luciferians, uh, cast a spell on the world.

• 1:17:15Joe Rogan?

  For real?

• 1:17:16Speaker 03

  Oh, absolutely. You're like, you know, it's just like how vampires can't go into a house unless they're invited. They tell you, you know, what's going on ahead of time. It's predictive programming. And once you say it out loud and you put it out there and make fun of it and do a little skit like they like. Stephen Colbert did a little skit on his show where, oh, here's a baby. I'm going to take this baby and I'm going to give it to Moloch. And he goes into like a cloudy red, uh, you know, furnace and hands the baby over and he's, oh, the baby's going to be fine. And they make a joke about it and the audience laughs. Okay, we're all now conditioned to it. We've all seen it and by laughing at it.

• 1:17:52Joe Rogan?

  But wait a minute.

• 1:17:53Speaker 03

  We're complicit.

• 1:17:54Joe Rogan?

  You think that that's a, that's on purpose? That this is like some sort of a grand design to get us to be desensitized to the idea of demons eating babies?

• 1:18:02Speaker 03

  Yeah, for sure.

• 1:18:04Joe Rogan?

  Really?

• 1:18:04Speaker 03

  For sure. And, and by the way, nobody's doing anything about it. We know what's happening.

• 1:18:09Joe Rogan?

  But that has to take like, there has to be a person or some group of people.

• 1:18:14Speaker 03

  Yeah, like about, about 8,500 people. Yeah.

• 1:18:17Joe Rogan?

  That are manipulating the Colbert show?

• 1:18:20Speaker 03

  That are manipulating everything. It's all an illusion. Like, reality as we know it is fake. That's, that's the revelation that that guy is having. And he's looking around and he's like, it's like Invasion of the Body Snatchers.

• 1:18:34Joe Rogan?

  Well, it's cer- see, I don't, the thing about the emails is, one of the things is it's just stuff written down. And so that's sort of hard to digest. Like, what is this? Like, what are they saying? Like, some of it is in code, like, walking over beef jerky? Like, saying, talking about jerky? Could you walk beef jerky over to this person? Like, what does that mean?

• 1:18:56Speaker 03

  For all this pizza they're talking about, you never see any pizza.

• 1:18:59Joe Rogan?

  Right. Yeah, yeah.

• 1:19:00Speaker 03

  Yeah, or I'm gonna get, I'm gonna get some gr- grape soda. It's like, with my cheese pizza.

• 1:19:08Joe Rogan?

  Yeah.

• 1:19:08Speaker 03

  And like, there's all this coded language and everyone's like, you know, oh, that's, you're just, you just have periola. You know, the, you're just seeing things where you want to see them.

• 1:19:18Joe Rogan?

  No, there's clearly a code. Well, that was the thing about pizza game.

• 1:19:21Speaker 03

  It's absolutely a code. And in fact, mundus volunt decidit ergo deciditur. It's a long-known concept. And so, in Latin, mundus volunt decidit means the world wants to be deceived. Ergo deciditur, therefore it is. We want to be deceived. We, we don't want to believe the horrors that are actually behind the veil.

• 1:19:44Joe Rogan?

  Well, I think with the Epstein files, people are, because of these emails that have been released, people are just now starting to be aware of the bizarreness of the code and some of the thing, like, the facts. Like, let's just talk about the sulfuric acid. So this was like, right after he was indicted, in 2018?

• 1:20:06Speaker 03

  Yeah, I gotta get rid of some bodies.

• 1:20:08Joe Rogan?

  Yeah.

• 1:20:09Speaker 03

  I gotta dissolve up some bodies.

• 1:20:11Joe Rogan?

  What did it say he ordered? Like, let's, uh...

• 1:20:17Speaker 03

  Like, 8,000 gallons or...

• 1:20:19Joe Rogan?

  Maybe we can get our sponsor, Perplexity, to process this and give us a synopsis of what exactly happened, some sort of a breakdown. Because one of the things they're saying is like, he was indicted, and then, right after he's indicted, he orders, how many gallons?

• 1:20:38Speaker 04

  Six 55-gallon containers full of sulfuric acid.

• 1:20:43Joe Rogan?

  Jesus Christ. Jesus Christ.

• 1:20:51Speaker 03

  What?

• 1:20:52Joe Rogan?

  What?

• 1:20:53Speaker 03

  They're eating babies, man. Like, that's the-

• 1:20:55Joe Rogan?

  So that you think is real?

• 1:20:57Speaker 03

  Well, yeah, not only that, I think that there's, you know, sacrifices going on every day in Los Angeles. I mean, you know, allegedly, like, you know, high-level musicians, let's say, high-level female musician, is like, you know, killing chickens every day, doing sacrifices, like, you know-

• 1:21:17Joe Rogan?

  High level?

• 1:21:19Speaker 03

  Well, I don't wanna say-

• 1:21:20Joe Rogan?

  You don't wanna say the name?

• 1:21:20Speaker 03

  I don't wanna say names, because I don't wanna get sued. And I don't wanna be dead, either. What does it rhyme like?

• 1:21:24Speaker 04

  Here's the purchase order. I go, I start looking at the comments for some stuff. Not that this is the best answer, but a quick answer someone gives is that this could be for like a reverse osmosis water treatment system.

• 1:21:35Speaker 03

  It's true, he is on an island.

• 1:21:36Speaker 04

  He's on an island.

• 1:21:37Speaker 03

  I mean, there's enough, there's enough pushback, because mundus valdis ipi, ergo decipiatur. You know, we, we, but like, the timing of all of that, like, you know, were the purchase orders for all of that sulfuric acid before that? "Oh, no, I just wanna put sulfuric acid into my swimming pool, muriatic acid."

• 1:21:52Joe Rogan?

  Well, that's the question. Was there orders for sulfuric acid before this? If they do have a water treatment pla- and why, how does sulfuric acid play into water treatment?

• 1:22:02Speaker 04

  It says it here, it says it's commonly used, uh, this explains it, I don't fucking know.

• 1:22:06Joe Rogan?

  Okay, it says, "R.O. Plant Reverse Osmosis Seawater Desalination Facility. Sulfuric acid is commonly used in the maintenance of such facilities. Not everything, you don't understand, adds up to the worst possible thing it could be."

• 1:22:20Speaker 03

  Deception. Look, maybe they're all eating pizza and grape soda. How many-

• 1:22:24Joe Rogan?

  Who is that guy that's saying this?

• 1:22:25Speaker 03

  How many billionaires do you know that, you know, like, sit down and eat lots of pizza and grape soda? And ice cream?

• 1:22:30Joe Rogan?

  This is weird, a trial lawyer saying this.

• 1:22:33Speaker 04

  I was just, I just, that's why I just go with grain of salt, this is just a plausible answer. I don't know that it is the answer, it could even be wrong.

• 1:22:39Joe Rogan?

  Okay, so, does he have a desalination plant on the island?

• 1:22:44Speaker 04

  Oh, it's a reverse osmosis.

• 1:22:45Speaker 03

  Oh, yeah, for sure, he is, he is a, he had everything, he had a dump and, uh, like, they had all sorts of stuff.

• 1:22:50Joe Rogan?

  So, that's-

• 1:22:52Speaker 03

  Tunnels and-

• 1:22:53Joe Rogan?

  So they were using that, so they were taking seawater and converting it into freshwater, for what? For irrigation, or for drinking, for all the above?

• 1:23:00Speaker 04

  One similar email that he wrote to someone said that like, his, around his island is like Damascus. And I'm like, what the fuck does that mean? He was like, "You go explore buried shit around my island?" Or, what else could he mean by that?

• 1:23:14Joe Rogan?

  Huh. What does that mean?

• 1:23:16Speaker 04

  I don't know.

• 1:23:17Speaker 03

  I mean, they say a lot of things and they're not really coding it very much.

• 1:23:21Joe Rogan?

  Well, the code, it's glaringly obvious. When they say pizza and when they say jerky. That's glaringly obvious. How do you walk jerky?

• 1:23:29Speaker 03

  Yeah.

• 1:23:30Joe Rogan?

  You know what I'm saying?

• 1:23:30Speaker 03

  And why do I need a chilled container to, you know, a chilled bag or whatever they said?

• 1:23:35Joe Rogan?

  Jesus Christ.

• 1:23:36Speaker 03

  You know, and, and...

• 1:23:37Joe Rogan?

  So you think they're eating babies?

• 1:23:39Speaker 03

  Oh, yeah. I absolutely believe that.

• 1:23:41Joe Rogan?

  You should get together with Kurt Metzger.

• 1:23:45Speaker 03

  I don't doubt it for a second. Well, I think, and I think this dates back like, you know, a long, long time. This is Moloch worship.

• 1:23:55Joe Rogan?

  Oh, well, there was the other email that said, "Thank you for the torture video. I enjoyed the torture video."

• 1:24:01Speaker 03

  Yeah. And it's like, people just, they don't, they don't want to accept it. Like, people don't want to believe it. They don't want to accept it.

• 1:24:10Joe Rogan?

  Okay, "Some commentary notes that a remote island with water treatment and energy systems could possibly stockpile such quantities for a one to two years of operations, although others argue that using it directly for reverse osmosis, as stated in one social post, is technically questionable for membrane health." Hmm. "Highly corrosive, strong mineral acid that can severely burn skin, eyes, dehydrate, and char organic material, which is why it features in both legitimate industrial processes and in darker hypotheticals online."

• 1:24:45Speaker 03

  Darker hypotheticals.

• 1:24:46Joe Rogan?

  Darker hypotheticals is where I'm leaning. When you get indicted for sex trafficking and then you order six drums of sulfuric acid right away, are you really worried about your reverse osmosis plant right after you get indicted? I feel like you know you're going to jail.

• 1:25:02Speaker 03

  It looks like a duck and it quacks like a duck. It's probably a duck.

• 1:25:05Joe Rogan?

  It's probably a duck. 330 gallons of sulfuric acid.

• 1:25:10Speaker 04

  It says this was the only documented purchase order for it.

• 1:25:15Speaker 03

  I came out here last time and I talked about, you know, the pedo cult inside of the Kubrick film.

• 1:25:21Joe Rogan?

  Yes, by the way, that went viral.

• 1:25:23Speaker 03

  And I got so much blowback from that, you know, the online critics are like, no, no, there's nothing in there. Mundus vault, they say, they don't want to see it. They don't want, they don't want to see those two guys walking away with that girl in the end. They just like, no, no, it's, it wasn't in the schnitzler novel and blah, blah, blah. I mean, dude, look at that movie. It's about a cult. Like, what are you talking about? It's a secret cult and in fact, Sidney Lumet's character even says at one point, you know, uh, do you know what these people do? I'm not going to tell you what they do, but let me tell you, if I told you what they do, they would like scare the hell out of you. I mean, like, that's after he's been to the place and seen everybody walking around at the, in the sex club.

• 1:26:04Speaker 03

  I mean, it's obviously, there's obviously more going on in that movie, but people don't want to see it. I like, like I had, what was it, New York Magazine or whatever, went so far, it's like, you know, aggressively trying to get me to debunk it. And, uh, and which is fine, just fine. It's just an interpretation of a movie.

• 1:26:24Joe Rogan?

  Right, but that, that interpretation resonated. I mean, that clip went very, very viral.

• 1:26:28Speaker 03

  Especially now, it's like people are like, uh, looking at it and they're like, well, you know, he was obviously saying something. Even if you extract that out of the movie, he's obviously saying something about people at high levels of power.

• 1:26:39Joe Rogan?

  Well, there's always been weird, secret groups and rituals.

• 1:26:44Speaker 03

  Yeah.

• 1:26:44Joe Rogan?

  And it's one of the ways to ensure that you're compromised, you'll stay.

• 1:26:49Speaker 03

  It's a confidence operation.

• 1:26:51Joe Rogan?

  Yeah.

• 1:26:51Speaker 03

  And so what you do is you find somebody when they're young and they're, you know, less inhibited and, and they, you know, or uninhibited. And you catch them doing something that is illegal and maybe you even provide the mechanism for that to happen. And then, once it's happened, you, uh, you now have the, the video proof or the audio proof or whatever proof you have. You've got proof of it and you show it to them and you say, look, this is, uh, what we have on you and, uh, and we can ruin you at any minute. But you know what we're going to do? We're going to give you $20,000 a month or we're going to give you $20 million a year, whatever level that is, instead. And you're going to work for us.

• 1:27:34Speaker 03

  And, and, and what else explains some of these people who are so flipped out about like, you know, about Trump? Like, "He's a, he's a pot's, he's a..." Like, it's over the top. It's, you know, it's, it's strange how people are, how people behave in, regarding that. It's bizarre.

• 1:27:55Joe Rogan?

  Yeah, but don't you think that's also just because the Democratic Party didn't want him to get into power because he was a complete outsider?

• 1:28:02Speaker 03

  I don't think there are parties. I don't think there, I think that's all an illusion also. I think everything that you think that it is, is an illusion. It's all fake. I don't think that any history before 1600, I think everything has been falsified before the year 1600.

• 1:28:20Joe Rogan?

  How so?

• 1:28:21Speaker 03

  Well, there's this guy Anatoly Fomenko, who's a Russian mathematician and historian, and he wrote a book called The New Chronology. It's actually a series of books. It's like six volumes, and I've read them all. And, and, and, and also his addendum book, The New Chronology, he has an addendum book about it. And he basically says that all of history has been changed, about a thousand years have been added to the timeline in order to justify land claims, and those land claims largely have to do with Eurasian, the Eurasian Horde, and the elimination of the Eurasian

• 1:29:03Speaker 03

  Horde by collusion between, you know, the Vatican, the Romanovs, the...

• 1:29:12Joe Rogan?

  So you mean like the Mongols and the Huns?

• 1:29:14Speaker 03

  Yeah, there was a, and if you look on very, very old maps, you see that there used to be a country called Tartaria that was, that was in existence. And at a certain point, they wiped them out. And so his theory, and it's just a theory, it's just a posit, but when you see how history is constantly being rewritten in real time, it's not so hard to believe. And then he uses, you know, astronomical evidence and, you know, mathematically kind of proves it. And he basically says that, let's see if I can get this right, that... Rome and Greece and, you know, those and Egypt were actually active till around 1600.

• 1:29:59Speaker 03

  And Rome actually fell around 1600. So kind of imagine or more like late 1400s, 1492.

• 1:30:06Joe Rogan?

  As opposed to what's the conventional timeline?

• 1:30:08Speaker 03

  About 1,000 years before. And so, and so, you know, if you can wrap your head around it, the Salem witch trials took place around the same time as the Inquisition. Columbus was discovering America around the time Rome fell. And that all of this was designed to justify and or to erase this entire civilization from history. And then there are people who believe that there are a lot of buildings that are still in existence that that were this. They they they claimed that Jesus Christ was, I can't remember the emperor's name. It's kind of a composite story. There's a number of.

• 1:30:48Joe Rogan?

  So they think 1,000 years are missing from the timeline?

• 1:30:51Speaker 03

  Well, yeah, think about it. If you're a Byzantine guy and you're like, hey, I want to move to the country and you look over at France, let's say, and Germany and you're like, yeah, there's all these like indigenous peoples there and we want to wipe them out. So you hire, you know, a mercenary, you hire a guy named Charlemagne and you get him to go in there and kill all the chieftains in one day, like 5,000 chieftains were killed in a single day, apparently by Charlemagne. And you completely wipe out everything and then you move in, you become Jerome, Jerome the first, and you run Paris or you begin, you know, France. And what it really is is just land. And so you add time to the timeline in order to justify that land claim. Because what makes more sense? That history was cruising

• 1:31:35Speaker 03

  along like this and then suddenly flatlined for 1,000 years and then picked up again? Or does it make more sense that somebody took that time, that the Dark Ages, and kind of added added to the timeline?

• 1:31:49Joe Rogan?

  So I'm confused. So but isn't there like documented history from multiple cultures about that time period?

• 1:31:58Speaker 03

  Yeah, but it's all like, you know, written down by the Jesuits who were completely in the control of, you know, it's that history, history is easily changed. And in fact, we see history being changed before our eyes in real time. And so the deep past is is easy to change.

