Today, Dan and Jordan take a little Project Camelot vacation to catch up on one of the past episodes where Sweary Kerry breaks down an interview with Mark Richards. In this installment, we learn about intelligent AI satellites, the roots of science fiction, and much more.
| Speaker | Time | Text |
|---|---|---|
| Andy in Kansas, you're on the air. | ||
|
unidentified
|
Thanks for holding. | |
| Hello, Alex. | ||
| I'm a first-time caller. | ||
| I'm a huge fan. | ||
| I love your work. | ||
| I love you. | ||
| Hey, everybody. | ||
| Welcome back to Knowledge Fight. | ||
| I'm Dan. | ||
| I'm Jordan. | ||
| We're a couple dudes who like to sit around, drink novelty beverages, and talk a little bit about Alex Jones. | ||
| Indeed we are, Dan. | ||
| Dan? | ||
|
unidentified
|
What was the last Broadway play you saw? | |
| None. | ||
| I've never seen a Broadway play, although I wasn't... | ||
| Not even like a high school... | ||
| That's not a Broadway play. | ||
| But they do Broadway play sometime, right? | ||
| I think I saw... | ||
| What is a Broadway play? | ||
| It's got to be on Broadway. | ||
| I don't hold by that. | ||
| I think that's racist. | ||
| I saw South Pacific. | ||
| I saw my high school, Hickman High School in Columbia, Missouri. | ||
| They did a version of South Pacific. | ||
| And I saw that, and I was underwhelmed. | ||
|
unidentified
|
Yeah, not good. | |
| Before that, I was in drama class, though. | ||
| Right. | ||
| And I did do one musical. | ||
| What was your part? | ||
| I played the lead in a... | ||
| This is not... | ||
| This is off-off Broadway. | ||
| It was called We Has Jazz. | ||
| What? | ||
| H-A-Z-Z. | ||
| No. | ||
| It was about the history of jazz. | ||
|
unidentified
|
Boo. | |
| Hard pass. | ||
| Hard pass. | ||
| I played a kid named Riff who was super into jazz. | ||
| You played a kid named Riff who was super into jazz? | ||
| I did. | ||
| Everyone had to play two parts, though, because we were understaffed in this drama department at my junior high, and I also played Fats Waller. | ||
| All right. | ||
| That sounds great. | ||
| Yeah. | ||
|
unidentified
|
That sounds great. | |
| I wanted to be Satchmo. | ||
| It's probably better than that movie that was released last year with Gosling. | ||
|
unidentified
|
It wasn't. | |
| It was a disaster. | ||
| That movie sucked. | ||
| No, no. | ||
| I was talking about We Has Jazz. | ||
|
unidentified
|
Right. | |
| The reviews were scathing. | ||
| Scathing? | ||
| Yes. | ||
| Of a children's life? | ||
| Uninspired. | ||
| Ouch! | ||
| Although this... | ||
| This lead kid does have the potential to one day host a podcast where he knows a lot about Alex Jones. | ||
| And I don't know anything about Alex Jones. | ||
| That's amazing how that worked out. | ||
| Very prescient but scathing review from my junior high musical. | ||
| That is a good one. | ||
| We've got to find that guy. | ||
| Or gal. | ||
| They say sooth. | ||
| I got out of that game. | ||
| I'm glad I did. | ||
| And now I'm here. | ||
| Before we get into today's episode, I want to talk a little bit about the goings-on in the world of Alex, because he's... | ||
| Still lost his mind. | ||
| Oh, boy. | ||
| And today, we're recording this here on the 14th on Tuesday, and during the day today, he pretended that Infowars.com got taken down. | ||
| Ah, what? | ||
| Yep, he put out... | ||
| He pretended that it got taken down? | ||
| Yeah, because what he did is he tweeted that the communists are coming after Infowars.com, so you've got to go to NewsWarsAndPrisonPlanet.com. | ||
| And then Infowars.com became just a big thing that says Infowars is under attack and then links to his other sites. | ||
| And it's like, if your site got taken down, there's no damn way it's just going to be links to all of your other stuff. | ||
| At least of which, why would the people taking your site down leave it up a... | ||
| By the way, InfoWars is under attack. | ||
| Right, right. | ||
| Hey, we don't want you to be able to do what you want with your site. | ||
| That's what you would be doing if you took down his servers or whatever. | ||
|
unidentified
|
Right. | |
| But because we're so conscientious and courteous. | ||
| Will allow you to redirect traffic to exactly the places you want to go. | ||
| Perfect. | ||
| That's a very kind thing for people to do whenever they're taking down a website. | ||
| So thoughtful. | ||
| Link to the same website elsewhere. | ||
| It really undoes the move of taking down someone's website. | ||
| It kind of does. | ||
| I would say that I have zero doubt that this is all fake, and it's all a big PR stunt or whatever. | ||
|
unidentified
|
Of course. | |
| I don't think it's working very well, because all I've seen is people tweeting and being like, ha ha, this is so fake. | ||
| Yeah. | ||
| And that's so... | ||
| Yeah, that's lame. | ||
| It's very lame. | ||
| That's very lame. | ||
| He should have gone. | ||
| If you're going to pull the hoax, go fucking pull the hoax, you know? | ||
| Go 404, not found. | ||
| Yeah, don't half-ass it. | ||
| Right, right. | ||
| Yeah, absolutely. | ||
| It's kind of sad, but it is the natural progression of where he wants to take the narrative, but the world isn't going there, because the world is really just like, hey, you suck, we don't want you places. | ||
| Right. | ||
| Some companies have responded, and Twitter hasn't. | ||
| You know, so there are... | ||
| That's all it is. | ||
| He wants it to be like they're all coordinated against me. | ||
| It's like, no, these are companies that have all made their own decisions. | ||
|
unidentified
|
Right. | |
| You know, like, just the other day, Vimeo said, nah. | ||
| Yeah, that's good for them. | ||
| So now he's down to daily motion, perhaps. | ||
| Or GIFs. | ||
| He can post GIFs of his show. | ||
| It is eerily reminiscent of a man exiled from a village and yet still allowed to have a bullhorn. | ||
| Right. | ||
| Like, that's what him being on Twitter is. | ||
| He's like 20 yards outside the village. | ||
| Everybody is fine ignoring him. | ||
| But he's just out there going like, you guys suck! | ||
| Well, he has that broken bullhorn, Tyranny Crusher 2. Oh, that's true. | ||
| He's got Tyranny Crusher 2. So he has that because that wasn't able to sell on eBay. | ||
| As far as we know. | ||
| If we can find it. | ||
| Oh, man. | ||
| I want it. | ||
| I want it bad. | ||
| Imagine that. | ||
| Imagine that. | ||
| How many more song titles do you want to throw in a row? | ||
| I want it bad. | ||
| Imagine that. | ||