• 1:32:13Joe Rogan?

  So we're not in 2026?

• 1:32:15Speaker 03

  No, we're like in the 1700s.

• 1:32:18Joe Rogan?

  Oh, Jesus. Oh, my God.

• 1:32:22Speaker 03

  Just a theory. It's just this guy Antoni, Anto, Anto, Antoni Flamenco. And, uh, and it's a very interesting theory. And so I read that and I kind of had a tent pole collapse. It was like, well, holy crap.

• 1:32:37Joe Rogan?

  Explain to me the flatness. Like, what do you mean by history goes up and then flattens?

• 1:32:41Speaker 03

  Well, the progression, the progression of humanity through history as we kind of are progressing as we go. And then all of a sudden, there's this flat line called the Dark Ages where nothing happened.

• 1:32:50Joe Rogan?

  Is there a conventional explanation for this? Flatline for a thousand years?

• 1:32:56Speaker 03

  The, the collapse of Rome and, uh, and falling into barbarism, the time of barbarism.

• 1:33:01Joe Rogan?

  Hmm. That's not plausible?

• 1:33:04Speaker 03

  Everything is plausible. It's plausible that sulfuric acid is used for RO, uh, reverse osmosis, uh, water cleaning. And so everything is possible. The question is, is it probable?

• 1:33:17Joe Rogan?

  Well, Jamie just pulled up that that was the first time they had ever ordered that.

• 1:33:21Speaker 03

  Oh, really?

• 1:33:22Joe Rogan?

  Yeah.

• 1:33:22Speaker 03

  Okay. So, well, there it is.

• 1:33:24Joe Rogan?

  Yeah. That's not good.

• 1:33:25Speaker 03

  Yeah, that's not good. I mean, that's the least of the things. The thing is, we become desensitized to stuff. I mean, look at everything that has happened in the last six years. It, it's like an insane amount of stuff has happened and everyone's just kind of like numb to it.

• 1:33:39Joe Rogan?

  Well, they get desensitized.

• 1:33:40Speaker 03

  And I think it literally is that people's brains have been fried.

• 1:33:44Joe Rogan?

  You think by COVID vaccines?

• 1:33:45Speaker 03

  Yeah, for sure.

• 1:33:46Joe Rogan?

  Well, there's some scientific evidence that for some people at least, it crossed the blood brain barrier and had some sort of a detrimental effect on their cognitive function.

• 1:33:56Speaker 03

  mRNA is reprogramming your, your, your system.

• 1:34:00Joe Rogan?

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• 1:36:03Speaker 03

  And we're, I think, and we've been looking at a giant die-off of people. People are collapsing left and right. Nothing is normal anymore. I mean, that guy at the airport who's flipping out, that's what he's realizing. He's having a sudden awakening and he's tweaking over it. He's like, and he's looking around and no one cares. Everyone just wants to like, you know, get through their day. Everyone wants to just make their next movie and maybe they'll let me make their next movie. And everybody wants to just, you know, I just want to keep going at my job and I just want to do my thing and I just want to protect my thing.

• 1:36:38Joe Rogan?

  There's certainly a lot of that going on.

• 1:36:39Speaker 03

  British only care about it as long as I have my daily pint at the end of the day. That's all I care about. You know, they'll, in the meantime, their entire country is being overtaken and overrun by, like, when else in history has this happened and ended well?

• 1:36:54Joe Rogan?

  No, it's so shocking how quickly it's happening in England that you just go, how do you bounce back from this? Like, what is the remedy?

• 1:37:01Speaker 03

  Yeah.

• 1:37:02Joe Rogan?

  Because they're, they're doing this mass arrest thing with social media posts, which is bizarre, bizarre to watch. And then they eliminate jury trials for anything other than like murder and rape.

• 1:37:15Speaker 03

  If you say anything, you're in jail. If you post, if you repost anything, you're just immediately sent to jail. Look what's going on in Canada right now, you know, with Carney.

• 1:37:24Joe Rogan?

  Mm-hmm.

• 1:37:24Speaker 03

  I mean, like, I think that's insane, what's going on. And most Canadians are just kind of vibing along with it. Nobody wants to rock the boat, nobody wants to be racist, nobody wants to be, uh, you know, nobody wants to be discriminatory in any kind of way, rightfully so, like, you know, you, and you want to believe that your leaders are, are taking care of you, and they're not. And it's over. We've lost. It's over. I mean-

• 1:37:50Joe Rogan?

  You think it's over here in America as well?

• 1:37:52Speaker 03

  Well, it got slowed down a little bit. It got slowed, whether you like Trump or not, and I'm not like a, I don't really like anybody, but-

• 1:38:01Joe Rogan?

  That's a healthy perspective.

• 1:38:02Speaker 03

  It definitely added a road bump in the, in, in the actions of the cabal of the Clintons and the Obamas and, and their, the bankers that, that controlled them. And that's when you see the movie, uh, The Counselor, that's what you realize is that, wow, the cartels are the banks, and they are law enforcement, and they are the media, and they are everything, and there is no fighting it. And there is no individually fighting it. Like, there's nothing any of us can do.

• 1:38:36Joe Rogan?

  That is-

• 1:38:37Speaker 03

  And I don't mean to be, I mean, the only thing you can do is, uh, you know, affect what's happening around you locally, within the moment.

• 1:38:45Joe Rogan?

  But don't you think that more people are aware of what's going on right now? There's more pushback than ever before, and so there's a possibility that it could be stopped?

• 1:38:53Speaker 03

  Yeah, look at that guy in the airport, though. Nobody, everyone's like, he's crazy.

• 1:38:57Joe Rogan?

  Yeah, but you're yelling at a fucking airport. I would think he's crazy, too. If I was there waiting for my flight to go visit my parents, and there's some fucking guy yelling out the Epstein file, you're just living your life, like, "Yeah, what do you want me to do, dude? I'm headed to Florida right now."

• 1:39:11Speaker 03

  Invasion of the Body Snatchers was about McCarthyism, and what was going on at that time, and both.

• 1:39:15Joe Rogan?

  Really?

• 1:39:16Speaker 03

  Oh, yeah. It was, the original Invasion of the Body Snatchers was all about McCarthyism, and...

• 1:39:21Joe Rogan?

  I'm the, I'm a fan of the Donald Sutherland one.

• 1:39:23Speaker 03

  Well, and, and look at, and look at how that ends. That ends with you're walking through the streets pretending to be...

• 1:39:31Speaker 03

  You know, like, you're, you're just pretending to not be an alien, hoping that you can get by, and then, you know, the minute you show any kind of emotion, that's it. You're caught, and then they're gonna make you go to sleep. And, uh, and so, I mean...

• 1:39:43Joe Rogan?

  So that, the original script was written about McCarthyism?

• 1:39:46Speaker 03

  The original, uh, um, the original film, yeah, the Kevin McCarthy, uh, movie.

• 1:39:51Joe Rogan?

  Okay, so...

• 1:39:52Speaker 03

  And in the end, look how that movie ends. That movie ends with him, like that guy in the airport, on the street, you know, "Ah, they're... You know, they're, it's, it's, they're aliens." He's basically, you know, running through the street just in traffic. And people just keep driving.

• 1:40:07Joe Rogan?

  Hmm, I don't remember the original one. I might not have even seen it. But the Sutherland one was amazing. I never would have thought that that's what it was about.

• 1:40:15Speaker 03

  I mean, I, we're experiencing a kind of Bolshevik revolution at the moment, right now, and so...

• 1:40:22Joe Rogan?

  In what way?

• 1:40:23Speaker 03

  Well, there's a rise of Bolshevism. You know, it's like, we see it, we see it occurring, and...

• 1:40:28Joe Rogan?

  How do you define Bolshevism?

• 1:40:30Speaker 03

  Well, uh, it's, the Bolsheviks were essentially a kind of, uh, uh, I mean, it's, it's, it's, it's not correct to say communism, but it's basically a, a kind of authoritarianism, you know, in the guise of egalitarianism, and, uh, and helping the world know we're all going to be equal in everything, but it...

• 1:40:53Joe Rogan?

  And they were murdering Christians.

• 1:40:54Speaker 03

  Socialism, yeah. They were murdering Christians and social, and, you know, we're very, very close to that now. We're very, very, we're on, we're standing on, civilization is standing on the precipice at the moment. And by the way, uh, you know, uh, after this podcast comes out, people are gonna be like, oh, Avery's crazy, Avery went to jail, Avery's a, you know, a killer, they're gonna say all sorts of shit about me to discredit anything that I say, and that's fine, like, I'm easy to discredit. And so it's not really my right to speak up anymore about anything, and so-

• 1:41:30Joe Rogan?

  You're a human being, it's always your right to speak up.

• 1:41:32Speaker 03

  Well, it, it is, but, uh-

• 1:41:34Joe Rogan?

  They can eat shit.

• 1:41:35Speaker 03

  As I, as I look around, like, civilization is on the precipice, and, you know, mostly good people tend to not take action against stuff.

• 1:41:46Joe Rogan?

  Until they have to.

• 1:41:47Speaker 03

  Until they have to.

• 1:41:48Joe Rogan?

  We were talking about this yesterday, actually, um, with Cheryl Heinz, and I was saying, I think we were talking about this, well, I was talking about this recently, where I was saying that it's almost like we need something like a 9/11 to wake us up, I would never want that to happen, but I do remember that after 9/11, we were united, because we realized, oh, threats are real, danger is real, like, we, we really do need to be united as one group, a community, and, and recognize that, that we, our brothers and sisters in the streets are not our problem, and-

• 1:42:21Speaker 03

  Yeah, but, we even know about 9/11 now, that, like, so much of it was, like, Building 7, thermite, like, the evidence is there for anyone to look at.

• 1:42:32Joe Rogan?

  Nobody wants to-

• 1:42:33Speaker 03

  And nobody wants to look at it, because, and that is-

• 1:42:35Joe Rogan?

  Nobody wants to look into conspiracy, like, how did these guys get a hold of these planes, how did they fly into the building, who, why were the, the dancing Israelis watching it, cheering it on, why did they get, you know, shipped out of the country?

• 1:42:48Speaker 03

  Yeah, and that guy who, uh, who owned the building, who bought it, who took out it, like, the insurance policy, and then, you know, had Elliot Spitzer kinda push it through and force it through so that he could receive his billions in insurance claim-

• 1:43:02Joe Rogan?

  And why did he say we made the decision to pull it?

• 1:43:04Speaker 03

  Because they wanted to tear, because they wanted to tear down that building, and it would have been too expensive to do, and all the asbestos and everything, so, hey, better to just destroy it.

• 1:43:11Joe Rogan?

  It's like, what was that building housing? Like, Building 7-

• 1:43:15Speaker 03

  Building 7 was housing all sorts of, it was like, was an IRS, uh, I mean-

• 1:43:20Joe Rogan?

  NSA.

• 1:43:21Speaker 03

  Yeah, it was NSA, and-

• 1:43:22Joe Rogan?

  What was in Building 7? Let's find that out, so we don't just- I think, but there was certainly some intelligence and data that was being collected in billion, the, the, the fact that no one wants to admit that that building fell like a controlled demolition is really crazy. And again, I'm not saying it's a controlled demolition, but the fact that people want to say, no, it wasn't like a controlled demolition, like, when was the last time you ever saw a fucking building collapse like that, ever? Only controlled demolitions.

• 1:43:52Speaker 03

  Yeah.

• 1:43:52Joe Rogan?

  There's been many buildings that have been very badly damaged and lit on fire, but their frame remains.

• 1:43:57Speaker 03

  Reputable structural engineers have basically also proven the towers could not have fallen the way they fell without explosives, you know, pre-planned explosives.

• 1:44:07Joe Rogan?

  Okay, here it is.

• 1:44:08Speaker 03

  And the people on the scene, the, the rescuers on the scene, the people who were there said, yeah, I heard explosion, boom, boom, boom, boom, and they're describing the sounds of controlled demolition.

• 1:44:17Joe Rogan?

  US Secret Service, floors nine through 10, CIA, the Department of Defense, sharing the 25th floor with the IRS and the Equal Employment Opportunity Commission.

• 1:44:28Speaker 03

  Like, like you put all that together, CIA, Department of Defense, IRS, you know, who thinks any of those people have your...

• 1:44:35Joe Rogan?

  Right. Like, also, if you wanted to destroy data.

• 1:44:39Speaker 03

  Your best interests in mind.

• 1:44:40Joe Rogan?

  You wanted to destroy data. Like, didn't the part of the Pentagon that got hit wasn't, and that was also a day after Rumsfeld was saying that there was trillions of dollars that were unaccounted for?

• 1:44:49Speaker 03

  Yeah.

• 1:44:50Joe Rogan?

  Didn't the accounting part of the Pentagon get hit by that air quotes plane?

• 1:44:55Speaker 03

  Yeah. Yeah, that, that plane that was, that plane that came in very...

• 1:44:59Joe Rogan?

  What's that, Jamie?

• 1:45:00Speaker 04

  On screen.

• 1:45:01Joe Rogan?

  The building contained about 24,000 gallons of diesel fuel for generators used by tenants like Solomon Brothers and the Emergency Command Center. Floors 46 through 47 and parts of the lower level were mechanical spaces while files from federal investigations, uh, Secret Service cases were stored there but lost in the collapse.

• 1:45:20Speaker 04

  And the SEC.

• 1:45:21Joe Rogan?

  And the SEC, whoopsies.

• 1:45:24Speaker 03

  And has the world been the same since then?

• 1:45:26Joe Rogan?

  The SEC, like, having that there too, boy, that's super convenient. Guys, we lost the data. Let's just start from scratch. There's no case anymore. Whatever they were doing.

• 1:45:37Speaker 03

  And yet, nobody wants to accept it. Nobody, and nobody cares, actually.

• 1:45:41Joe Rogan?

  What's the video of it? That is like, really shocking. I had this really dumb guy on the podcast once that was a skeptic, a professional skeptic, and he was really angry with me for saying that it looked like a controlled demolition. You, you know, you're... You're promoting a dangerous conspiracy theory. I'm like, no, I'm saying it looks like. You're saying it doesn't look controlled. Let's watch it. I'm like, let's watch it.

• 1:46:04Speaker 03

  I mean, conspiracy theorists have had a pretty good run lately.

• 1:46:08Joe Rogan?

  Let's watch it. Let's watch Building 7 collapse, because it's kind of kooky. Now, one thing that people do point out that is true is that the center, like, there is a small structure at the top of the roof of Building 7 that collapses first. And it does it, like, I think a minute before the actual building collapses.

• 1:46:27Speaker 03

  Yeah, but these are skirt buildings. And what that means is, that's actually the most structurally sound part of the building. The rest of the movie is a facade that's hanging off of the inner structure.

• 1:46:35Joe Rogan?

  Yeah.

• 1:46:35Speaker 03

  Yeah, that's the most sound part of the building.

• 1:46:38Joe Rogan?

  It's built over a Con Edison substation requiring large transfer trusses on lower floors to support the tower above, creating long-span floors vulnerable to thermal expansion. Long unsupported floor beams and girders up to 50 feet connected to critical interior columns like Column 79 with sheer studs that failed under fire-induced lateral loads rather than just gravity.

• 1:47:04Speaker 03

  It was the auto manual flip-flop.

• 1:47:05Joe Rogan?

  The exterior tube frame provided stiffness, but the open interior layout lacked redundancy to prevent fire-induced progressive collapse with connections not designed for horizontal thermal forces.

• 1:47:21Joe Rogan?

  Okay, that's a cute way of saying that's why it fell at free-fall speed and looks like a controlled demolition, because if that was my building, I would say, give me my fucking money back. You made this shit-ass building? This building got lit on fire and just collapsed on itself? Let's watch it collapse, because the way it collapses is so kooky, because it really does it at free-fall speed or close to it. It's strange. Like, there's never been a building that looks that intact that falls like that. It's weird, man. I mean, it's fucking weird. Anybody that says it's not weird, look, this is how it happened.

• 1:48:00Joe Rogan?