| What else we got? | ||
| We has jazz. | ||
| So, Jordan, we're going to get to today's episode, but before we do, I'd like to give a shout-out to someone who came in donating to the podcast, and we're very thrilled about this, coming in at a technocrat level. | ||
| What? | ||
| This is very exciting. | ||
| No shit. | ||
| We appreciate it so much, so I'd like to give a very special shout-out to Nicholas. | ||
| Thank you so much. | ||
| You are now a technocrat. | ||
|
unidentified
|
I'm a policy wonk. | |
| Four stars. | ||
| Go home to your mother and tell her you're brilliant. | ||
| Someone sodomite sent me a bucket of poop. | ||
|
unidentified
|
Daddy Shark. | |
| Jar Jar Binks has a Caribbean black accent. | ||
|
unidentified
|
He's a loser little titty baby. | |
| I don't want to hate black people. | ||
| I renounce Jesus Christ! | ||
| Thank you so much, Nicholas. | ||
| Thank you so much, Nicholas. | ||
| We appreciate it very much. | ||
| And if you would like to support the show, you can do so by going to our website, knowledgefight.com, clicking support the show button. | ||
| We would appreciate it very much. | ||
| Jordan, today... | ||
| Yes. | ||
| We are going to take a little break from Alex Jones because he... | ||
| He's in his own world, and I don't really care about his scrambling, trying to keep his head above water. | ||
| We've already covered it in two episodes. | ||
| And 2009's Plugin' Along. | ||
| We'll have some updates on that in the very near future. | ||
| But for now, I feel like you and I are probably both a little bit exhausted by Alex. | ||
| Oh, thank God, Dan. | ||
| And so one of the things that I needed to do, especially today, because I had a pretty booked-up day in terms of having to run around the city all over the place on some errands. | ||
| Right. | ||
| Had therapy today, you know, so I didn't have as much time as I would have liked. | ||
| So I hit that old pen. | ||
| I'm not sure how crashing an airline closes a gate, and I'm afraid I didn't actually ask him the logistics of this, although now I wish I had. | ||
| He's back! | ||
| Should have asked. | ||
| Wait, is this one of the old Mark Richards ones? | ||
| This is. | ||
| This isn't a sequel to the... | ||
| Okay. | ||
| We don't have any new Mark Richards, but it's all new to us. | ||
| Of course. | ||
| Because we haven't heard these... | ||
| And I went back and there were... | ||
| Let me be fucking totally clear with you. | ||
| Yeah. | ||
| I wasted a lot of time watching bad episodes of Project Camelot. | ||
| I imagine so. | ||
| There were a couple that I don't even like... | ||
| I thought there was one where she was talking about Bilderberg. | ||
| And I'm like, oh, great. | ||
| Yeah. | ||
| Wouldn't this be great to draw the stark parallels between her and Alex Jones? | ||
| Exactly. | ||
| And it was too boring. | ||
| It's not worth going over an episode. | ||
| But suffice to say, she's scared of Bilderberg, too. | ||
| Who isn't? | ||
|
unidentified
|
Yay! | |
| So there's that. | ||
| And then there was one where she's interviewing InfoWars guest Leo Zagami. | ||
| The guy who pretends that he's a big Vatican insider. | ||
|
unidentified
|
Yeah, yeah, yeah, yeah. | |
| And that was too boring. | ||
| So I spent a lot of time trying to find something. | ||
| He does have a great flamboyant accent, though. | ||
| He does. | ||
| It's fantastic. | ||
| He's great. | ||
| But I spent too much wasted time on that, and I'm like, you know who never disappoints? | ||
| Mark fucking Richards. | ||
| And I realize there's at least three of the episodes that we have not even touched. | ||
| Perfect. | ||
| So today I went back, and this is the fourth trip that she went to go visit him. | ||
| I believe this was two years ago, maybe, or so, 2016? | ||
| Somewhere in there. | ||
| But she's gone and spent some time with Mark Richards. | ||
| For those of you who don't know, please go back and listen to the Mark Richards episodes. | ||
| They're some of the finest episodes we'll ever make. | ||
| But the short version of it, he's a crazy dude who... | ||
| Orchestrated a murder in California about 20-something years ago, give or take. | ||
| And planned on turning San Francisco into a city-state protected by lasers. | ||
|
unidentified
|
He did. | |
| He was going to turn it into his own kingdom. | ||
| Where he was the king over a bunch of young kids who would be lords or something along those lines. | ||
| Didn't work out. | ||
| Great plan. | ||
| He orchestrated this murder. | ||
| He was found guilty of it. | ||
| But Carrie Cassidy does not believe that because he has told her that he was off-world at the time. | ||
|
unidentified
|
Off-world! | |
| He's part of the secret space program and he was on a mission when the murder would have been committed. | ||
| So he's got to be clean. | ||
| He is crazy, and he tells Carrie some of the stupidest shit I've ever heard in my life. | ||
| She believes all of it, and it's nuts. | ||
| Although we have now, upon further review of Project Camelot episodes, she may not be told... | ||
| As much as she says she's being told, and she may be more orchestrating what she wants to get out of it. | ||
| The good news is, though, is we don't really need to worry about our most recent Mark Richards episodes spoiling the story, because it's bananas every time. | ||
| It's all made up brand new. | ||
| There's plenty of pieces within this episode that are fresh, that might as well be current in the timeline. | ||
| They're reveals. | ||
| Yeah. | ||
|
unidentified
|
But at the same time, too, I don't think we need to wrestle with the issue of scholarship or authorship on this. | |
| Like, who is it? | ||
| Whose mind is bringing all this to the forefront? | ||
| It really doesn't matter that much. | ||
| And also, if she's coming up with this stuff, then what she thinks she's studying is crazy. | ||
| So it's even more interesting. | ||
| It's interesting if this accomplice to murder is... | ||
| Manipulating her. | ||
| But it's also interesting if she's like, oh, this is probably what real space people do. | ||
| They hang out with raptors and they kill you for chocolate. | ||
| More fascinating still further, I would say. | ||
| Perhaps. | ||
| Because we don't know this. | ||
| And because she's not allowed to record it. | ||
| She has never actually spoken to Mark Richards. | ||
| Maybe she talked to him one time. | ||
| And then from here on out, it's just become sixth sense kind of stuff. | ||
| She's talking into the mirror saying that it's Mark Richards and just making all this bullshit up on her own. | ||
| I've seen her in a parking lot that was allegedly the prison. | ||
| Oh, well that proves it. | ||
| Never mind. | ||
| Who knows? | ||
| Joanne Richards might not even be married to this guy. | ||
| Who knows? | ||
| Oh shit, we gotta find her. | ||
| But you're right. | ||
| They don't get to record things. | ||
| And as always, when Carrie goes to visit Mark Richards, She's got to tell you about how she had to write everything down. | ||
| Hi, I'm Carrie Cassidy from Project Camelot. | ||
| I'm here to talk about my recent interview with Captain Mark Richards of the Secret Space Program. | ||
| And I interviewed him around a week and a half ago. | ||
| And so at this time I'm going to do sort of a recall of everything that we talked about to the best of my ability. | ||
| I should note that we had only a small pencil. | ||
|
unidentified
|
It's quite small. | |
| Like a golf pencil? | ||
| And it runs out of ink. | ||
| Huh. | ||
| Wait. | ||
| Hold on. | ||
| Your small pencil ran out of ink? | ||
| Weird pencil. | ||
| Interesting. | ||
| Weird pencil. | ||
| Interesting. | ||
| Is it a tiny mechanical pencil and she's calling the graphite ink? | ||
| I don't know. | ||
| How do you make a tiny mechanical pencil? | ||
| I've never seen a tiny mechanical pencil. | ||
|
unidentified
|
Scale it down. | |
| It's always the same size as other pencils. | ||
| Like, is she talking about a golf pencil? | ||
| That's what my mind goes to. | ||
| How big are her hands? | ||
| Have we ever seen her in physical relation to another human being? | ||
| Is she a giant? | ||
| She might be. | ||
| But that would mean that the books that she holds up are also giant. | ||
| Well, what else would giants read? | ||
| I don't know if those are commercially available. | ||
| Giant books? | ||
| They might be. | ||
| But to my knowledge, I haven't cruised all through Amazon. | ||
| I don't know all that they offer. | ||
| But that seems like it's a possibility. | ||
| I don't know. | ||
| But look, giant or not, she has a pencil with ink. | ||
| We'll leave that aside. | ||
| Sure. | ||
| Probably just misspeaking, and I'm being a dick about it. | ||
| I don't know if we can trust that, Dan. | ||
| Well, see, here's another thing you can't trust. | ||
| This is not the first time that Carrie tried to get over to the prison to interview Mark this time around. | ||
| Okay. | ||
| She meant to go previously to this, but something happened. | ||
|
unidentified
|
What? | |
| Something nefarious. | ||
| First of all, I want to say that... | ||
| About six months ago, I was prevented from making this trip. | ||
| I was on the way there, and I was hit by a scalar weapon. | ||
| It froze part of my face, or half of the face, and looked like Bell's palsy. | ||
| But it did. | ||
| Did you have a stroke? | ||
| I just woke up in the morning with it. | ||
| I had nothing traumatic happen. | ||
| You don't have to. | ||
| So it was extremely strange, and we don't exactly know what went on. | ||
| You certainly don't. | ||
| I think you just got Bell's palsy. | ||
| Is she okay? | ||
| Yeah, I mean, that happens to people. | ||
| Is that a thing? | ||
| Yeah, it does happen. | ||
| What is Bell's palsy? | ||
| It's like one and a half of your face will just go numb and you can't move it. | ||
| Really? | ||
|
unidentified
|
Yeah, damn. | |
| I did not know that that was... | ||
| I've heard Bell's... | ||
| I'm not crazy. | ||
| I've heard Bell's palsy said many a time. | ||
| I thought it was like a disease, like Lou Gehrig's disease. | ||
| No. | ||
| In the same way as, you know, like there was a guy named Bell. | ||
| Right. | ||
| Like I assume Alexander Graham Bell got it first because he spent too much time on the phone. | ||
| And that tree apple hit him. | ||
| Exactly. | ||
| Right. | ||
|
unidentified
|
Wait, what? | |
| No, that's Isaac Newton. | ||
| Did you? | ||
| Newton's palsy is very different. | ||
| Also, what's a tree apple? | ||
| It's an apple from a tree. | ||
| Versus a regular apple. | ||
| I think of potatoes as ground apples. | ||
| Ground potatoes? | ||
| Oh, ground apples. | ||
| Les pommes de terre, en français. | ||
| The apples of the ground. | ||
| Yes, okay. | ||
| Wait, is that real? | ||
| Yeah. | ||
|
unidentified
|
What? | |
| Potatoes are called pommes de terre. | ||
| Apples of the ground. | ||
| Alright, I'm done with you French people. | ||
| We're out. | ||
| Do we have any listeners in France? | ||
| We! | ||
| I've never spoken to any, but I'm sure we do. | ||
| I see it come up in the analytics. | ||
| Someone's listening in France. | ||
| Anyway... | ||
| Well, if you're listening in France, fucking get on it. | ||
| Call somebody. | ||
| Call Macron. | ||
| Tell him to change the name. | ||
| Of potatoes, too, just like potatoes. | ||
| Oh, no, I'll say it's Rabien. | ||
| Ah, come on! | ||
| Also, choufleur is cauliflower. | ||
| Oh, that sounds great. | ||
| Yeah. | ||
| I like that. | ||
| Eric Colvert. | ||
| Yeah, those are green beans. | ||
| No, I get all of the words. | ||
| I'm frustrated with the fact that the words don't mean what the thing is. | ||
| I would argue that a potato is absolutely the apple of the ground. | ||
| That doesn't make any sense at all. | ||
| You ever wander around and see a potato just bite into it? | ||
| It's having a great day out there. | ||
| What was the last time you wandered around and just took a bite out of a ground apple? | ||
| Probably two weeks ago. | ||
| Oh, yeah? | ||
| Oh, yeah. | ||
| A lot of ground apples in Chicago? | ||
| I'd pill for the community gardens around here. | ||
| That's not a bad idea. | ||
| Yeah, just go in there. | ||
| That's a way to cut costs. | ||
| Nom, nom, nom, nom. | ||
| Just take a chomp on a potato. | ||
| We've got to lower the overhead on this show, so you're eating ground potatoes. | ||
| I would argue that this wasn't a scalar weapon attack. | ||
| This is Bell's palsy. | ||
| This is Bell's palsy. | ||
| Or just something else. | ||
| Like you're saying, it could have been a mini stroke. | ||
| She could have had a stroke. | ||
| I feel bad, but at the same time, I don't see diminished capabilities in terms of her mental faculty or even physical. | ||
| From there to here or even before that. | ||
| Seems like pretty much the same person throughout all of her videos. | ||
| Dating back like seven, eight years. | ||
| So here's my next question. | ||
| Did she go to a doctor? | ||
| I don't know, man. | ||
| Why would you go if you think it's a scalar weapon? | ||