  It's weird. Now, the planes hitting Tower One and Tower Two. Okay, that makes maybe more sense to me.

• 1:48:08Speaker 03

  Does it?

• 1:48:09Joe Rogan?

  Yeah.

• 1:48:09Speaker 03

  Does it?

• 1:48:10Joe Rogan?

  Yeah, because it fell from the top down, like it looks normal. It doesn't collapse into its base. Tower Seven collapses into its base. The way Tower One and Tower Two fell-

• 1:48:20Speaker 03

  But how about the testimony of people saying they heard multiple pop, pop, pop, pop, pop explosions? Is that just girders snapping?

• 1:48:24Joe Rogan?

  It could be, yeah. I mean, you gotta think, you have immense, immense amounts of weight. And it is collapsing. So if it does collapse, the way it looks it's collapsing from the top down, it's not gonna be silent. You're gonna hear tremendous explosions when concrete hits the slabs below it. It's gonna sound like explosions. Also, you have the fog of war, right? So you have these people that are involved in an extremely traumatic situation, and their memory is very fucked. Like, y- your memory's fucked when you experience something like this. You remember things funny. You have confirmation bias. There's a lot of weird stuff that happens. So this is the, this is the explanation, that a piece of the plane falls down and hits that building and- That's a big tower on top. Yeah, yeah, yeah. I'm sorry, a piece of the-

• 1:49:07Speaker 03

  The aerial antenna.

• 1:49:08Joe Rogan?

  Building, I meant to say, sorry. So that, that piece of the building falls down, and not a plane, obviously, to- Hits the building next to it, Tower Seven, and that gash is all it took to take that building down. That's super suspect. And I do know that there was a fire inside the building, I'm sure. I'm sure there was. But the way it fell was crazy. That, see, Tower One and Tower Two, it's like, I don't know what happens when a jet flies into a, a building like that, and neither do you. And also, you gotta deal with corrupt construction companies, cutting corners, not doing things up to code. Perhaps, perhaps. I'll give you that, I'll be super charitable. But with Building Seven, I'm like, come on, man, that's weird. That one's fucking weird.

• 1:49:53Joe Rogan?

  Cause it doesn't fall like One and Two. One and Two fall from where the impact was, the deterioration of the structure, the weight of what's above the impact. It falls down on it, and you see a progressive collapse from the top to the bottom. Tower Seven is nuts. Tower Seven just drops. Just drops all at once, free sp- free fall speed into its base.

• 1:50:18Joe Rogan?

  That's weird.

• 1:50:20Speaker 03

  Yeah.

• 1:50:20Joe Rogan?

  Anybody that doesn't think that's weird is being naive.

• 1:50:23Speaker 03

  Yeah.

• 1:50:23Joe Rogan?

  It's never happened before to a building that hasn't been a controlled demolition. Again, not saying it's a controlled demolition. Maybe it's accurate that these enormous drums of diesel are creating this fire unprecedented load on the structure of the building.

• 1:50:38Speaker 03

  But see, even with-

• 1:50:39Joe Rogan?

  But even that-

• 1:50:40Speaker 03

  With everything else that occurred, with all the tangential stuff that's occurred, you're still giving the benefit of the doubt. You'll have suspension of disbelief.

• 1:50:48Joe Rogan?

  No, no, no, but I'm saying right now, I was trying to finish. That fire is not on every floor uniformly. So why is it collapsing uniformly from the top down into the base? Why doesn't the base where you have this incredible fire load, why doesn't that weaken and it fall over sideways because it no longer has structure anymore? Why is it every floor has the same amount of damage and it gives in at the exact same time? That kind of doesn't make sense because the fire is not uniform throughout the building. It's not like the building is one gigantic flame ball and then it all gives out at the same time. But even then, I would think it would tip over. It would fall to the side.

• 1:51:30Joe Rogan?

  Falling into its base, that seems to indicate some sort of a control. Like it was done uniformly, they time it. When you watch like in Vegas when they blow up a casino, it's like dum dum dum dum dum dum dum, and then it does that.

• 1:51:46Speaker 03

  Dum dum dum dum dum.

• 1:51:47Joe Rogan?

  Let's watch, watch an actual controlled demolition.

• 1:51:51Joe Rogan?

  So when you watch an actual controlled demolition, it looks just like that. It looks just like that. And then, I don't know.

• 1:51:58Speaker 03

  I mean, the testimony of your eyes are telling you the truth.

• 1:52:01Joe Rogan?

  Mm-hmm.

• 1:52:02Speaker 03

  But your brain, you know, will come up with all sorts of stuff because mundus valt decip.

• 1:52:09Joe Rogan?

  Well, I'm not allowing it to with Tower 7. I've always maintained a pretty open mind with that. But also, I lean towards shenanigans in that one because that one just seems fucked. Tower 1 and Tower 2, maybe, maybe. Tower 7, come on.

• 1:52:28Speaker 03

  Yeah.

• 1:52:28Joe Rogan?

  Tower 7, nobody looks, and if they're, if they're telling you that Tower 7 seems normal, that seems, they seem so gaslighty. Everybody that says that seems like they're gaslighting. So here we go. Hit it.

• 1:52:43Joe Rogan?

  Okay, this one's they're setting up for a controlled demolition, so they're showing you how. That's kind of a shitty one. There's other ones that have done a better job with. But it's the same kind of thing.

• 1:52:51Speaker 03

  It's still falling into onto itself.

• 1:52:53Joe Rogan?

  Yes, it's falling into itself the same way Tower 7 did.

• 1:52:56Speaker 03

  See that movie, that that building has a

• 1:52:58Joe Rogan?

  That's a different shape.

• 1:52:59Speaker 03

  That has a skirt building, it's got a center structure in the middle.

• 1:53:02Joe Rogan?

  Yeah, it's a different kind of structure, it has a different look to it. Let's watch that one, okay. There, like there. Come on. That looks exactly like Tower 7. When you watch that, back that up again a little bit, please. Watch that from the top, from the beginning. Just a little bit before, right before it drops. So watch, they're looking, they're watching, we're gonna watch the building drop. There it is. That fucker goes right down like Tower, like from there, come on. That's exactly like a controlled demolition.

• 1:53:30Speaker 03

  You know.

• 1:53:31Joe Rogan?

  And even the way it looks as it's going down, looks exactly like Tower 7.

• 1:53:35Speaker 03

  You know, we were talking about predictive programming and how movies and like spells can predict stuff in advance and you know, kind of prepare you for the future of what's coming. You know, in 1999, a movie came out which was effectively a manifesto. And that movie was called Fight Club. And, uh, and what's the end of that movie? The end of that movie is the collapsing of the buildings which are the financial system, you know, of the future so that they can create a new future. Who produced that movie? Arnon Milshon. Who is Arnon Milshon? And they got a commercial director to do it, Fincher. And he's like, he's an excellent director and I think it's a excellently beautifully made film. But who is Arnon Milshon?

• 1:54:20Speaker 03

  Well, you know, he himself has said, "I am a Mossad agent." And he said that out loud, like that's not me saying that, that's him saying that. And Fincher said, "Oh yeah, my last movie, oh, that was made by an arms dealer." Well, that's him, that's Arnon Milshon. And so, you know, and what's another Arnon Milshon movie? Uh, The Medusa Touch with, uh, George C. Scott. And I think Lee Rimick. And in that movie, what happens? An airplane crashes into a building, and you could probably pull that one up too. An airplane crashes into a building. This guy's obsessed with airplanes crashing into buildings and buildings collapsing in movies. And so, what's likely?

• 1:55:01Speaker 03

  You know, is he, has he been reading, uh, these scenario plans that, uh, defense departments make? And that are maybe, you know, uh, Mossad, you know, plans that are made. I've worked for the DOD through John Millius. And we wrote scenarios. They gathered together a bunch of Hollywood writers into a, you know, into a, what is it, like a conference room, like a, it was like more like a ballroom, but like a small one. And gather a bunch of us together around a table and said, let's come up with ways on how to attack Los Angeles. And we all wrote scenarios.

• 1:55:34Joe Rogan?

  Oh, God.

• 1:55:35Speaker 03

  On how to attack LA. And now they just use AI to do all that. But so, you know, has he just been like reading these? Does he have access to them? And so he just puts them into his movies? Well, that movie was made in 1999. And what happened right after that movie got released?

• 1:55:51Joe Rogan?

  Nine eleven.

• 1:55:51Speaker 03

  Those buildings came down. Nine eleven came down. And so is it predictive programming? Where you're showing the world what's to come? And that makes it almost somewhat acceptable to do?

• 1:56:02Joe Rogan?

  Whoa.

• 1:56:02Speaker 03

  Or is it just coincidence?

• 1:56:05Joe Rogan?

  And he just happens to be Mossad.

• 1:56:06Speaker 03

  And most people out there will say, oh, no, it's just coincidence. It's coincidence. He just happens to be. I mean, that's what's, what he has said. I don't know if he is or not Mossad, but that's what he said. So.

• 1:56:16Joe Rogan?

  Well, that's the thing about the majoritism term conspiracy theorist. It's slapped on things and it immediately sort of diffuses any real questioning of, oh, my God, are things this bad? Is there this much? But as time goes on and you're confronted with more and more information. And I think we're in the beginning stages of reckoning with these files that were just released where so many people like, I haven't really read much of it. I've only read the things that are really outrageous that my friends have sent me. Because I'm just trying to maintain my sanity.

• 1:56:49Speaker 03

  Well, that's just it. Most people want to maintain sanity. You just, like, I just want to get through the day. You know, I just want to like.

• 1:56:55Joe Rogan?

  You're busy.

• 1:56:55Speaker 03

  Yeah, well, and it's even more than busy. I want to be happy.

• 1:56:58Joe Rogan?

  Right.

• 1:56:59Speaker 03

  I want to raise my children in a, in a world that is, you know, a peaceful world and where people respect each other and where we can like, you can make something out of yourself, you know, through hard work and through merit, you know, it's like, that's the world I want to live in. And more and more, it feels like we're not in that world.

• 1:57:18Joe Rogan?

  Did you see that thing that was just released today? I think it's the AI company Anthropic. I think that's the company. So one of its engineers resigned and essentially said that humanity is doomed.

• 1:57:32Speaker 03

  Yeah.

• 1:57:33Joe Rogan?

  And he's going to move to the UK and just write poetry and just wait it out.

• 1:57:38Speaker 03

  Hasn't that guy seen Threads?

• 1:57:42Speaker 03

  The UK is like one of the most dangerous places to be. That's where he's going to wait it out? Like, that's a...

• 1:57:47Joe Rogan?

  Well, he probably has a romantic idea.

• 1:57:49Speaker 03

  When he says UK, does he mean like where does...

• 1:57:50Joe Rogan?

  I'm not sure. Maybe he means like the Scottish Highlands. Maybe he's gonna hide.

• 1:57:54Speaker 03

  Yeah.

• 1:57:55Joe Rogan?

  And go into some small town and fucking just hang out at a pub.

• 1:57:58Speaker 03

  Yeah, they're gonna populate that town with

• 1:58:02Speaker 03

  suddenly 800 war-capable men from

• 1:58:07Joe Rogan?

  Yeah.

• 1:58:07Speaker 03

  Another country are gonna move in and they're gonna move into the local town.

• 1:58:10Joe Rogan?

  Someplace that the West has conveniently been bombing and creating refugees on.

• 1:58:15Speaker 03

  Yeah, creating angry people.

• 1:58:16Joe Rogan?

  Yeah.

• 1:58:17Speaker 03

  Yeah, and who have a...

• 1:58:18Joe Rogan?

  God, you don't wanna think that it's all planned out like that, but...

• 1:58:22Speaker 03

  Of course you don't, like, you know...

• 1:58:24Joe Rogan?

  But that was a bit of the exposure of USAID. You know, so I, like many people, thought USAID was about aid. I thought it was like a beautiful philanthropic program where the United States donates money to all these poor countries. That's how they get food. Like, I had Bono on the show and he's like, "I've heard that 30,000 people have already starved to death because of this. 30 million people are gonna die." And I'm like, "Okay, but do you know how much corruption was involved with this? Do you know that it's not aid? It's the Agency for International Development? And mostly what they were doing was regime change shit?" And Mike Benz laid it out and he said USAID was for tasks that were too dirty for the CIA.

• 1:59:05Speaker 03

  Yeah.

• 1:59:06Joe Rogan?

  Which is crazy. So like, if they've been engineering this long game and engineering the collapse of legitimate governments all throughout the world, bombing places, creating refugees, and then having these not just open border policies, but inviting and helping people get into countries and then giving them money when they get there.

• 1:59:28Speaker 03

  Yeah.

• 1:59:29Joe Rogan?

  Like, so many people do not want to admit that that was really going on, despite all of the evidence. That's another, like, it's designed to destroy whatever confidence you have in law enforcement, in civilization, in the electoral process.

• 1:59:46Speaker 03

  What's the answer? Okay, so, given a choice between totalitarianism or cannibalism, you know, which would you prefer?

• 1:59:54Joe Rogan?

  Right, right. You take cannibalism because you don't want to be eaten. Yeah.

• 1:59:58Speaker 03

  Yeah.

• 1:59:59Joe Rogan?

  No, I mean, you take totalitarianism.

• 2:00:00Speaker 03

  You take totalitarianism because you prefer it.

• 2:00:01Joe Rogan?

  Because you don't want to be eaten.

• 2:00:02Speaker 03

  I would rather not be in the movie The Road.

• 2:00:05Joe Rogan?

  Oh, God.

• 2:00:06Speaker 03

  But I feel like we're...

• 2:00:07Joe Rogan?

  I turned that one off immediately.

• 2:00:08Speaker 03

  I feel like we're increasingly in the movie Children of Men.

• 2:00:10Joe Rogan?

  Hmm.

• 2:00:11Speaker 03

  And, I mean, that's, that movie was a pretty accurate futurist, uh, example of where we're heading.

• 2:00:18Joe Rogan?

  Yeah.

• 2:00:19Speaker 03

  With collapsing birth rates and...

• 2:00:20Joe Rogan?

  Mm-hmm. Yeah.

• 2:00:21Speaker 03

  At least portions of civilization looking at extinction.

• 2:00:24Joe Rogan?

  Yeah.

• 2:00:25Speaker 03

  And, uh...

• 2:00:26Joe Rogan?

  I mean, they're experiencing that right now.

• 2:00:27Speaker 03

  Totalitarian.

• 2:00:28Joe Rogan?

  South Korea, Japan.

• 2:00:29Speaker 03

  Yeah.

• 2:00:30Joe Rogan?

  What is, can you find that guy's manifesto?

• 2:00:32Speaker 03

  I think, yeah.

• 2:00:33Joe Rogan?

  Excuse me.

• 2:00:34Speaker 03

  Kouroune is a genius for making that film. I just want to say.

• 2:00:35Joe Rogan?

  Children of Men?

• 2:00:36Speaker 03

  Yeah.

• 2:00:37Joe Rogan?

  Fantastic movie. Um, so, "Today is my last day at Anthropic. I resign. Here's the letter I shared with my colleagues explaining my decision." That's a lot to read. What is the synopsis? Just ask perplexity what the synopsis of what this guy, um, said. Okay. "Sharma, who built defenses against AI-assisted bioterrorism and pushed for transparency on model risks at the San Francisco AI firm, announced his resignation on Monday. He described struggles to let values guide actions amid mounting pressures, planning to return to the UK for a poetry degree, and step back from the spotlight. His exit follows other safety team departures amid Anthropic's launch of Claude Opus 4.6 in a massive $20 billion

• 2:01:20Joe Rogan?

  funding round at $350 billion valuation, fueling debates on balancing safety with commercial speed." Okay, but what is he saying specifically is the issue?

• 2:01:36Joe Rogan?

  Let's click on that. Let's, fuck it, let's click on his-

• 2:01:39Speaker 03

  His AI started talking to him and scared the bejesus out of him.

• 2:01:42Speaker 04

  The safe holds. He's part of the guiding of the, damn it, I lost the word.

• 2:01:49Joe Rogan?

  Yeah, um.

• 2:01:51Speaker 03

  Bio weapon. I mean, look, this guy's built something and all of a sudden, he's realizing all the players that are funding it are likely, you know, scary, scary people.

• 2:02:04Joe Rogan?

  Yeah, scary people who are comfortable.

• 2:02:06Speaker 03

  Who are all in the same club, you know, drinking baby blood and oful together.

• 2:02:11Joe Rogan?

  What's oful again?

• 2:02:12Speaker 03

  Shit, muconium, muconium, which is like, it's a thing-

• 2:02:16Joe Rogan?

  Baby poop.

• 2:02:17Speaker 03

  Yeah, that's in the files.

• 2:02:18Joe Rogan?

  What comes next, I do not know. I think fondly of this famous Zen quote, "Not knowing is most intimate." What? "My intention is to create a space to set aside the structures that have held me these past years and see what might emerge in their absence." He's already working on his poetry right here. "I feel called to writing that addresses and engages fully with the place we find ourselves and that place, that places poetic truth alongside scientific truth as equally valid ways of knowing."

• 2:02:50Speaker 03

  Yeah, it was written for him by AI.

• 2:02:52Joe Rogan?

  Elon said something very bizarre recently. He was talking about the speed of light, that the speed of light cannot be, you can't bypass or exceed the speed of light.

• 2:03:02Speaker 03

  If you believe Einstein, yeah.

• 2:03:03Joe Rogan?

  He said, "Unless we live in a simulation."

• 2:03:06Speaker 03

  Or unless Einstein was wrong.

• 2:03:07Joe Rogan?

  Right.

• 2:03:08Speaker 03

  I mean, a lot of astrophysics is based on a false premise that P equals P prime, and that the sun is like, designed a certain way, and it's completely wrong. And everything that we know about the stars and how we view the nature of the universe is fundamentally incorrect.

• 2:03:25Joe Rogan?

  How is it wrong?

• 2:03:27Speaker 03

  Uh, it's, it's based on this idea of the stability of Kelvin temperatures in the sun and, uh, which is this P equals P prime, uh, thing. And the guy who invented like CAT scan machines, there's sort of a Venn diagram overlapping of, uh, of, you know, this photographic technique and astrophysics. And what he realizes, holy cow. That is not true, and therefore so much of everything that we know about how we view the cosmos is incorrect. And so, um, and much- Now, how'd they find out that it was incorrect? Well, he, he's a mathematician. He figured it out. I would have to look up his name and everything. And what is incorrect about it? Do you remember that?

• 2:04:12Speaker 03

  Uh, well, it's, it's, at the beginning of astrophysics, there is this formula, and if that formula is wrong, then the preceding calculations are also wrong, or at least off. And so, the idea is that, you know, what we view is, is really just a, it's kind of a cartoon that's painted for us, using all these formulas, and, and using radio telescopes. And so, you know, it's, things are not as they seem. Well, they've already, they already have issues with the findings from the James Webb Telescope. Oh, yeah. Well, that's probably part of it. Yeah, you know, I have to say, like, I mean, I'm a provocateur, and so I'm always interested

• 2:04:56Speaker 03

  in, uh, um, finding that which upsets people's, you know, concepts of things. And that's partly because I'm a screenwriter, and I'm looking for these kind of conflicts, and interesting ideas, and stuff like that. So, take what I'm about to say with a grain of salt. But, uh, the big one, the biggest conspiracy theory that freaks everybody out is flat Earth. Now, I don't know what the Earth is, but experientially, through the testimony of the eyes, it is flat. And there is very little chance that I will ever in my life, or most of us will ever in our life, experience anything other than what is effectively a flat Earth.

• 2:05:39Speaker 03

  And, uh, you know, and, and, you know, the way, uh, laser sighting across large bodies of water, or navigation map, maps for air, air travel, you know, for, for pilots, is always the presumption of a flat Earth. It's always in the pilot manuals, and on, and on maps. How so? Well, if you're flying a jet at low altitude, you're not making corrections for curvature, even though you're going fast enough where you should be. And so, what's actually happening there? Well, um, and so the, the idea is, look, I don't know what the world is, or what the realm that we're in is, but experientially, from my perspective, in life, it is nothing but a, it's a flat earth.

• 2:06:24Joe Rogan?

  But what about travel routes? Like, what about when they fly over Antarctica? What about, what if they?

• 2:06:29Speaker 03

  That's, well, they don't fly over Antarctica.

• 2:06:31Joe Rogan?

  Well, you can watch the sun rise and fall as you fly.

• 2:06:34Speaker 03

  They don't even, they don't even fly from Cape Town to Buenos Aires.

• 2:06:37Joe Rogan?

  There's a understanding of the procession of the equinoxes.

• 2:06:40Speaker 03

  They travel up into, into the other hemisphere and like land in London or something, and then travel back down whenever you're doing a, a flight across the Atlantic. And so, like, uh, when you look at it on a flat earth map, and there are plenty of them.

• 2:06:53Joe Rogan?

  Satellite photographs of earth from space.

• 2:06:55Speaker 03

  Those are all cartoons.

• 2:06:56Joe Rogan?

  What are you talking about?

• 2:06:57Speaker 03

  I'm saying that, uh, even the NASA, the guys who actually do those composites, those are composite imagery of, uh, listen, I'm not, I am not saying that, uh,

• 2:07:08Joe Rogan?

  But it seems like you're saying that the earth is possibly flat.

• 2:07:10Speaker 03

  I'm saying experientially.

• 2:07:12Joe Rogan?

  Right, but, but that's a scale. That's a scale issue, though.

• 2:07:16Speaker 03

  Correct.

• 2:07:17Joe Rogan?

  We're a tiny little thing on an enormous thing.

• 2:07:20Speaker 03

  Correct.

• 2:07:20Joe Rogan?

  But, you know, snipers have to calculate for the curvature of the earth when they shoot.

• 2:07:25Speaker 03

  Only, only the curvature of the landscape that they're on.

• 2:07:28Joe Rogan?

  Right, why do you think the landscape curves?

• 2:07:30Speaker 03

  The landscape doesn't curve, the, it is a mountainous and uneven.

• 2:07:35Joe Rogan?

  Not always, no, no, on flat plains, you have to do the same thing. If you're making a long shot over a flat area, like if you had to shoot...

• 2:07:42Speaker 03

  Well, then why, then why don't pilots make adjustments?

• 2:07:45Joe Rogan?

  I'm not a pilot, I don't know, but, but I do know that when you look at the

• 2:07:49Speaker 03

  Navigation maps always say.

• 2:07:50Joe Rogan?

  The film from the space station.

• 2:07:51Speaker 03

  Presume a flat earth.

• 2:07:52Joe Rogan?

  When you look at the film from the space station, you see an earth that's not just round, but spinning.

• 2:07:58Speaker 03

  I see, what I, actually, this, the, the space station, you know, the, uh, the International Space Station is actually not high enough to see curvature. And what you're seeing is, uh, lens, you know, the lens distortion.

• 2:08:12Joe Rogan?

  It's not high enough to see curvature when you look out into the horizon?

• 2:08:16Speaker 03

  It's actually even like, it's very, very close to the...

• 2:08:19Joe Rogan?

  Let's look at footage from the space station of Earth. So, when you see satellite images that are taken of the Earth, you think they're lying? You think there's this grand conspiracy to piece all these pictures together and turn it into a circle instead of have it flat?

• 2:08:34Speaker 03

  All I'm saying is, that's the fundamental conspiracy theory that unravels everyone.

• 2:08:40Joe Rogan?

  Well, it doesn't make any sense because everything that we see in the cosmos, that's a planetary body, is round, including stars. So, it's all round, except for small moons. Everything is round, and that's because...

• 2:08:53Speaker 03

  I'm not even, I'm not even certain, certain...

• 2:08:57Joe Rogan?

  That space exists.

• 2:08:58Speaker 03

  That, well, that the moon is anything more than a plasma.

• 2:09:01Joe Rogan?

  A plasma?

• 2:09:02Speaker 03

  Yeah.

• 2:09:03Joe Rogan?

  What does that mean?

• 2:09:04Speaker 03

  That it's a, that it's a plasma effect, a lenticular effect of some kind.

• 2:09:09Joe Rogan?

  So, that it's not a real thing, but it affects the tides? It is something that we have landed, at the very least, we've landed probes on?

• 2:09:17Speaker 03

  We don't, we don't know that it affects the tides. People theorize that it affects the tides.

• 2:09:21Joe Rogan?

  So, this is footage from the space station. This is live footage from the space station.

• 2:09:26Speaker 03

  And I'm saying that that's lens, and I'm saying that's lens curvature, and that what you're actually seeing...

• 2:09:30Joe Rogan?

  Why do you think that's lens curvature?

• 2:09:32Speaker 03

  And that what you're seeing is horizon.

• 2:09:33Joe Rogan?

  So, what you're talking about is like a fisheye lens?

• 2:09:36Speaker 03

  If I'm trying to provoke you, that's what I'm saying.

• 2:09:37Joe Rogan?

  Right, but let's not do that right now, because I don't want you to be completely fucking insane. Because this is a round body, just like the moon, just like Mars, just like Jupiter, just like Uranus.

• 2:09:48Speaker 03

  That appears, that appears to be, but in, but in your practical life experience, you have to accept a certain amount of faith, is what I'm getting at, at any moment.

• 2:09:57Joe Rogan?

  But they understand the procession of the equinoxes. Okay, do you know that the procession of the equinoxes is how they measure the sky over a period of 26,000 years?

• 2:10:08Speaker 03

  I see right there, a little stitching, like right there.

• 2:10:12Joe Rogan?

  So, this would just keep going straight forever?

• 2:10:15Speaker 03

  Do you see that line? Do you see that line right there? What is that?

• 2:10:18Joe Rogan?

  What is that line?

• 2:10:19Speaker 03

  Yeah, what is that line? Well, that looks like stitching to me. It looks like they've stitched together and it crosses over there through that mountain range right there.

• 2:10:26Joe Rogan?

  That is weird, whatever that is.

• 2:10:28Speaker 03

  So, for your, by your very example, I'm just saying that you have to have a certain amount of faith in that. And on the surface, mundus volunt decidit.

• 2:10:36Joe Rogan?

  Okay, okay. You're freaking me out. Go back, go back to that, Jamie. So what is the expla, go back a little bit?

• 2:10:42Speaker 03

  Yeah, what is the explanation of that line right there?

• 2:10:45Joe Rogan?

  Right, but how weird is that? That is weird that there's this line.

• 2:10:48Speaker 03

  Right, because that in itself is a composite image, a cartoon, that has been put together for you to look at this, this apparent live imagery.

• 2:10:57Joe Rogan?

  So, is this multiple images that are supposedly pieced together? Is that what they're?

• 2:11:04Speaker 03

  I'm saying that things fall into, like, the way perspective works is that things appear to fall into the horizon. But now you use a, what is that camera? Is it a P200 camera? That, where you can actually zoom in and lift things out of the horizon that have appeared to fall into the horizon.

• 2:11:21Joe Rogan?

  This live video, this live video feed from the International Space Station has been temporarily interrupted.

• 2:11:25Speaker 03

  Has been interrupted because you're watching too much.

• 2:11:27Joe Rogan?

  Do either a change on the onboard camera configuration or a loss of signal with the communications network. The video will return when the connection is reestablished. So this is during the live feed?

• 2:11:37Speaker 04

  This isn't from NASA's YouTube channel, it's just down right now.

• 2:11:40Joe Rogan?

  It's just down right now. Okay, so you're, you're saying that this is like a fisheye effect of a lens?

• 2:11:46Speaker 03

  Yeah, I'm saying that.

• 2:11:47Joe Rogan?

  Potentially.

• 2:11:48Speaker 03

  I'm saying that, and, and that we can even see that whenever they're up there shooting with, uh, cameras outside, you're like, oh, there's the, there's the, there's the curvature, and then every now and then the camera turns and the, and it inverts for a moment, then it goes back down.

• 2:12:02Joe Rogan?

  I've never seen that.

• 2:12:02Speaker 03

  I, I, I watch a lot of NASA stuff and, listen, I'm not saying that we're not living on a globe, or at least an oblate spheroid, as Neil deGrasse Tyson says, but have you ever noticed how spasticated that guy gets whenever you throw out the word "flat earth"? He flips out, like the way Robert De Niro flips out on, uh, on, like, irrationally, he flips out.

• 2:12:24Joe Rogan?

  Well, he flips out when you say that men can't be women. Which is very weird.

• 2:12:29Speaker 03

  Yeah.

• 2:12:29Joe Rogan?

  And that they should be able to compete in women's sports. Which is very weird. Like a man, for a man of science, that's bonkers.

• 2:12:36Speaker 03

  Or that they should be able to go to jail and that a sex offender.

• 2:12:39Joe Rogan?

  Yeah, fucking insane. Not just that, but rapists.

• 2:12:42Speaker 03

  Yeah.

• 2:12:42Joe Rogan?

  Like people have raped children. And then they have to pay for their electrolysis and breast augmentation, which is okay. At what point in time do you say that this is some sort of a bizarre agenda that you're trying to get us to accept something that doesn't make any fucking sense? So much so that you're willing to house male prisoners in with females? Because they say they're a male with an intact penis? And then even after they get, like, female prisoners pregnant or rape them?

• 2:13:11Speaker 03

  We're all just trying to construct what reality is. And it tends to be a consensus of what it is. But, you know, there are fringes that, on the ends, that don't believe with what the consensus says.

• 2:13:24Joe Rogan?

  I understand.

• 2:13:25Speaker 03

  Are they wrong?

• 2:13:26Joe Rogan?

  But do you know how many people would have to be involved to promulgate this idea that there's a flat earth? And you gotta cover up that thing and pretend it's round? And what, what's the motivation of covering up the fact that the earth is flat?

• 2:13:39Speaker 03

  It's in, I mean, if we're really fundamentally getting down to it, it's about God. And it's about what is this realm that we're in and are we part of creation? And, uh, you know.

• 2:13:50Joe Rogan?

  But why would, why would it be more likely God if it was flat?

• 2:13:54Speaker 03

  Every culture throughout recorded history draws us in this kind of flat, earthish environment with a dome affirmament that covers it up. Until like when? Uh, the 1930s or so?

• 2:14:08Joe Rogan?

  Right, when they start making telescopes.

• 2:14:10Speaker 03

  Well, and.

• 2:14:11Joe Rogan?

  Right, I mean, so this is a grand conspiracy, like Galileo was wrong, Copernicus was wrong, all these people didn't know?

• 2:14:17Speaker 03

  All of recorded history is wrong. And, I mean. The other, the other option is that we are just specks of nothing floating around in an endless vast nothing that goes on forever and that you are completely insignificant, that you are not God's perfect creation, which I think you are.

• 2:14:36Joe Rogan?

  Well, that doesn't, they're not mutually exclusive, you know, just because we are in this vast cosmos that's almost impossible for mammal minds to, to grasp the magnitude of it, doesn't mean that God's not real.

• 2:14:50Speaker 03

  It's exclusive to people who, who believe the Bible word for word. I'm not saying I do necessarily. I, I am, uh, I would be considered apostate, you know, by most, uh, by most people.

• 2:15:04Joe Rogan?

  I've been reading the Bible a lot and one of the problems that I find is it's clearly got the hand of man on it.

• 2:15:11Speaker 03

  Well, it's been edited.

• 2:15:11Joe Rogan?

  Yes.

• 2:15:12Speaker 03

  It's been edited, you know, the King James, or who was King James? He wrote Bible, he wrote books on demon, on demons as well. And so, uh,

• 2:15:19Joe Rogan?

  Well, even the Old Testament. The Old Testament has the hand of man on it. Not just that, but it's also been translated so many different times. Like ancient Hebrew, the letters double as numbers. There's no numbers in ancient Hebrew. So words have numerical value to them.

• 2:15:33Speaker 03

  Yeah, yeah.

• 2:15:34Joe Rogan?

  And, you know, imagine translating such a complex language where like the, the word God and the word love, they have the same numerical value. I believe. I read, here's another thing. I've read that. I don't know if it's true. So let me find out if that's true. Put that into perplexity.