| I know, right? | ||
| I don't know everything about palsy, like Bell's palsy, but from what I understand, which is mostly based on Jimmy Pardo talking about it a lot, because he had to look into it and he went to doctors. | ||
| When he talks about it, it is a sort of thing that can go away. | ||
| Okay. | ||
| In some cases it just goes away and in some cases it doesn't. | ||
|
unidentified
|
Right. | |
| It's bad and scary, but if she didn't get any treatment or anything, it's possible that it would just resolve itself. | ||
|
unidentified
|
Yeah. | |
| So to me, I hear this and I'm like, you are really trying to make it seem like someone doesn't want you to go to talk to Mark Richards, when in reality it's just something that happens to people of a certain age. | ||
| Well, yeah, but that's such a big deal to me is whether or not she went to a doctor. | ||
| Look, you can believe all the conspiracy theories you want, but if you go to a doctor after that kind of a thing, then you're full of shit. | ||
| You're a fucking liar. | ||
| Live up to your bullshit. | ||
| That's kind of fair. | ||
| Yeah. | ||
| Because it would imply a lack of trust in your own diagnosis if you went to go see somebody. | ||
| Also, did Jimmy Pardo say Bell's palsy? | ||
| Is that long for something? | ||
| He did not. | ||
| That would be great. | ||
| So, you know. | ||
| She couldn't get over there six months ago because of the scalar weapon attack. | ||
| But she finally does get over to the prison. | ||
| And it turns out there's a state of brouhaha going on in the prison. | ||
| So one of the things I wanted to talk about was his current prison conditions. | ||
| And his prison conditions when I was there was they had had a lockdown. | ||
| Somebody had murdered their cellmate. | ||
| Have this right. | ||
| And it was an incident that caused for a lockdown for several days, if not weeks. | ||
| So, that's unfortunate. | ||
| That's real bad. | ||
| Also, Mark is a murderer. | ||
|
unidentified
|
I mean, I don't believe... | |
| And yet, at the same time, that seems terrifyingly common, so I could believe it. | ||
| It's entirely possible that someone got shanked at the prison or something like that, and they were on lockdown, but I bet that not everybody was on lockdown. | ||
| Maybe just the people who have been... | ||
| Committed into prison for murder-related offenses. | ||
| Okay, so maybe the murderers were on lockdown. | ||
| Maybe. | ||
| On account of their murdering. | ||
| Maybe. | ||
| Or maybe Mark had a piece of this. | ||
| Now, Dr. Phil says that past behavior is not a predictor of future events. | ||
| So, why would you punish Mark Richards? | ||
| He only barely committed the one murder. | ||
| Who says that? | ||
| Dr. Phil. | ||
| I'm not going to listen to that guy. | ||
| Alright. | ||
| Than, like, actual... | ||
|
unidentified
|
Than, like, actual psychiatrists, not just him. | |
| I think that people can change. | ||
| Don't get me wrong. | ||
| But if there's a murderer in a prison, I'm going to make sure all the murderers are probably in their cells. | ||
| You know what? | ||
| That's prejudicial. | ||
| Yeah, it is. | ||
| Look, there's a lot... | ||
| Do you not like stop and frisk? | ||
| Same thing, huh? | ||
| There's a lot... | ||
| Racial profiling? | ||
| Same thing. | ||
| Just because you murder one guy, now you want to murder a bunch of guys? | ||
| That's a false promise. | ||
| Look, there's a lot I would like to change about the prison system. | ||
| Don't get me wrong. | ||
| I think it's a horrible system. | ||
| But that said, I am fine with the idea of generalizing that people who are willing to commit a murder probably... | ||
| What's another one? | ||
| That's a good point. | ||
| That's a good point. | ||
| Especially people who believe themselves to be part of the secret space program who telepathically communicate with raptors. | ||
| Well, see, then it wasn't even him. | ||
| It was probably Minerva. | ||
| She got pissed off. | ||
| We are going to get into Minerva here. | ||
| Of course we are. | ||
| I want to know how she's doing. | ||
| But before we do that, we have to get a little bit more into the prison conditions. | ||
| And this is nuts. | ||
| This clip paints a bleak picture. | ||
| There's more to the prison story. | ||
| I can tell you that... | ||
| So, at this point, it sounds like Mark Richards has a cellmate who sounds quite a bit like him. | ||
| You know, it's not like he's saying he's not human or whatever, but... | ||
| He's damn close. | ||
| It sounds more like Mark Richards got some shit smuggled in and he's been on a meth high for a couple of nights. | ||
| That's possible. | ||
| Also because this next part doesn't pass the smell test. | ||
| And he wore a Hannibal Lecter mask. | ||
| He was a younger man. | ||
| I guess possibly larger than Mark, but Mark can handle himself and ultimately petitioned to get... | ||
| That person moved and so now he has a much better cellmate, I'm happy to say, because that situation was looking extremely dire. | ||
| How are you going to get a Hannibal Lecter mask to recreationally wear around in prison? | ||
| I feel like that might be something that the guards... | ||
| They might say, uh, nah. | ||
| You are allowed one piece of flair. | ||
| Everybody gets to choose. | ||
| Some people wear a button. | ||
| They get a novelty item. | ||
| They get some item in order to make them feel comfortable. | ||
| Some people have stuffed animals. | ||
| I know a lot about the prison system. | ||
| Obviously. | ||
| I don't think that Hannibal Lecter mask is going to pass that even criteria. | ||
| Even that. | ||
| If I were the prison guard, I'd be like, a little hacky. | ||
| That would be your prison guard critique? | ||
| I'd be like, you can do better. | ||
| This is from a movie. | ||
| Come up with something else menacing that's creative. | ||
| Here's what it is. | ||
| This is why you're in prison. | ||
| You're not very creative. | ||
| It could be. | ||
| You probably ate somebody, but you did it in a lame way. | ||
| Like, that's a retread. | ||
| Didn't pair the wine correctly with the fava beans and the brains. | ||
| Yeah, pathetic. | ||
| Just another copycat killer, Dan. | ||
| I don't believe any of this, but... | ||
| I mean, that could just be... | ||
| My standard response to everything. | ||
| So it's kind of boring for me just to repeatedly say, no, I don't believe this. | ||
| So, hold on. | ||
| Does this mean that this is when we meet our cellmate who is his... | ||