• 2:15:50Speaker 03

  There's a lot of weird stuff in the Bible. In Gen- in Genesis, when

• 2:15:54Joe Rogan?

  How about the Book of Enoch?

• 2:15:56Speaker 03

  The Nephilim come down and they find women comely and so they, like, okay, what's actually going on there? These angels or Nephilim are, are coming down and they're taking women from men and having sex with them and then creating, uh, you know, hybrid offspring.

• 2:16:15Joe Rogan?

  When Representative Anna Paulina Luna was here, she told me about the Book of Enoch. She's like, you have to read that. Have you ever read it? I go, no. So I read it. Holy-

• 2:16:24Speaker 03

  Have you seen The Carpenter Son, the Nicolas Cage movie?

• 2:16:26Joe Rogan?

  No.

• 2:16:27Speaker 03

  Incredible. I just-

• 2:16:29Joe Rogan?

  What did I just have you look up though, before I lose my train of thought?

• 2:16:32Speaker 04

  The King James Bible thing?

• 2:16:35Joe Rogan?

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• 2:17:19Joe Rogan?

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• 2:18:02Joe Rogan?

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• 2:18:43Speaker 04

  That's what I was trying to ask specifically. Which part did you want to ask about?

• 2:18:45Joe Rogan?

  No, what I asked you was ancient Hebrew. So the letters also double those numbers.

• 2:18:52Speaker 03

  That's what that movie "Pi" is all about.

• 2:18:54Joe Rogan?

  And that the word "love" and the word "God" have the same numerical value. I'm very... Very certain that that's true, but I want to really double check.

• 2:19:02Speaker 03

  Well, numerology exists around us, everywhere. And, you know, everything, you know, it seems to have a kind of, and that's what the Aronofsky film Pi was kind of all about is that.

• 2:19:12Joe Rogan?

  That was a great movie.

• 2:19:13Speaker 03

  Yeah, it's a very, very.

• 2:19:14Joe Rogan?

  There was also.

• 2:19:15Speaker 03

  He's a very interesting film.

• 2:19:16Joe Rogan?

  A really fascinating statement by this mathematician. We talked about it on a recent podcast, was that, how strange is it that we find out that the universe is made out of math? And that it's encoded in the universe itself? So a tool that we used, that human beings created to measure the universe, it turns out that that, that tool is how the universe is actually encoded.

• 2:19:44Speaker 03

  Well, this gets back to what Elon is saying about the world being a simulation. You know, I mean, what is a simulation? A simulation is a.

• 2:19:51Joe Rogan?

  So it says, "No, in ancient Hebrew," whatever that word is, gematria, "no direct name of God shares the exact same numerical value as the word for love." So what is the basis of that rumor? Sacred name equals 26, a name for God equals 86. Okay. Is there a word for God?

• 2:20:14Speaker 03

  Elohim.

• 2:20:15Joe Rogan?

  Does that have the same?

• 2:20:17Speaker 03

  It's a name.

• 2:20:18Joe Rogan?

  Right. What is the value of, click on that, below that, below that, where it says, what is the gematrik, what was that word?

• 2:20:27Speaker 04

  I had to look it up. It's a.

• 2:20:29Speaker 03

  Gematria.

• 2:20:30Joe Rogan?

  Primary Jewish mystic, oh, Kabbalah.

• 2:20:32Speaker 03

  Yeah.

• 2:20:33Joe Rogan?

  Religious studies define hidden spiritual meanings in sacred texts. Okay. It is fascinating that, that there's numerical value in words. Like, there's no way you're gonna get that when you translate it to Latin. Uh, so that is a gem.

• 2:20:45Speaker 03

  Or Greek.

• 2:20:46Joe Rogan?

  That is a value of 86. And what is love's value? What is the value, what is the ancient Hebrew word for love? What is the ancient Hebrew word for love?

• 2:21:01Speaker 04

  That's gonna, that, what you mean by love is gonna be very, you have to say, do you mean like, love between two people?

• 2:21:09Joe Rogan?

  Okay, what is the gematria?

• 2:21:11Speaker 03

  Love that doggy in the window.

• 2:21:12Speaker 04

  You're like your child.

• 2:21:13Joe Rogan?

  Yeah, yeah, yeah, that's a good point. That's a good point.

• 2:21:16Speaker 04

  Cause they probably have different words for it.

• 2:21:17Joe Rogan?

  Definitely. So, what is that? Click on that. What's the gematria value of Avallah? Right there? Right there? Yeah. Click on that.

• 2:21:29Joe Rogan?

  It's thirteen, so that's a different number too. Interesting. Thirteen twice equals twenty-six, the value of Yahweh.

• 2:21:38Speaker 03

  Yeah.

• 2:21:39Joe Rogan?

  Huh.

• 2:21:40Speaker 03

  This movie, The Carpenter's Son, is all about the infancy of Jesus, and I think it's written by Matthew. And it's part of these, uh, um, I mean, I may have this wrong, but, uh, Coptic texts. And it is like, Nicolas Cage is so good in this movie.

• 2:22:01Joe Rogan?

  So twice thirteen equals twenty-six, the value of Yahweh implying love mirrors or completes God, God's essence. Okay, so that's where that comes from.

• 2:22:13Speaker 04

  I was gonna ask where it came from.

• 2:22:14Joe Rogan?

  Right, that's where it comes from.

• 2:22:15Speaker 03

  God is love.

• 2:22:16Joe Rogan?

  So, God is love, so love twice is God. Um, so here's a, here's a question. What happened, so, go, I understand, I understand. Go to ask a follow-up. Um, so, the, how was the numerical value of ancient Hebrew language lost when they translated it to Latin?

• 2:22:41Speaker 03

  To Greek.

• 2:22:42Joe Rogan?

  But to Greek first, right? How is the numerical value of ancient Hebrew words? Numerical value of ancient Hebrew words lost when they translated it to Greek? Because it seems like if the, it's not just context, like what is your word for that? Like, the word meant a different thing to them. You know? Numerical values of ancient Hebrew words calculated via gematria, uh, where letters double as numbers was not preserved in Greek translations. Um, Hebrew letters inherently carry fixed numerical values, enabling word sums.

• 2:23:27Joe Rogan?

  Um, Greek letters have their own values. Uh, equivalents rarely match Hebrew sums exactly, so you're gonna lose it. Like, you know when you read like, um, Russian translations of English or English to Russian? It gets like, super screwy.

• 2:23:42Speaker 03

  For sure, for sure.

• 2:23:43Speaker 04

  Is this for sure, like, real?

• 2:23:44Speaker 03

  Ancient Spanish, uh, Cervantes is incredibly difficult.

• 2:23:48Speaker 04

  Does gematria even, like, all? All words mean another number that all have some sort of secret meaning?

• 2:23:54Speaker 03

  Runic writing from the Nordics is the same thing, and there is a striking resemblance between many of the runes with Hebrew. And so these ideas and these glyphs and symbols that Odin first saw while hanging upside down from the tree and learned language and how to speak are somewhat universal across the planet.

• 2:24:15Joe Rogan?

  Let's get to that for a second, but let's find out what Jamie's saying. "Primarily used in Jewish mysticism and religious studies to find hidden spiritual meanings in sacred texts like Torah, by assigning numerical values to Hebrew letters and words, revealing connections between concepts, and exploring the universe's underlying structure." What's interesting is like it's an older language, but doesn't that seem like a more complex language? A language that combines numerical value with words? Like if you said something to me, it's not just implied by your tone or by the context of what you're saying that I understand what it means to you, but it's in the numerical value of the words. That seems like a better way to communicate

• 2:25:01Joe Rogan?

  than just nouns and verbs and adverbs like-

• 2:25:04Speaker 03

  Rather than bifurcating-

• 2:25:05Joe Rogan?

  Yeah, numbers and letters together. It sounds like a way better move. I mean, doesn't it? It seems like if you can understand that and if you grew up with that, that seems like that would be a much richer and deeper way of communicating.

• 2:25:19Speaker 03

  Isaac Asimov wrote a book called Asimov on Numbers, which is fantastic, which talks about this. And he talks about Kalahari Bushmen who have no concept of the number zero and how they process and understand concepts like, you know, when no one is around. You know, if the village is empty and things like that. And so, you know, just different people are just trying to-

• 2:25:43Speaker 03

  Figure out how to articulate everything and, you know, computer programming is a language that utilizes numbers.

• 2:25:49Joe Rogan?

  It's weird when there's like certain languages that don't have a word for something. So people really grasp, they have a hard time grasping.

• 2:25:58Speaker 03

  Yeah.

• 2:25:58Joe Rogan?

  What the fuck you're trying to say?

• 2:25:59Speaker 03

  Yeah.

• 2:26:00Joe Rogan?

  Like, what's the translation for this? Like, what, we don't have a word for that.

• 2:26:03Speaker 03

  We don't, we don't understand the concept of empathy.

• 2:26:05Joe Rogan?

  Well, there's certain cultures that are like, tribal cultures that can't understand the concept of maintenance.

• 2:26:15Speaker 03

  Yeah, yeah, yeah.

• 2:26:15Joe Rogan?

  They don't have it.

• 2:26:16Speaker 03

  I've heard that.

• 2:26:17Joe Rogan?

  Yeah, which is weird. Like, you think about it, like, oh, right.

• 2:26:20Speaker 03

  Why would they need maintenance?

• 2:26:21Joe Rogan?

  Right.

• 2:26:21Speaker 03

  Why would they need maintenance?

• 2:26:22Joe Rogan?

  If you live a subsistence lifestyle, you live off the land, you don't need maintenance.

• 2:26:25Speaker 03

  And then suddenly you're thrust into the 21st century and

• 2:26:29Joe Rogan?

  Right.

• 2:26:29Speaker 03

  Chinese are building highways for you and

• 2:26:32Joe Rogan?

  And the highways collapse.

• 2:26:33Speaker 03

  Yeah, and the highways just collapse because no one's maintaining it.

• 2:26:36Joe Rogan?

  Right, yeah. It's interesting. But it's, it's interesting when

• 2:26:40Speaker 03

  You're pulling people out of the Stone Age and dropping them into, or maybe the Iron Age, or, and dropping them suddenly into

• 2:26:48Joe Rogan?

  To take this back to this idea that we're missing a thousand years. So if we really are missing this one, there's two things I want to, I want to get to that.

• 2:26:55Speaker 03

  Added a thousand years.

• 2:26:56Joe Rogan?

  Yeah, yeah, yeah, added a thousand years. I really want to get to that. And, well, I meant by missing, like, they don't, they don't exist in the real world.

• 2:27:04Speaker 03

  Right, right.

• 2:27:04Joe Rogan?

  I want to get to that and I want to get to, is there a conventional explanation for that stitching? Why that image? Like, what is the mainstream?

• 2:27:12Speaker 04

  I gotta dig up what that, what we're even looking at.

• 2:27:15Joe Rogan?

  Right.

• 2:27:15Speaker 04

  I don't, it was not the NASA channel we were looking at. I don't, you know, I can dig down that rabbit

• 2:27:19Joe Rogan?

  What were we looking at?

• 2:27:20Speaker 04

  I, I've tried to pick up a video of live

• 2:27:23Speaker 03

  You know, the globe imagery that

• 2:27:24Joe Rogan?

  Hold on a second. So that image might not have been official image? That might have been something that someone created?

• 2:27:30Speaker 04

  I'm not saying that. Well, let me retract, so words aren't taken out of context. I'm just saying it was, it seemed like a live video. It was live on YouTube.

• 2:27:39Joe Rogan?

  Oh, but it could have been AI horse shit.

• 2:27:42Speaker 04

  I don't know where, who, I, yeah, I have to go back to look at the, I'm trying, I'm working fast over here.

• 2:27:45Joe Rogan?

  No, I get it, dog, I get it.

• 2:27:47Speaker 04

  That's why, I found the, I found the.

• 2:27:48Joe Rogan?

  Jamie, you do the job of 15 dudes, so I appreciate what you do.

• 2:27:52Speaker 04

  I found a video from 11 years ago on Vimeo that is from SpaceX, so it's not NASA, it's someone else, and it's like, it's a up and down of the rocket. You can argue all day that it's got curvature, it doesn't have curvature.

• 2:28:03Speaker 03

  When you see a rocket launch, what does it do? It goes kinda sideways across the sky. And, so, like, we've now seen that, you know, pretty regularly, and that's because they're really not going above the troposphere, which, you know, is.

• 2:28:15Joe Rogan?

  Well, I watched this, I watched the SpaceX launch live. I was there, it went straight up in the air.

• 2:28:20Speaker 03

  And then it curves and it travels sideways across the sky until it meets the horizon.

• 2:28:24Joe Rogan?

  Well, it gets to a certain orbit, and then it traveled and dropped off in Australia 35 minutes later. I went to the commands. No, I watched the entire thing from the command center. I watched it from like 24 different cameras.

• 2:28:38Speaker 03

  Mm-hmm. But how high did it go? Did it go above the troposphere? Not likely, like, this is not above the.

• 2:28:44Joe Rogan?

  Where is the troposphere?

• 2:28:45Speaker 03

  This is, this is like.

• 2:28:46Joe Rogan?

  How many miles is that up?

• 2:28:48Speaker 03

  This is low Earth orbit, where.

• 2:28:49Joe Rogan?

  Right. But at low Earth orbit, Jesus Christ, that looks like a globe, huh?

• 2:28:54Speaker 03

  But watch as the camera rotates, just.

• 2:28:56Speaker 04

  This is also an edited video, I don't wanna get stuck in this fucking space.

• 2:28:59Speaker 03

  Right, right, like, it, this, as Elon would say, it, it's real because it looks fake, or when it looks fake, that's when you know it's real.

• 2:29:06Joe Rogan?

  Say that about Bigfoot, then, bitch.

• 2:29:10Joe Rogan?

  Cause Bigfoot looks fake as fuck, and it's definitely not real. Uh, you know what's real? That Turkish sharpshooter, that dude was like, gee, up in the corner. Um, press play, see what this is supposed to be.

• 2:29:22Speaker 04

  It cuts.

• 2:29:22Joe Rogan?

  It cuts. Okay. Oh, I see, I see.

• 2:29:25Speaker 04

  Yeah, it's just a highlight video of the live.

• 2:29:27Speaker 03

  See, now you can actually see an inversion occurring on the, on the, um, horizon right there.

• 2:29:32Joe Rogan?

  You're only seeing a small piece of it.

• 2:29:33Speaker 03

  Correct, but the lens distortion on the side of the frame is causing the, um, the horizon there.

• 2:29:38Joe Rogan?

  To go the opposite way.

• 2:29:39Speaker 03

  To invert, and that's because of lens distortion.

• 2:29:42Joe Rogan?

  I see what you're saying. It is.

• 2:29:43Speaker 03

  And the fact of the matter is, even at the height, even at the height that these are orbiting at, and I'm not saying, like, presuming, presuming a globular, uh, planet, uh, and even the word planet, plane, it's like a plane at, you know, or the horizon is horizontal, like, uh, you know, even presuming that, the height that they're at right now, you would still only see. You know, a circular, uh, you can see the limit of your vision, which has a-

• 2:30:15Joe Rogan?

  Cause it's so massive.

• 2:30:16Speaker 03

  Yeah, which is because it's so massive. You're still high enough, you're still not high enough to truly see curvature.

• 2:30:21Joe Rogan?

  If we are in a simulation and if consciousness, it affects the reality of things and they are only real if we are experiencing them. That's when things get really squirrely.

• 2:30:33Speaker 03

  The testimony of your eyes. Like, I know that I am here right now.

• 2:30:36Joe Rogan?

  Not just the testimony of your eyes, but your consciousness interacting with reality is what creates it.

• 2:30:43Speaker 03

  Correct. I mean-

• 2:30:44Joe Rogan?

  That's, that's where things get super squirrely.

• 2:30:46Speaker 03

  How do you know gravity exists, for example?

• 2:30:48Joe Rogan?

  Well, gravity's not clearly defined, right?