| No. | ||
| No. | ||
| No, no, his longtime companion? | ||
| Yeah. | ||
| No, no. | ||
| I don't think that guy was ever his cellmate. | ||
| I think it's just another guy in the prison. | ||
| Oh, just hanging out? | ||
| Although, I can't remember his name, but what we're talking about is... | ||
| Carrie has reported that he has a lieutenant in the prison somewhere. | ||
| Oh, she does go on to say that there's some young kids at the prison who were willing to kill the cellmate for Mark, and he said, no, don't do that. | ||
| And Carrie is like, that's proof that he's a great guy. | ||
| I'm like, that might just be proof that he did that already, and that's why he's in prison. | ||
| Yeah, that sure seems to echo the thing that he did. | ||
| It's so fascinating psychologically whenever we deal with Mark Richards. | ||
| Everything he does is like him re-litigating his past through the concept of make-believe. | ||
| Well, I mean, it's so much in line with... | ||
| Like basic psychology of like traumas from your childhood you'll often try and replay out and have a better conclusion to them as you get older. | ||
| Unresolved issues. | ||
| It's like somebody with an alcoholic dad. | ||
|
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|
Right. | |
| Constantly ending up in relationships with alcoholics trying to create a better outcome for it. | ||
| Trying to fix it. | ||
| Granted, that's not universal, but it's a pretty strong trend. | ||
| Especially with people who aren't involved in, like, recovery process, you know, of some sort, therapy and whatever. | ||
| But, yeah, you just see this with Mark over and over again. | ||
| So many of his fantasies do kind of involve things that are like, this is maybe an analogy for... | ||
| Yeah, this is you doing the stuff that you did in real life, but you're just saying it's raptors now? | ||
| I mean, I guess. | ||
| Yeah, yeah. | ||
| That's more concerning. | ||
| Like, now I like the idea of him... | ||
| Like, going around recruiting kids and telling them not to murder people that he wants to murder. | ||
| Right. | ||
| As though, like, that, well, see, I solved it. | ||
| I wanted that guy dead, but I didn't even tell those kids to kill him. | ||
| I told him not to. | ||
| I'm such a great guy. | ||
| I learned my lesson. | ||
| Can I get out now? | ||
|
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|
Yeah. | |
| No. | ||
| No. | ||
| But also, I didn't do it in the first place. | ||
| So now that we've gotten through this bit of his prison conditions and what have you, it is now time to get into the wacky stuff that he told her. | ||
| And he starts with talking about artificial intelligence satellites. | ||
| One of the things we talked about was Black Knight and artificial intelligence. | ||
| Black Knight was created by the British, according to Mark. | ||
| When she said he got into Black Knight, I was like, please be the Martin Lawrence movie. | ||
| Please be the Martin Lawrence movie. | ||
| It's not. | ||
| And it has wiring in a sort of place, which is unusual for high-tech instead of boards and slots. | ||
| Yes, wires! | ||
| I don't quite understand, but he says the wiring in place makes it very low-tech. | ||
| it's much harder for the ETs and the artificial intelligence out there to, Why? | ||
| governments and there are three of these Black Knight satellites out there. | ||
| If it is messed with, it gets what is called, it gets an itch and sends a notice right away to the British authorities. | ||
| There's no real further information about this, if you're curious, because I have no idea. | ||
| That's it? | ||
| He just says that? | ||
| There's three Black Knight artificial intelligence satellites out there doing God knows what, and then sometimes someone tickles them and the British know about it. | ||
| That sounds right, though. | ||
| It does feel... | ||
|
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|
I buy it. | |
| It feels spiritually true. | ||
| I like that the ETs are like, what? | ||
| Wires? | ||
| How do we break into that? | ||
| It is strange. | ||
| That part is also unexplained in any meaningful way. | ||
| I'm not sure what to think about it. | ||
| Well, the thing is, they're not wireless. | ||
| Sure. | ||
| So they're connected by landline. | ||
| So that way they can't hack into them because there's not a wireless signal. | ||
| There's a cord going all the way down to Earth. | ||
| There's a cord going all the way down to Earth. | ||
| And if you wander around far enough, that's why Carrie's traveling all the time. | ||
| She's trying to find one of those damn wires. | ||
| Exactly! | ||
| Pull down Black Knight. | ||
| Sooner or later, Black Knight just falls on top of your head. | ||
| But because it's like... | ||
| Powering such a large artificial intelligence satellite, it's a huge cable. | ||
| So in reality, you can't pull it down, but you could shimmy up it and get all the way up. | ||
| And that's how Jack and the Beanstalk was originally. | ||
| The Tower of Babel. | ||
| All of these things. | ||
| All of them. | ||
| Toss them all in there. | ||
| So this is silly. | ||
| I'm not sure what else to say about it because she doesn't really give anything to talk about other than there's wires. | ||
| I'm a big fan of when she gets a blanket statement and then just does not ask a follow-up. | ||
| Just like, apparently there are three artificially intelligent satellites that are, I don't know, from the 70s? | ||
| And when they get a little, woo, they send a signal. | ||
| They get an itch. | ||
| But now that I'm back in the studio, I realize... | ||
| I should have asked a question. | ||
| Because now I'm curious about this as I'm saying it. | ||
| How is it that she's not curious when she's talking? | ||
| Too starstruck. | ||
| Oh, okay. | ||
| That's possible. | ||
| That's possible. | ||
| So, Jordan, you might know about science fiction. | ||
| Do you know about science fiction? | ||
| I've heard of it. | ||
| Do you know that it's the dreams of men? | ||
| I've heard that Dune is a pretty great... | ||
| You're talking about Herbert's Dune? | ||
| I'm talking about Frank Herbert's Dune. | ||
| I will say... | ||
| Not his son, Brian Herbert's bullshit. | ||
| That sucked. | ||
| Let me tell you about... | ||
| Okay, never mind. | ||
| I don't think that Frank Herbert or his son are going to come up, but... | ||
| A very notable science fiction author comes up in Mark Richards' narrative. | ||
| Asimov? | ||
| Later. | ||
|
unidentified
|
Oh, yeah? | |