• 2:30:51Speaker 03

  Correct. Gravity is a, gravity is a concept. And it's a non, truly non-provable concept because you can prove the exact same thing through density and buoyancy. You know, the density and buoyancy, you know, make a lot of, how come the oceans, uh, you know,

• 2:31:07Speaker 03

  react to the way they do and don't, you know, it's, it's, uh, uh, it, it's not necessarily provable, but it's believable. You, you, you come to a certain point where you're like, okay, faith takes over at this point. My faith in that, in gravity, my faith in the globe, uh, because that's what's been told to me since I was a baby. Uh, at, at a certain point, that just takes over and you just-

• 2:31:31Joe Rogan?

  Not just that, but also-

• 2:31:32Speaker 03

  And you accept that as a fundamental piece of what reality is because we want to believe we understand the universe. What I'm saying is, we don't understand jack shit about the universe. We don't know anything. And all we do is we believe what they tell us and they is just the, the cumulative understanding of how things are. But in ancient times, they had a different understanding of things and that was how it was back then. And so, because they had no other way to describe what it was.

• 2:32:01Joe Rogan?

  Right, but even then, they-

• 2:32:02Speaker 03

  So, reality is just-

• 2:32:03Joe Rogan?

  Built things based on where the sun was going to be during the solar equinox. They also were aware of the procession of the equinoxes, which is the wobble of Earth's orbit. So, Earth spinning around doesn't spin perfectly. There is a 26,000 year wobble and you can predict it by the night sky.

• 2:32:22Speaker 03

  Somehow Polaris remains centered in the sky and all stars rotate around it. That's extraordinary. If we're traveling-

• 2:32:30Joe Rogan?

  What do you mean? So during the procession of the equinoxes over a 26,000 year cycle, Polaris-

• 2:32:35Speaker 03

  No, just-

• 2:32:36Joe Rogan?

  Remains in the exact same spot?

• 2:32:38Speaker 03

  Supposedly that's because that's where we're flying towards as a solar system as we travel through the galaxy-

• 2:32:44Joe Rogan?

  Right, but with the procession of the equinoxes, this wobble over a 26,000 year period, it will move in the sky.

• 2:32:51Speaker 03

  Well, the point of Polaris will always remain where it is directly to the north.

• 2:32:58Joe Rogan?

  The point, but our perspective of it will vary depending upon where we are in this 26,000 year cycle.

• 2:33:03Speaker 03

  It undergoes a kind of penumbra of sort, a kind of motion of sorts.

• 2:33:09Joe Rogan?

  It changes.

• 2:33:10Speaker 03

  A figure eight motion through time.

• 2:33:12Joe Rogan?

  It changes. Look at it, it says right here. Due to 26,000 year axial procession cycle, the North Star changes over millennia. While Polaris is the current North Star, other stars have held this position, including Thuban 3,000 B.C. and future stars will include Arrai, Aldermain, Aldermain, Aldermain and Vega. So it's not the same star. It's just what is depended upon where we are in the procession of the equinoxes. That's why.

• 2:33:44Speaker 03

  Well, there it is.

• 2:33:45Joe Rogan?

  It's not that the Earth is flat.

• 2:33:46Speaker 03

  I know it's true because it's on Google.

• 2:33:47Joe Rogan?

  But it's not just that. We know where, they've been able to accurately predict the motion of the procession of the equinoxes based on the constellations, which are clearly mapped out. So we understand this wobble. And this wobble may be responsible for cycles of Earth's climate. How things change and be dependent upon where the equator sits and where these poles sit and how it wiggles around.

• 2:34:12Speaker 03

  Remember when we were younger, the sun was kind of yellow and orange? And now it's just like white? Like, reality is changing. I mean, things change.

• 2:34:20Joe Rogan?

  The sun looks exactly the same to me.

• 2:34:22Speaker 03

  Does?

• 2:34:22Joe Rogan?

  Yeah.

• 2:34:23Speaker 03

  You think the sun is the same? To me, it's-

• 2:34:24Joe Rogan?

  I think pollution has affected it somewhat, especially if you live in L.A.

• 2:34:28Speaker 03

  Well, there used to be more pollution and so maybe that's an excuse of why the sun would be more yellow, but I've lived all over the world.

• 2:34:34Speaker 04

  Did you see Epstein talking about gravity?

• 2:34:36Joe Rogan?

  Oh, boy.

• 2:34:36Speaker 03

  Oh, here we go.

• 2:34:37Speaker 04

  It's interesting.

• 2:34:38Joe Rogan?

  Hit me with it.

• 2:34:39Speaker 04

  It's not, I'll just say-

• 2:34:41Joe Rogan?

  What does he have to say?

• 2:34:42Speaker 04

  It's fine, it's only 45 seconds.

• 2:34:44Speaker 03

  I just let it go.

• 2:34:47Speaker 09

  So someone's pushing the ball. Because I know that, I am confident that the only thing that gets something to move is with a force that pushes. So there's a force that's pushing the ball down. In fact. Yes, come on. He called it gravity. He measured how fast it was pulled. But never was able to explain why it happened. How is it, what is gravity? It's this, everybody says, well, why did the ball fall to the ground? Because gravity took it. But what's gravity? That's, as Feynman would say, that's the name of the thing. We have no idea what it is.

• 2:35:25Speaker 04

  That's the end of that clip. It's really long.

• 2:35:26Speaker 03

  Or it's just density and buoyancy.

• 2:35:29Speaker 04

  He was really into this topic, apparently. Apparently. He knew a lot about it.

• 2:35:33Speaker 03

  You know who you should have on is Eric Dubay. Do you know who this guy is?

• 2:35:36Joe Rogan?

  Oh, he's the Flat Earth guy.

• 2:35:37Speaker 03

  Yeah, he's the Flat Earth guy. And he's written a book called A Hundred Proofs. And in order to prove something, you also have to prove things wrong.

• 2:35:43Joe Rogan?

  You went down some rabbit holes, Roger Avery.

• 2:35:45Speaker 03

  Well, I, I, I, look, I'm a screenwriter. And so I'm always looking for things like this to write stuff about. And so it's, uh.

• 2:35:51Joe Rogan?

  So in order to prove, say that again. In order to prove what?

• 2:35:54Speaker 03

  Whenever you have a proof, you also have to disprove. And so, you know, he, he wrote a book called A Hundred Proofs about, uh, you know, the, the, the nature of, you know, the, the earth and how it is. And it has explanations for many of the things you're, you're talking about.

• 2:36:12Joe Rogan?

  Hasn't he debated people that actually understand how you can prove that the earth is round?

• 2:36:18Speaker 03

  He, he does it very calmly and it infuriates people.

• 2:36:21Joe Rogan?

  Right, but I don't think he's done well.

• 2:36:23Speaker 03

  It's very enjoyable to watch because it's really funny.

• 2:36:25Joe Rogan?

  But to people that are actual cosmologists, he's not performed well in these.

• 2:36:29Speaker 03

  Well, the cosmologists will, uh, say things that still need to be, if you're making statements, they still need to be, you still need to disprove the other, uh, you know, the other proofs.

• 2:36:42Joe Rogan?

  Right, but there's plenty of people that have disproven that the earth is flat.

• 2:36:47Speaker 03

  All I'm saying is experiential. The Joe Rogan experience throughout life. You are really, like, when you go up into an airplane, I do not see the curvature of the earth.

• 2:36:58Joe Rogan?

  Well, you can't because of perspective, because you're so tiny.

• 2:37:00Speaker 03

  Correct, because we're so tiny. So, all I'm saying is that through experience, that the testimony of your eyes, you will never experience a globular earth. You can't.

• 2:37:11Joe Rogan?

  But you do experience the effect of a earth that's a globe if you go to the other side of the earth and it's dark out when it's sunny in California.

• 2:37:22Speaker 03

  They've made models of how that could work.

• 2:37:24Joe Rogan?

  Oh, dorks have.

• 2:37:26Speaker 03

  Dorks have made models.

• 2:37:27Joe Rogan?

  But it doesn't line in with our understanding of cosmology. It doesn't line in with our understanding of our orbit around the sun.

• 2:37:33Speaker 03

  That's assuming you believe that we orbit around the sun. And, listen, I'm not saying that we don't orbit around the sun.

• 2:37:38Joe Rogan?

  But if you do.

• 2:37:39Speaker 03

  I'm not saying we don't live on a globular earth.

• 2:37:40Joe Rogan?

  But the numbers match.

• 2:37:41Speaker 03

  Don't take me wrong.

• 2:37:42Joe Rogan?

  But the numbers match. If you do assume that they're correct, that we orbit around the sun, their calculations are completely accurate.

• 2:37:49Speaker 03

  If they make the calculations on their flat earth model as well, then you still have to prove that wrong.

• 2:37:55Joe Rogan?

  Right, but is NASA doing that? Is MIT doing that?

• 2:37:58Speaker 03

  NASA, like, of all people to believe, the ones who are digitally stitching shit and saying, that's a government agency.

• 2:38:07Joe Rogan?

  You went so deep with this, boy.

• 2:38:09Speaker 03

  No, all I'm saying is my experience. You know, when I get on the plane later today, and I'm flying back and I look outside, I'm gonna see a flat, you know, a flat horizon, a horizontal horizon before me. And, and, and when I land, and, you know, it's, everything else is faith-based.

• 2:38:33Joe Rogan?

  Well.

• 2:38:34Speaker 03

  That's all I'm saying.

• 2:38:35Joe Rogan?

  It's not, though. It's, it's science-based. It's based on data. It's based on our understanding.

• 2:38:41Speaker 03

  The word "science" means "observation." It means "testimony of the eyes."

• 2:38:45Joe Rogan?

  Which I'm talking about, the, the measurements, data.

• 2:38:48Speaker 03

  The data is so far removed, one, from my ability to understand, but from most people's ability to understand.

• 2:38:54Joe Rogan?

  But you can understand the circumference of the earth, right? You can understand the numbers. And the numbers line up exactly with how much time it would take for the earth to go around in a day.

• 2:39:04Speaker 03

  Sure. And uh

• 2:39:05Joe Rogan?

  And it works.

• 2:39:06Speaker 03

  And what other experiment can you show me where water clings to a spinning ball? Like, that's kind of the, the classic flat-earther uh thing that they'll ask you, like, well, show me any other example of that.

• 2:39:20Joe Rogan?

  Show me a fucking ball that's 24,000 miles wide.

• 2:39:22Speaker 03

  And the answer to that is gravity. And what he's talking about in that clip that you just showed is gravity is just sort of this idea that we came up with to justify that.

• 2:39:31Joe Rogan?

  But there's clearly a force that does that, right?

• 2:39:34Speaker 03

  That's density.

• 2:39:35Joe Rogan?

  Just density?

• 2:39:36Speaker 03

  There's, yeah, density.

• 2:39:38Joe Rogan?

  Well, then how come these two things will fall at the same time if I drop them when this is far heavier? How come?

• 2:39:44Speaker 03

  I do not have an answer for that.

• 2:39:45Joe Rogan?

  Right, but gravity does, right?

• 2:39:48Speaker 03

  Gravity is, like he said, it's just a measurement. It's a measurement of how things fall.

• 2:39:52Joe Rogan?

  Right.

• 2:39:53Speaker 03

  And so

• 2:39:54Joe Rogan?

  But that measurement.

• 2:39:55Speaker 03

  And the word that they invented, gravity, is just a, an explanation for how objects are, are pulled downward.

• 2:40:02Joe Rogan?

  Right, but those objects

• 2:40:03Speaker 03

  How come?

• 2:40:04Joe Rogan?

  If it was just density, wouldn't a heavier object drop faster?

• 2:40:09Speaker 03

  Well, when a

• 2:40:11Speaker 04

  There's two balls, there's a bowling ball and feathers dropping in a vacuum and they're falling at the exact same time.

• 2:40:17Joe Rogan?

  Yeah. How weird. Vacuum, no density. They both fall at the same time because of gravity, or whatever the force we call gravity is. But there is some sort of a force that we call gravity that could be measured in a vacuum.

• 2:40:29Speaker 03

  But how excited they are.

• 2:40:30Joe Rogan?

  Yeah, Brian Cox would be pissed if he was here right now. He'd be shitting

• 2:40:34Speaker 03

  Oh, no, he'd be, I'm not, listen, I'm not, all I'm saying is that my experience in the world

• 2:40:39Joe Rogan?

  Of course, but your experience is based on perspective of being a tiny little thing on an enormous thing.

• 2:40:43Speaker 03

  Correct.

• 2:40:44Joe Rogan?

  Yeah.

• 2:40:45Speaker 03

  That is correct.

• 2:40:46Joe Rogan?

  Yeah.

• 2:40:47Speaker 03

  That is correct.

• 2:40:48Speaker 04

  There's a few YouTube channels that have broken down all of those flat-earther ideas too.

• 2:40:51Joe Rogan?

  A ton.

• 2:40:52Speaker 04

  If you're gonna go watch those.

• 2:40:53Joe Rogan?

  I tried years ago and I gave up.

• 2:40:54Speaker 03

  It, it's, it is absolutely a rabbit hole, but what's interesting about it is that if, if you extract, like, the, uh, the, the, the faith that you have in these kind of ideas. And you supplement it with the faith of, you know, these other ideas. They're exchangeable.

• 2:41:18Joe Rogan?

  They're only exchangeable if you don't understand the data and if you don't understand what's actually been measured, or if you don't understand the path of satellites, or if you don't understand how many different people would have had to lie about this shit and not achieve the same observational results that all these different space agencies have. That the idea that they're all in collusion, that Japan and India and even countries that hate each other, they're all in collusion on this, this lie that the earth is round. It seems much more likely that there's a bunch of people with schizophrenia that think that the earth is flat and they make these YouTube videos where they're very compelling because they're articulate and they use great words and they say it all in a nice way without being challenged by real facts along the way by someone who actually has studied this their whole life.

• 2:42:03Speaker 03

  Right. I still saw digital stitching on your example.

• 2:42:07Joe Rogan?

  Yeah, it wasn't my example. It was some shit Jamie randomly pulled offline. That was weird, though. And that's perfect for this world that we live in, to have sort of a glitch like that.

• 2:42:17Speaker 03

  But that's kind of what I'm getting at, is there's so much out, there is so much out there that it just, it falls to faith. And also, what does it really matter? That's kind of what I'm getting at ultimately, is what does all of that really matter? What does it matter to anybody that there's a cabal of 8,000-plus people who are secretly controlling the world and doing occultism and drinking baby blood? What does it really matter?

• 2:42:43Joe Rogan?

  Okay, well, that's very different.

• 2:42:44Speaker 03

  As long as you can just have your daily pint?

• 2:42:46Joe Rogan?

  This is a very different subject now. We've shifted. You've moved away from the concept of the earth being flat and it's a giant lie that's promoted by a huge group of people that aren't even connected in any way, shape, or form to evil people that are involved in cult-like rituals, which has, by the way, always existed. And this is why it's very difficult for people to imagine today that some of the things that you're hearing from the Epstein files, like the potential that they were eating children, or killing children, or that they used that sulfuric acid to boil bodies. We don't wanna believe in evil that is that deep. But in my opinion, if you can find out that evil is real, right? Evil most certainly is real.

• 2:43:30Joe Rogan?

  There's evil acts that we have documented all throughout the world. There's evil that the cartel does. I just watched a video where the cartel chopped this guy's head off and put it on a drone and flew it over to where the other cartel was.

• 2:43:41Speaker 03

  They probably thought that was funny.

• 2:43:43Joe Rogan?

  Probably did, having a good time. Um, that's clearly evil. There's plenty of evil.

• 2:43:49Speaker 03

  Do you believe in demons?

• 2:43:51Joe Rogan?

  I believe in the concept of demons.

• 2:43:53Speaker 03

  I mean demons have, don't materialize before us necessarily. They rest upon the shoulders of men and whisper into their ears.

• 2:44:00Joe Rogan?

  I believe.

• 2:44:00Speaker 03

  And then people do evil things.

• 2:44:02Joe Rogan?

  This is what I believe. I believe that if I was a demon, or if demons were real, they would get people to do things which are verifiably true, that they have done.