| Bill K. Dick was recruited by Mark's father, the Dutchman. | ||
| And he was then given information to augment his sci-fi stories. | ||
| And this was to reveal what's going on in the Secret Space program. | ||
| Apparently, there are several other sci-fi authors who the same thing happened to. | ||
| Oftentimes, they do regret signing a security oath, however. | ||
| That makes sense. | ||
| That just checks out. | ||
| So... | ||
| Why? | ||
| Why would you regret signing a security oath? | ||
| Well, because then you can't come out and say, like, this is what happened, I can't tell the truth, and then you become plagued with insecurities and fears. | ||
| I don't know, but if you're a successful science fiction author, you'd be like, I'm kind of fine with this. | ||
| And if you're Philip K. Dick, you're like, I'm doing drugs and having teens hanging out at my house. | ||
| Yeah, I'm having a great time. | ||
| I'm so crazy that no one will believe me even if I do say that kind of stuff, and I kind of am. | ||
| Yeah. | ||
| So, like, I don't know. | ||
| I've read a lot of Philip K. Dick. | ||
| He's an author I enjoy quite a bit. | ||
| And I don't... | ||
| I think it's degrading. | ||
| He's alright. | ||
| Oh, he has a lot of trash in his bibliography. | ||
| But that's just because he's written, like, what, 40-something novels? | ||
| He wrote a lot. | ||
| Yeah, but so did Vonnegut. | ||
| He didn't write so many shitty novels. | ||
| What do you got? | ||
| I don't know. | ||
| I haven't studied his catalog nearly as much as Philip K. Dick's, but that's just because my dear buddy Nick Rowley was super into Philip K. Dick, and I realized, hey, I've never read much of his stuff, so I decided I was going to jump in and read a whole bunch. | ||
| And I don't think that... | ||
| I think it's degrading to art to use arguments like this. | ||
| Someone couldn't possibly come up with these ideas. | ||
| They had to be given to them by the secret space program in order to serve as preemptive programming. | ||
| Right. | ||
| Because further, I don't know, if you've read a bunch of his stuff, I don't think it has anything to do a lot of the time with... | ||
| Anything real. | ||
|
unidentified
|
No! | |
| Or even anything real in their world. | ||
| Uh-uh. | ||
| You know, there's just, like, I don't know, Man in the High Castle, what does that have to do with the secret space program? | ||
| I don't know. | ||
| I mean, clearly the Nazis started the secret space program, and there's an alternate reality where the Nazis succeeded in creating the secret space program. | ||
| But the ETs realized that we can't have the Nazis running everything. | ||
| They'll go wild. | ||
| So they showed Philip K. Dick the reality that could have been. | ||
| Right. | ||
| And then they proved to him that they stopped it, and he had to tell that story. | ||
| Otherwise, nobody would fucking know how great they were, Dan. | ||
| All right, fine. | ||
| What about flow my tears, the policeman said? | ||
| Those tears were representative of the Pleiadians and how they wept at the... | ||
| What did they weep about then? | ||
| Cops? | ||
| No. | ||
| It's an artistic title. | ||
| What about Ubik? | ||
| You got anything on Ubik? | ||
| I have never read Ubik, but I'll tell you right now, it sounds alien as fuck to me. | ||
| I don't know what that word means. | ||
| I just think it's a bummer, because I like, you're right, there's a lot of trash in there. | ||
| But then, things like those ones, like Flow My Tears, the policeman said, is amazing. | ||
| Ubik is fucking fantastic. | ||
| The Three Stigmata of Palmer Eldritch. | ||
| These are really great science fiction books that are fun and interesting. | ||
| The ideas are interesting. | ||
| And it's just so stupid for them to be sitting here and be like, yeah, that's all just because the Dutchman told them to write that. | ||
| The Dutchman told them to do that. | ||
| To me, I hear... | ||
| It bums me out. | ||
| I hear a certain amount of... | ||
| They're angry at creative people because this is so uncreative. | ||
| Exactly. | ||
| That's what I'm saying. | ||
| Just like conservative assholes, you usually wind up going back and finding out that they were shitty fucking comedians the whole time. | ||
|
unidentified
|
Right. | |
| Like, all of this is them trying to say... | ||
| No, my creativity in making up this shit is so much more interesting than your actual creativity in making up what you made up. | ||
| You have to tear down Philip K. Dick in order to build up your own... | ||
| All of his ideas were just reality. | ||
| Mine are true creativity or whatever the fuck it is. | ||
| I don't know. | ||
| I suppose so. | ||
| Also, I'll cop to it. | ||
| I do think that the Secret Space Program is responsible for his first book, Gather Yourselves Together. | ||
| Because that one's not very good, and it's kind of just about fucking what? | ||
| Yeah, I was going to say, what is Philip K. Dick's bibliography? | ||
| A lot of repressed racism and repressed sexual desires? | ||
| I don't know if all of it is. | ||
| The books that I listed, I don't think necessarily... | ||
| The good ones don't necessarily have a ton of that. | ||
| No, that's true. | ||
| But Gather Yourselves Together, that first book of his, is really just about... | ||
| There's sort of an allegory of the Garden of Eden kind of thing going on, but it's really just about whether or not this virgin dude's going to get to fuck. | ||
| And then the consequences of fucking for the woman in the story. | ||
| I mean, it's... | ||
|
unidentified
|
Very of its time, as they say. | |
| It could be said it is of its time, Dan. | ||
| You have to look at it through like, oh, he wrote this in 1949. | ||
| Exactly. | ||
| But at the same time, it's like... | ||
| He wrote all these other crazy books about, like, space and, you know, all this weird, druggie, trippy stuff. | ||
| Like, this book is very, very basic. | ||
| It's interesting. | ||
| Well, that's C.S. Lewis' career, though. | ||
| Like, C.S. Lewis wrote a bunch of basic, boring, like, fucking history books. | ||
| Theological treatises. | ||
| Yeah, and then he wrote this weird sci-fi trilogy. | ||
| On a bet. | ||
|
unidentified
|
Yeah. | |
| It was not great. | ||
| I think it's good. | ||
| It was alright. | ||
| And it's a quintilogy. | ||
| Did he wind up having five books on it? | ||
| I think there's five or six in The Lion, the Witch, and the Wardrobe. | ||
| Oh, no, no, no. | ||
| I was talking about This Silent Planet. | ||
| Oh. | ||
| Or, yeah, something along those lines. | ||
| I was talking about The Silver Chair. | ||
| Prince Caspian. | ||
| That was not a sci-fi series. | ||
| That was more fantasy. | ||
| I think there's a blurred line between science fiction and fantasy. | ||
|
unidentified
|
Oh, damn. | |
| Now it's time to get into it. | ||
| You're stepping into my world, son. | ||
| I don't want to do this. | ||
| I really don't want to do this. | ||
| Fair, fair. | ||
| There's few things I want less than to argue the demarcation line between science fiction and fantasy. | ||
| Well, they're all the dreams of men. | ||
| Yes, absolutely. | ||
| We can agree on that. | ||
| Also, go fuck yourself, Carrie and Mark Richards. | ||
| Philip K. Dick just did a lot of drugs. | ||
| So, in this next clip, we hear something that in the 2016 era... | ||
| It's a really common thread between the people we look at. | ||
| And it's interesting to hear it with the gilding of space decorating it. | ||
| Putin seems to have changed his tactics recently. | ||
| Really? | ||
| Mark said that originally he was working with the Reptoids, but it's possible that he's had a change of heart and started to realize that the Reptoids are not to be trusted. | ||
| Huh. | ||
| Isn't it interesting that throughout the... | ||
| Just the entire spectrum of, like, you know, Jim Baker isn't anti-Putin at all with the presentation that they're a Christian nation and what have you. | ||
| Alex Jones is super on board with their nationalists now. | ||
| They've changed. | ||
| Right. | ||
| And you hear the exact same thing from Carrie. | ||
| She's pro-Putin because they've changed. | ||
| They're no longer with the raptoids. | ||
|
unidentified
|
Yeah. | |
| You know, you can take that however you want to, but it's weird. | ||
| All of these people... | ||
| It's interesting. | ||
| It's almost like they're all under the sway of some sort of PR machine being run by the Kremlin. | ||
| I don't know if I've ever heard of Russian propaganda being successful. | ||
| It's... | ||
| no. | ||
| No. | ||
| I don't think so. | ||
| It only has colored all of history. | ||
| I don't know, Dan. | ||
| You say that, and then we go back to the 18... | ||
| Yeah, at least since that far back. | ||
| It's pretty wild, man. | ||
| I can't make a broad declaration about this because I don't know who the fuck would be caring about what Carrie Cassidy says. | ||
| I don't think that the Russian government necessarily is super interested in that. | ||
| Like, well, we've got to swing, sweary Carrie. | ||
| But there is something. | ||
| There is something. | ||
| I'm not sure what it is, but there's something going on. | ||
| I think when you go through... | ||
| Mm-hmm. | ||
| Well, there's a certain amount of like Russia has a what I mean, what would you call it? | ||
| Like something similar to a white ethnostate. | ||
| Mm hmm. | ||
| None of it is what it purports itself to be, what the propaganda says it is, but it is part of that... | ||
| Ideal to so many of these people of white nations for white people, black nations for black people, reptoids get over here, raptors get over here. | ||
| Everybody just needs to stay away from each other, and then problems will be solved. | ||
| Reptoids should go back to their own planet. | ||
| Exactly! | ||
| That's one of the underpinnings I see from all of this support of Putin, is not necessarily Russia versus the United States, and more like, let's make sure that things are... | ||
| Ethnically cleansed. | ||
| Whether it be alien or humanoid or whatever you want to fucking say. | ||
| Well, and I think also that, like, most of these people probably, you know, I mean, we're all seeing people who are, you know, Caucasian, who are the people who are these mouthpieces, like a Carrie, like a Baker, like an Alex Jones. | ||
| So I think that they've kind of realized they don't really have a lot to fear. | ||
| From Russia, necessarily. | ||
| No. | ||
|
unidentified
|
White people don't have a lot to fear, period, unfortunately. | |
| Except for, of course, me when I get any power. | ||
| Especially in America in the con game. | ||
| There's not a lot, really, that's going to be all that threatened if Putin does continue to behave the way he is on the global stage. | ||
| Jim Baker's going to be fucking fine. | ||
| He would have to switch to the Orthodox Church. | ||
| That would be a little bit tougher for him. | ||
| The Russian Orthodox Church? | ||
| A lot of rules there about scamming people, maybe? | ||
| I don't know. | ||
| I don't read anything about the Russian Orthodox Church. | ||
| I feel like most religions have rules about scamming, and they're pretty loose on them. | ||
| I think that's... | ||
| I would argue towards the all. | ||
| I think that's the nature of the scam. | ||
| It works its way in to wherever it goes. | ||
| Rules be damned. | ||
| And it calls everybody else a scam. | ||
| Yeah. | ||
| So I don't know exactly what to think about this, so I'm going to move on because, you know, Mark, at this point, we're going to learn a bit about the Dutchman here. | ||
| Okay. | ||
| I've always wanted more information about the Dutchman. | ||
| You're not going to get it, but you'll hear something about him. | ||
| I asked Mark about the recent book Devil's Chessboard by David Talbot. | ||
| And about the role of Dulles in the Kennedy assassination. | ||
| And Mark says that he knew Dulles, that Dulles was friendly and protective originally towards Mark and his father, but changed his tone when he found out that Mark was siding with Kennedy. | ||
| And Mark and his father at that point became persona non grata. | ||
| Mark had to have been 10 years old at the time. | ||
| Maybe. | ||
|
unidentified
|
When JFK assassination happened, he could be a child. | |
| He can't be over 60-something. | ||
| He was already being brought into the fold by the Dutchman, though. | ||
| The Dutchman was already training him. | ||
| Right, right. | ||
| So he remembers it vividly. | ||
| I can't imagine that Alan Dulles has that much skin in the game about what a 10-year-old thinks about siding with JFK. | ||
| I don't know. | ||
| I know that Mark Richards, even as a boy, probably was one of the most capable, genius, brilliant... | ||
| Prodigies. | ||
| He was reading a hundred books on World War II by that time. | ||
| Absolutely. | ||
| So, you know, I'll give him that. | ||
| Maybe Dulles is like, this guy is marked for greatness. | ||
| By that I mean he's going to fucking help kill a guy and then end up in prison forever. | ||
|
unidentified