• 2:44:14Joe Rogan?

  If you were, if you were a demonic idea and you got into Oppenheimer's head, or Patton's head, or anyways, and you wanted them to do something horrific to a bunch of innocent people, and you could say, this is because we're at war. So we're gonna drop a nuclear bomb on Hiroshima. Like, that's a demonic act. It's a demonic act of eliminating hundreds of thousands, or a hundred thousand plus people, off the face of the earth who did nothing. They're just citizens that are unfortunately involved in a country that is in a conflict with some people that they don't even know, and then you just got vaporized like that. That seems demonic. You've just expired a hundred and fifty thousand souls.

• 2:44:59Speaker 03

  But there are people who would argue that the war would have continued, and I've heard this argument before.

• 2:45:02Joe Rogan?

  I've heard that argument too.

• 2:45:03Speaker 03

  That the war would have continued and so many more would have died.

• 2:45:05Joe Rogan?

  Well, if I was a demon, I would wanna propagate that idea. I would want you to think that you have to do it.

• 2:45:11Speaker 03

  And so, like, is, is evil justification of things?

• 2:45:17Joe Rogan?

  Certainly.

• 2:45:20Speaker 03

  Of actions?

• 2:45:20Joe Rogan?

  If you wanted to find a way where a demon, like, just like assume that demons are real. How would demons best be able to enact demonic things on Earth? Would they do it by saying, "I'm a demon, and, you know, this is, this is what you should do, and this is, this is horrible and evil." Or would you creep into someone's head and find justifications for doing a demonic thing? Like, there's a lot of things, like, clearly-

• 2:45:53Speaker 03

  Well, you would creep into someone's head.

• 2:45:55Joe Rogan?

  Right.

• 2:45:55Speaker 03

  And you would, you know, you would boil the frog slowly.

• 2:45:58Joe Rogan?

  Like, let's imagine this is the AIDS crisis, and you know that AZT is killing people. But you also-

• 2:46:05Speaker 03

  Fauci.

• 2:46:05Joe Rogan?

  But you also know that you're making an insane amount of profit off of killing people with AZT. And you have already established a narrative, and Fauci said this publicly, that the reason why they only prescribe AZT is AZT is the only thing that is both safe and effective. He literally used the same language that he used during the COVID crisis.

• 2:46:26Speaker 03

  He's been doing this for a long time.

• 2:46:27Joe Rogan?

  He has. If I wanted, if I was a demon, I'd want to get in that guy's head. And I'd want to get him to keep doing it and say, "Look how much money they're making. You gotta keep this money. You gotta, there's a way to justify this. You're the purveyor of information. You are the gatekeeper of the truth. You just find a way to dance around these numbers. You do not know what you are talking about. This is not gain-of-function." I mean, just what he did there that was evil. By, by taking a virus, funding it, even though it was illegal to fund it in the United States, by doing it through Eco Health Alliance, and then, you know, farming it out to them. They do it at the Wuhan lab. And you are, in fact, doing gain-of-function research on a virus designed for human beings

• 2:47:11Joe Rogan?

  to make it more deadly and more contagious. That's demonic. There's, you're not, you don't have a cure.

• 2:47:18Speaker 03

  There was a researcher in Canada at the Manitoba Level 4 Lab, Dr. Kui, I think is how you pronounce her name. And she was the one who solved Ebola. Like, she had come up with the vaccine for Ebola, which is manufactured by a California company that is basically a Chinese company. And, like a rock star, she had made a- Like it was like a hit. She had a hit, a huge hit. And just like a rock star, everybody's asking you, what comes next? What comes next? And so she started actively working, working really, really hard at, uh, at coming up with that next thing. And, you know, like most people, you don't want to stand in line.

• 2:48:02Speaker 03

  And these level four labs, you know, they have to, uh, whenever you move your research from one lab to another, uh, you have to go through all sorts of stuff in order to do that because it's all patented. All of these microbes and viruses and Ebola strains and whatnot. It's all patented. And so, for example, there was this one kid who was, uh, working at the lab in, uh, Canada and he was moving, I think to the one in Atlanta. And so he was crossing the border and he was, he didn't want to like, you know, have to reproduce all of his work. And so he just put it into a thermos inside of a thing and tried to cross the border and he got caught. Well, she got caught in 2019, uh,

• 2:48:42Speaker 03

  by the Royal Canadian Mounted Police, basically moving stuff to, from Canada via Air Canada Freight from, uh, Manitoba, from Winnipeg, this is the Winnipeg, uh, lab to Wuhan. And she, they were moving everything and I tracked where those, uh, where, where they're, because I was writing a screenplay about it. And, uh, so I tracked like, where did that come from? Well, it's like the, the Qatar or maybe it was Abu Dhabi. I can't remember the lab there. And then that went through, in order to get around it, got sent to the one in Amsterdam and that got sent to her. And she was able to do all this stuff. And she was basically just shipping, you know, everything, Hanta and all these patented things to Wuhan, you know, in order to, uh, to do it. And, uh, the Royal Canadian

• 2:49:26Speaker 03

  Mounted Police basically, you know, stopped it and she got like walked out of the laboratory and everything because they were like, is there a misappropriation of money going on here? Like, what are all these flights that are occurring? And they redacted who her financer was. And we still don't know who her financer was, but it's one of three people and it's the people you probably can guess. The, you know, these, uh, people who have an interest in, uh, in, in this. And, uh, and, and, but her thing was just ambition. It was just like anybody. She was just wanting to have that next hit. And she would do anything to, you know, to, to do it, to, to repeat what she did with Ebola.

• 2:50:09Joe Rogan?

  So she was helping to engineer viruses?

• 2:50:12Speaker 03

  Yeah, they were engineering stuff and then she would ship them via Air Canada freight from Winnipeg to, directly to Wuhan on, literally on Air Canada flights. So you're flying on Air Canada to Wuhan and down below in cargo, there's all this like, you know.

• 2:50:27Joe Rogan?

  Some shit that could kill everybody.

• 2:50:29Speaker 03

  And yeah, some horrible strain of something, something that's patented. And then they're just shipping it over to, and you know, none of this has come out. Like some papers in Canada, you know, like the Winnipeg Free Press or something was trying to cover it. But you know, it just gets kind of buried.

• 2:50:46Joe Rogan?

  That was one of the weird things that I had also seen, that I don't know if it's true in the Epstein files, that there was talk about engineering a pandemic.

• 2:50:56Speaker 03

  Yeah, yeah.

• 2:50:57Joe Rogan?

  Was it, did you?

• 2:50:58Speaker 03

  Yeah, I read that too. I read that too. That they were like actively working on it, like, you know, running models and figuring it out. And you know, well, if we do this, then this will happen. And you know, they were pretty successful at that.

• 2:51:11Joe Rogan?

  But why would Epstein be involved if he's a financier?

• 2:51:14Speaker 03

  He was involved in everything.

• 2:51:15Joe Rogan?

  Right.

• 2:51:16Speaker 03

  He was involved in everything. It was like amazing the energy that that guy had. Who has the energy to be like doing all this stuff, like all over the world and like, oh, in Nigeria, we're doing this. And in Yemen, we're doing this and here we're doing that. And at the same time, trafficking all these girls and you know, and young children and like all this stuff.

• 2:51:38Joe Rogan?

  Right. It's, so it's.

• 2:51:39Speaker 03

  What's the energy to do that?

• 2:51:40Joe Rogan?

  It says, "No credible evidence in the recently released Epstein files links Jeffrey Epstein or his associates to engineering the COVID-19 pandemic. Claims stem from a misinterpreted 2017 email referencing routine pandemic preparedness discussions, not a plot."

• 2:51:57Joe Rogan?

  So what was the claim, the original claim go down?

• 2:52:00Speaker 04

  I didn't ask it about COVID-19 also.

• 2:52:02Joe Rogan?

  Right, you just asked it about engineering a pandemic. So what is the pandemic claims? Scroll up, I'll see if I can read that.

• 2:52:08Speaker 04

  That's all.

• 2:52:09Joe Rogan?

  Scroll down a little, there it goes. So 2017 email originally from 2015 discussions to Bill widely assumed to be Gates, forwarded to Epstein, proposed recommendations and technical specifications for pandemic modeling of various strains. It focused on healthcare data, simulations for preparedness, and neurotechnology not creating or engineering a virus. Gates Foundation later ran public event 2001 and 2019, a standard exercise with John Hopkins and WHO predating COVID reports. That whole public event 2001 is fucking weird.

• 2:52:51Joe Rogan?

  Event 2001 is weird. Context and debunking pandemic simulations are common public health tools for the, like those for SARS or flu. Right, but why is Jeffrey Epstein involved in these discussions?

• 2:53:07Speaker 03

  He's involved in everything, he's involved in gravity.

• 2:53:09Joe Rogan?

  But how fucking weird is that? How weird is it? A pandem- a pandemic was reportedly mentioned in the Epstein files-

• 2:53:17Speaker 03

  He was running the world.

• 2:53:18Joe Rogan?

  Three years before COVID-19.

• 2:53:20Speaker 03

  Running the world.

• 2:53:21Joe Rogan?

  Well, this is what my friend Eddie Bravo believes.

• 2:53:23Speaker 03

  And creating the illusion, in the meantime, Ghislaine Maxwell is running the Reddit forum on World News. Like, she's literally shaping the World News Reddit forum, Reddit forum at that time.

• 2:53:33Joe Rogan?

  She was? She was running the World News forum on Reddit?

• 2:53:36Speaker 03

  Yeah, she was, and it all went dark the minute she got picked up, her person. But she was like the main contributor, did thousands of posts, like all day long, posting world news, shaping our perception of things.

• 2:53:50Joe Rogan?

  One email was a subject preparing for pandemics was sent by a person whose name was redacted.

• 2:53:57Speaker 03

  By the way, the, did you see that?

• 2:54:00Joe Rogan?

  Why would they redact the person who sent that? That's not a victim. You're supposed to redact victims.

• 2:54:05Speaker 03

  I think they just, they did like, supposedly they just did massive redacting, but sometimes you can see like, oh, the name is short, it's probably Bill, and then the one that comes after that, if it's a little longer, it might be Clinton, and if it's a little shorter, it might be Gates, you know, like, you could kind of, but again, that's just, you know... There's no found, it's like plausible deniability until, until they release all these names. Did you notice that Jeffrey Epstein's Fortnite account?

• 2:54:34Joe Rogan?

  Yes.

• 2:54:35Speaker 03

  Suddenly became active in Tel Aviv? And that somebody is playing under his, right after his supposed death.

• 2:54:42Joe Rogan?

  Right.

• 2:54:43Speaker 03

  Suddenly he's playing Fortnite again.

• 2:54:45Joe Rogan?

  Yeah, he doesn't even have the decency to make a new account.

• 2:54:48Speaker 03

  Yeah, well, he wants to keep all of his like, you know.

• 2:54:50Joe Rogan?

  His stats.

• 2:54:51Speaker 03

  His stats. Wants to keep all that stuff.

• 2:54:53Joe Rogan?

  Yeah.

• 2:54:54Speaker 03

  And he's safe in, you know, in another country.

• 2:54:57Joe Rogan?

  So do you think they just like did, that's another thing, there was another Reddit thread about some guy who said that he was a guard.

• 2:55:05Speaker 03

  It was a 4chan thread.

• 2:55:06Joe Rogan?

  It was a 4chan?

• 2:55:07Speaker 03

  Yeah.

• 2:55:07Joe Rogan?

  So it was a 4chan thread where this guy said that he was a guard at the facility? And he posted this before Epstein was killed?

• 2:55:15Speaker 03

  He was a guard, they uncovered using whatever way they do it, but using phone records or whatever from 4chan, they discovered he was a guard. And that he was like a legit guy, he got caught basically talking about it. That they snuck, they, they used a decoy body. There was an unscheduled ambulance arrival that night. They never logged in and you're always supposed to log in. There's footage of like, you know, orange, people in orange moving through the facility on the, you know, just glimpses of it on the cameras.

• 2:55:45Joe Rogan?

  So you think he's alive somewhere?

• 2:55:48Speaker 03

  It's.

• 2:55:49Joe Rogan?

  It's not impossible.

• 2:55:50Speaker 03

  It's not impossible, it's probable.

• 2:55:54Joe Rogan?

  Also didn't?

• 2:55:55Speaker 03

  It's a probability, it may, it's more than a possibility.

• 2:55:59Joe Rogan?

  The guy who did the autopsy, did anything happen to him?

• 2:56:03Joe Rogan?

  The guy who?

• 2:56:04Speaker 03

  He committed suicide.

• 2:56:06Joe Rogan?

  Yeah, let's find that out, that would be fucking crazy. Because that happened to the guy who did the autopsy on Andrew Breitbart. Didn't he wind up dying shortly after that? Like Andrew Breitbart?

• 2:56:17Speaker 03

  Yes.

• 2:56:17Joe Rogan?

  And who's the guy who said that Podesta was in?

• 2:56:19Speaker 03

  An alarming amount of people commit suicide.

• 2:56:21Joe Rogan?

  Alarming.

• 2:56:22Speaker 03

  Who are, you know, doing this stuff who have no real reason to do so. Yeah, suddenly they do it. I saw people in jail who committed suicide and they didn't commit suicide, they got killed by their cellie. Nobody bothered checking in on that.

• 2:56:34Joe Rogan?

  Yeah, that makes sense. Um, the guy who did the autopsy for Jeffrey Epstein, did anything happen to him?

• 2:56:43Joe Rogan?

  A woman?

• 2:56:44Speaker 04

  Chief, New York Chief Medical Examiner, Dr. Barbara Sampson. And she just resigned, like, a couple, like, a year ago.

• 2:56:50Joe Rogan?

  Okay, so nothing happened to her?

• 2:56:52Speaker 03

  You're talking about evil? You know who the devil was in The Exorcist?

• 2:56:56Joe Rogan?

  Who?

• 2:56:57Speaker 03

  Uh, well, they say, it's like Pazuzu, and we're presented with an actual devil. But when you actually watch the movie, there's kind of evidence that, uh, and, and people have talked about this, that, uh, you know, there's evidence within the film that, uh, it's, it's, it's more than just demonic possession, that the demonic possession comes from someplace. And by the way, Jeffrey Epstein was doing also funding research in, uh, how trauma affects, like, clairvoyance and telepathy and things like that, how you're able to invoke those out of, uh, traumatic, out of trauma.

• 2:57:37Speaker 03

  And in The Exorcist, there's, uh, you know, you have Reagan, who's, uh, Linda Blair, and there's that party scene. And, and you remember in The Exorcist, they're making a movie within the movie? You know, they're, they're actually shooting a movie. The, the character of the mother is, uh, um, she's acting in a film inside of the movie, and there's a director in that film. And they have a big party scene after it. And the director, uh, you know, he's, he's basically yelling at the, the butler, her, her houseman, you know, calling him a Nazi and stuff like that. And he's, "I bet you went bowling with Goebbels," and things like that. Well, for a while, he vanishes from the party.

• 2:58:22Speaker 03

  And we later see, like, Reagan afterwards, like, completely flipped out, like, laying in bed. And then after that, she comes, and then he's leaving the party, and he turns to the mother, and he's like, "I have to tell you something. I have to tell you something."

• 2:58:39Speaker 03

  Fuck it. And he leaves. And so, and then after that Reagan comes down and she looks to the astronaut guy and says, "You're gonna die up there." And then she pisses on the floor and everybody's like, "Shit." And from that moment on, there's all this like, uh, highly sexualized devil speaking through her with a British accent. And the guy, the director, is a British guy. And so the implication, and then he is for some reason left with Reagan and then gets thrown out of the, uh, the balcony and his head is twisted all the way around and he's, he dies as a character. Um, so the implication is that the director is the one who has raped Reagan and thus invoking this demonic presence into her. And it turns out that-

• 2:59:24Joe Rogan?

  I, I thought it was a, some totem that they found and it was possessed.

• 2:59:29Speaker 03

  There, there, all of that stuff is there. The Ouija board is there and everything, but it turns out that William Peter Blatty, uh, actually made a movie called, um, John Goldfrapp, Your Life Is Blah, Blah, Blah. I can't remember the exact title of the film. And he made that movie with Shirley MacLaine. And the director of the film is this guy, Jay Lee Thompson, British director, who looks exactly like the, uh, the actor in that. And so the idea is that Reagan's mother is Shirley MacLaine and Reagan is her daughter Sasha. And the British director is Jay Lee Thompson. And when you start looking at his movies, they're a little strange. You know, there's like, you know, he directed the original Cape

• 3:00:13Speaker 03

  Fear and, which has a kind of strange pedophilic thing going on in it.

• 3:00:19Joe Rogan?

  So does the second one.

• 3:00:20Speaker 03

  And, yeah, yeah, they, they, yeah, they all do. And then, uh, you know, especially, they, they amplify it in the second one.

• 3:00:27Joe Rogan?

  Yeah, with Juliette Lewis and Robert De Niro.

• 3:00:27Speaker 03

  He did this movie, Kinjite, with, uh, Bronson, and that all has kind of like a weird pedophilic thing. He did this movie, The Reincarnation of Peter Proud, where Peter Proud dies and then, uh, you know, it, it, or he, rather, uh, Peter Proud remembers his reincarnation. He remembers his iteration of his other self who was murdered. And then he hunts down the woman who maybe did it and then starts sleeping with her daughter, which is basically sleeping with his daughter because he's reincarnated. So this guy, as a filmmaker, has done all this. And so the, the question, and, and so William Peter Blatty- Worked on that film with Shirley MacLaine and shortly thereafter, wrote the book The Exorcist.

• 3:01:06Speaker 03

  And Sasha, in her autobiography, even mentions, you know, "God, the person on the cover of the book looked a lot like me." And everyone's just saying, "Oh, it's just a coincidence." And, you know, "Well, I never walked down the stairs on all fours and I never vomited, you know, pea soup or whatever. None of that ever happened to me." But there's a pretty dark implication behind the whole film. And I brought it up with William Friedkin. "Hey, is this meant to be J. Lee Thompson? Did this, like, is this a way to talk about that that actually happened, you know, in real life?" He said, "I cannot talk about that, but I'm not saying you're wrong."

• 3:01:45Joe Rogan?

  Whoa.

• 3:01:45Speaker 03

  And, uh, and so, you know, and there's actually a moment where Reagan is talking to her mother and she's like, "Well, do you like him? Do you like him like you like daddy?" And so there's this idea that he's been coming over and they've been having this affair. And then all of a sudden, she says to her daughter, and it kind of jumped out at me when I rewatched it. Uh, she says to her daughter, "Well, uh, I like pizza, but I wouldn't marry one." And I was like, "Oh, my God, there's like a pizza reference." Like, in the middle of this, in the middle of everything that's happening.

• 3:02:17Joe Rogan?

  How long is that?

• 3:02:18Speaker 03

  That's periola, but, uh, still.

• 3:02:20Joe Rogan?

  Ben Swan brought up during the whole Pizza Gate thing that got him fired. But how long has the term pizza been used?

• 3:02:27Speaker 03

  Well, it jumped out at me and The Exorcist is in the early 70s. And, uh, and so, what is it, 1971? And that movie that he did with Shirley MacLaine, who is effectively, that's the movie that's shooting inside of the movie. And so this was a way for Peter Benchley, I mean, not Peter Benchley, William Peter Blatty, to, uh, to kind of transcode all of that. And the astronaut in the film, Shirley MacLaine, talks about the, the, I can't remember if it was her husband or boyfriend that she remarried, who was an astronaut. And in her autobiography, she talks about how he was cloned. He came back from space and a different person that he was cloned. And she kind of, everybody kind of laughed it off, like, "Oh, it was just kind of a joke

• 3:03:12Speaker 03

  that I wrote into my autobiography." But it's kind of weird.

• 3:03:16Joe Rogan?

  Real weird.

• 3:03:17Speaker 03

  Yeah, it's really strange. So, people speak through movies and they hide information in films. And so, I think that-

• 3:03:27Joe Rogan?

  Some more than others, right?

• 3:03:28Speaker 03

  Yeah, William Peter Blatty, kind of, who was doing all sorts of Ouija stuff with Shirley MacLaine, who was really into that kind of thing back in the late 60s and early 70s. And, you know, he sits down to write his book and what's he writing about? Well, he's writing, that movie's about Shirley MacLaine, her daughter Sasha. Sachi, I'm sorry, Sachi. And, you know, the astronaut and, you know, it's all, and Jay Lee Thompson, who basically he eviscerates within the film, but in a way that nobody really connects it. It all happens off camera.

• 3:04:09Joe Rogan?

  Hmm.

• 3:04:10Speaker 03

  But, but the implication is, is that she was raped by that director. And from, and from that moment on, has a kind of, you know, she's speaking with a British accent as the devil. It's his voice, actually, that's coming out of her. She's talking about, you know, being raped by a crucifix.

• 3:04:28Joe Rogan?

  That actor, that's his voice? Is that what you're saying?

• 3:04:31Speaker 03

  Yeah, that's what I'm saying. It's like the, the voice of, I think his name is McGowan. And he was, he died like shortly after the film was made also. Shortly after The Exorcist was made.

• 3:04:43Joe Rogan?

  Well, we know that people have encoded very bizarre things. What, Kubrick was famous for it.

• 3:04:48Speaker 03

  Yeah, well, that's Kubrick. Everybody does it. I do it, everybody does it. I mean, motion pictures are a kind of magic spell. And, you know, when you write your hearing, I hear voices and they come through me and they land on the page. And I don't know where they come from, but it is, it is a kind of invite to possession. And that these things come into you and that you put it on the page. And then you make this movie and everybody, like I said, sits in a theater in the dark and watching a flicker of this thing and it's telling you, both are myths and traditions, but it's also predictive programming, everybody. And so.

• 3:05:30Joe Rogan?

  Jesus, dude.

• 3:05:31Speaker 03

  Have you seen-

• 3:05:35Speaker 03

  Have I seen what? Well, actually, I was thinking about like that, uh, where the Daily Wire thing, but I, you know, media comes from a lot of different places now. Uh, we, you know, we, you don't know where you're gonna find your, uh, your, your next entertainment. Right. And there's this show that, uh, I really liked that show, Rome. Did you see Rome? No, I never saw it. Okay, I loved Rome. It was, uh- I watched the first episode and I thought it was flat. I love, because it told the story of ancient Rome through, you know, uh, through Shakespeare and through history and through, uh, Plato and, you know, all these, uh, kind of, um, ideas of ancient Rome or Socrates and all these ideas of ancient Rome. And it, then it told

• 3:06:19Speaker 03

  a very ground level story from the perspective of like handmaidens and centurions and still has Mark Antony and Cleopatra and everything going on in it, but it tells a very, you know, soap opera like drama through it. And so there was this other show and it had been out like three seasons when I started watching it. And it did the exact same thing. Nobody had ever, like, nobody was talking about it. Nobody had ever heard about it. Most people didn't even know about it. It's The Chosen. Do you know this show? What was that? It does the exact same thing, but it does it with the gospels. And it's all about Christ. And it's like a low budget, uh, or it was low budget, crowdfunded story of Jesus.

• 3:07:00Speaker 03

  And it just basically, like Rome, tells this historical tale and about Jesus. And, okay, so I'm watching, I've seen every movie about Jesus ever made. I've seen King of Kings, both versions. I've seen, you know, uh, the Zeffirelli film. I've seen Last Temptation of Christ. I've seen, uh, The Passion of the Christ. I've seen all of them. I've seen the Jeremy Sisto, uh, Jesus, uh-

• 3:07:27Speaker 03

  Movie. I've seen everything. I worked with Paul Verhoeven on his Jesus film that was unproduced. And so like I've had a lot of experience in it, and I never really got it, to be perfectly honest. I never really understood the story. This show, I started watching it, and I was like, okay, I've got a chip on my shoulder. Let's see. And it's really cheap. It's like rocks are made out of styrofoam. They can't afford a, you know, a house. And so they just use blankets and a gourd hanging. And so it's like, it's really, really inexpensive. And the script is even a little bit contemporary, and which almost becomes like a joke as you're watching it. It's kind of funny. But lo and behold, I'm

• 3:08:07Speaker 03

  watching it. And there came a moment by about episode three where it was like, ding, I get it. Like, Jesus is kind of punk rock. He's, he's basically saying there are no rules to anything. Like, you know, you can commit miracles on the Sabbath. You know, there are no rules. Anybody is led. All you need to be is wanting of salvation. And it was like a third eye opened up to me. And this show is fantastic. And it breaks all the rules. It's outside of the Pharisees of Hollywood. You know, they, one guy, this guy, Dallas Jenkins, who's absolutely my favorite modern filmmaker right now. I think this guy's brilliant. He's directed every single episode of this show. And they've

• 3:08:52Speaker 03

  got like seven seasons out, and you can watch it for free.

• 3:08:55Joe Rogan?

  On what?

• 3:08:56Speaker 03

  On anything. Like, if you have an Apple TV, you can just look up their The Chosen app. And boop, up comes the The Chosen app. And

• 3:09:04Joe Rogan?

  So it's an app thing?

• 3:09:05Speaker 03

  Or you can watch it on YouTube, or you can watch it, I think Netflix, eventually, I think it was Netflix, eventually bought it. Now they're showing it. Basically, you can see it anywhere. They give it away the way the Gideons give away the Bible. And, and, you know, I thought it was fantastic and then season two came around and suddenly they had all this money and they're doing all these like, you know, they've got this ancient Judea set with cobblestone streets and you know, like this detailed set and Roman colonnades and stuff like that. And I was like, wow, like they really got a big budget. And then I looked it up and I was like, oh, no, they're using, the Mormons have all these standing sets for their biblical productions in Utah. And they're incredible. These sets are unbelievable.

• 3:09:46Speaker 03

  If I had known, it's like Cina Cita in Utah. It's, it's, it's absolutely fantastic. And, and the characters are, like, they only have money for like, three Romans costumes, probably. And so they're kind of like making do with what they have, but they've got this guy playing the Leggett there, who is hilarious. He's in, in the first season. He is absolutely hilarious. And the show is great. And then, like proper television, you're watching it and you're starting to love these characters and you're starting to, like, it's, and it's, you know what it is? The bread and butter of Hollywood is revenge and wrath. Like, that's what makes, that's the, the fuel that, that pushes most Hollywood movies. It is much

• 3:10:28Speaker 03

  more difficult and, and requires much more maturity to make a movie about forgiveness. And this kid, Dallas Jenkins, I call him a kid, but he's not a kid. That's an insult. He's, he's super great. He, he is making, every single episode is effectively, because it's the gospels, about forgiveness. And he has done this magnificent, unbelievable achievement. And the show is huge now. They've got like seven seasons. They've built a studio, you know, like outside of Dallas-Fort Worth on a Salvation Army property that they've built the sound stages and everything. And it is, I, and like, and that's like, you

• 3:11:09Speaker 03

  can get it anywhere. You can watch it anywhere. And they're making programming that should have been on HBO. It should have been produced by HBO, the way Rome was. And instead, it's just, it's coming out of the ether. And it's almost like, with the inattention given to, you know, most modern

• 3:11:30Speaker 03

  Or rather, the way that people are making things, that they're focused on wrath and revenge. Like, this other thing, like the Pendragon cycle and The Chosen have kind of risen out of out of the vacuum that those other, that the studios have and broadcasters have kind of created. Because they're not, no longer making that kind of product, at least not as much. And so, I think this is actually one of the most exciting times in, in media and television.

• 3:12:01Joe Rogan?

  Yeah, I definitely think it's a very unusual time where the normal people that are producing things don't have a complete monopoly on what people see. And that many of the times, these alternative things have gotten much larger than the mainstream thing.

• 3:12:17Speaker 03

  I am, I find it like, almost impossible to get a movie going. Like, I'm a, you know, I'm like an independent filmmaker. I go out there and I usually, I work on a script and then I figure out the budgets and I figure out the da-da-da-da-da and I go out and I hit the pavement and it's like really hard part, probably because I'm a flat-earther. Kidding, I am not a flat-earther. I just like to provoke people. But, um, uh, you know, I go out there and I try to get this stuff made and it's like, almost impossible. And then I built a technology company over the last year. And, uh, basically making AI movies. And all of a sudden, boom, like that money gets thrown at it. And all of a sudden, just by attaching the word AI and that it's a technology-based company,

• 3:13:00Speaker 03

  all of a sudden, investors, you know, came in and we're in production on three films now.

• 3:13:06Joe Rogan?

  AI's hot right now.

• 3:13:07Speaker 03

  Three, I know, that's the crazy thing, is that it was so easy for me to get that going and so difficult for me to get a traditional movie going through the traditional route, like going to, you know, eight twenty-four, blah, blah, blah, trying to like, you know, hit the pavement. Oh, I have to go to Europe to gather together financing and everything like that. No, just put AI in front of it and all of a sudden, you're in production on three features. And we're making a Christmas movie, that, you know, a family Christmas movie that'll be in theaters this, uh, this holiday season. We're making a faith-based film for next Easter. And then we're making a kind of big romantic war epic. And like, As classical movies and we have like a proprietary stack of technology that we use

• 3:13:45Speaker 03

  for our process and I partnered with this company Massive Studios AI and for my company, which is General Cinema Dynamics and I'm based here in Texas now and or my company is and I'm slowly transitioning.

• 3:14:02Joe Rogan?

  Nice.

• 3:14:03Speaker 03

  And it's like it's actually kind of I think you know so many people are against AI like Guillermo and you know love him but he's like fuck AI, fuck AI but all it is is visual effects and I have experience like with that Beowulf movie doing it and what used to be a million dollars a minute is now five thousand dollars a minute and so to do it really, really well like it looks kind of amazing actually and so I think for independent cinema and for the future of film and television production, these are super exciting times.

• 3:14:36Joe Rogan?

  All right, Roger, we just burned through three hours plus.

• 3:14:39Speaker 03

  Really? Oh my god.

• 3:14:41Joe Rogan?

  Yeah, it's already four o'clock.

• 3:14:42Speaker 04

  I figured this out just so I can share with you. All right, so what I pulled up is this.

• 3:14:45Speaker 03

  This is NASA, right? This is proper NASA.

• 3:14:47Speaker 04

  Let me just explain real quick. So this is a FAR TV, they're pulling in multiple feeds, there's three different boxes at the bottom, as you can see this one in the middle says offline. So as I showed you also, I pulled up the NASA feed, which is this, says it's offline. When that is offline, this channel adds a 3D model showing where the satellite currently is so that you can still follow along. Thirty minutes ago, it wasn't offline and it was showing a different feed and I wish I could have showed it to you then, but I didn't interrupt, so.

• 3:15:14Joe Rogan?

  Got it.

• 3:15:15Speaker 04

  There is a Flat Earth YouTube or Reddit account asking this exact thing, what is that? And the people on the Flat Earth Reddit gave me the answer.

• 3:15:25Speaker 03

  Yeah, those, the crazies, the crazies have come out to.

• 3:15:29Joe Rogan?

  Mm-hmm. Okay.

• 3:15:31Speaker 04

  There you go. So that was what that was.

• 3:15:34Speaker 03

  Well, I'm glad we put that to...

• 3:15:36Joe Rogan?

  So it just says the video description, "Switch to a simulation where the ISS above the Earth when the connection is lost, aka offline."

• 3:15:42Speaker 04

  I was gonna point that out, because you can see the stars in there, and you can't normally see the stars, while you can see the Earth.

• 3:15:46Speaker 03

  I'm glad we can be comforted by at least one thing that is secure and stable in our understanding of reality.

• 3:15:53Joe Rogan?

  Roger, that was very fun, though. Thank you very much. Let's do this again.

• 3:15:56Speaker 03

  Really a pleasure.

• 3:15:56Joe Rogan?

  It was a good time.

• 3:15:57Speaker 03

  Really a super pleasure.

• 3:15:58Joe Rogan?

  Thank you, brother. Appreciate you very much. Alright, bye, everybody.