|
Yeah. | |
| And then start lying about all this shit. | ||
| But, like... | ||
| I just, timeline problem be damned, because again, we always talk about this. | ||
|
unidentified
|
Yeah. | |
| You can just say, don't worry about it. | ||
| Don't worry about it. | ||
| It doesn't matter. | ||
| Don't worry about it. | ||
| Time is a flat circle, Dan. | ||
| Absolutely. | ||
| I just think it's funny, though, that Alan Dulles is like, hey man, you guys are cool. | ||
| Wait, you like Kennedy? | ||
| Fuck you. | ||
| Straight up. | ||
| I like imagining this conversation that she had with him, because you know that she was like, um, I want to ask you about this book. | ||
| And he's like, Yeah, I totally knew Dulles. | ||
| Yeah, I knew him. | ||
| The whole time. | ||
| We were tight. | ||
| No, we were good friends. | ||
| But I'll tell you what, Dulles did not like us. | ||
| Whenever we did, what was it Dulles was talking about? | ||
| I don't know who he is. | ||
| I mean, I know him. | ||
| What were you talking about? | ||
| Could you lead me on a little bit further? | ||
| I would like to apologize to you, Jordan. | ||
| What? | ||
| I told you that Asimov was coming up, but I forgot to cut that clip. | ||
| You son of a bitch. | ||
| She talks about how Arthur C. Clarke and Isaac Asimov were also people that the Dutchman gave information to and what have you. | ||
|
unidentified
|
Sure. | |
| Or at least were part of that program where they were given all this science. | ||
| They banged the same students, I'll tell you that right now. | ||
| Well then, they also got the same secret space program stuff too. | ||
| Build up their science fiction. | ||
| And she goes on to say that she was supposed to interview Arthur C. Clarke, like, right before he died. | ||
| Sure. | ||
| And she's speculating. | ||
| Sure. | ||
| She's speculating that the reason that he died when he did is because they were going to talk to Project K. Of course. | ||
|
unidentified
|
Of course. | |
| Which, again, goes back to the scalar weapons shit. | ||
| Sounds reasonable. | ||
| Yeah. | ||
| So, sorry, I forgot to cut that clip. | ||
| And also one where she explains that there's three types of men in black, and they're all bad. | ||
| Oh, I thought they were all going to be different. | ||
| Versions of Will Smith. | ||
| The good guys dress in black, remember that, just in case we ever face-to-face and make contact. | ||
| Right, alright. | ||
| But, that is not true. | ||
| Alright, Dan. | ||
| All men in black are bad. | ||
| Alright, Dan. | ||
| The movies are alive. | ||
| So, now we jump back into the episode. | ||
| Mark and the Dutchman knew Alan Dulles. | ||
| They supported JFK, and in this next clip, I think Mark is heavily implying that aliens killed JFK. | ||
| Okay. | ||
| He also said that... | ||
| Yes, they thought Johnson was the mastermind originally, and then they found out that Johnson was in essence a pawn, and that Dulles was also a pawn, and that it went much higher than either of them, and that it was carried out and orchestrated by what is in essence about three different factions. | ||
| And on a much higher level. | ||
| And that's all Mark would say about it. | ||
| He said if he talked more about it or told what he really knew. | ||
| I love that trump card. | ||
| That he would end up in Leavenworth. | ||
| And the association there being that Leavenworth is a military prison with a much more dire circumstance than the sort of medium security prison that he's in at this time. | ||
| Medium security prison. | ||
| He's only in a medium security prison? | ||
| You'd think they'd give you plenty of ink in that pencil when you're at a medium security. | ||
| Put him in a private prison. | ||
| That's the only reason that I'm... | ||
| If Mark Richards was in a private prison, I'd be like, private prison maybe aren't all that bad. | ||
| I would say put him in a prison where it's the same as it is now, but they allow cameras in. | ||
| Damn it. | ||
| Because I want to see what this interview actually is about. | ||
| Oh my god, he would be an amazing... | ||
| This would be a reality TV show. | ||
| I would watch non-stop. | ||
| We need to start a change.org petition to get a camera in. | ||
| They don't think they listen to those anymore. | ||
| I'm pretty sure they let those go. | ||
| But let's pretend they're real. | ||
| Start one up. | ||
| Get a camera in to Mark Richards. | ||
| That's the only solution here, I think. | ||
| I agree with you. | ||
| That would ruin Project Camelot. | ||
| If they actually recorded their conversations, she would be like, I can't lie about this. | ||
| What if he has a silly voice? | ||
| What if this whole time she could have taken a camera in, but he has such a silly voice? | ||
| It's like, no. | ||
| No one's going to believe your shit. | ||
|
unidentified
|
Well, the rap toys are crawling all over the place. | |
| No, give me a pencil. | ||
| Give me a pencil. | ||
| It isn't going to play. | ||
| The spider leadership is going crazy. | ||
| He's just a clown. | ||
| That's one possibility that I think is very strong. | ||
| I would find it hard to believe that he could convince two teenagers to murder for him, though, if he was like, this guy owes me a thousand dollars! | ||
| Not if he hit somebody with a hammer and then talked about it. | ||
| Oh, and then little stars popped out. | ||
| Little imaginary stars popped out of it. | ||
| Boing! | ||
| That voice is even more intimidating if you see them do an assault or something like that. | ||
| Like, if you see them do a crime and then they talk like that, it's like, oh, shit. | ||
|
unidentified
|
Oh, no. | |
| Oh, no. | ||
| This guy's a kingpin. | ||
| I just broke your kneecap. | ||
|
unidentified
|
Oh, God. | |
| Oh, no. | ||
| You're terrifying. | ||
| It turns into a Looney Tunes kind of thing. | ||
| I don't know. | ||
| I got no strings! | ||
| Alright, I gotta stop. | ||
| I'm gonna do that voice forever now. | ||
| I've lost my mind. | ||
| It's a good Mark Richards impression. | ||
| It's not a bad Mark Richards impression. | ||
| So now we get into some aliens, what they're up to. | ||
| What are they up to? | ||
| He said the Dracos are working with the Reptoids. | ||
| He said the Dracos are more straightforward. | ||
| If you're the enemy and they want something or you're in the way, they deal with you more directly and aggressively. | ||
| I like to know where they stand. | ||
| He said the Reptoids, who are human-Raptor hybrids, are more nefarious, but they are working together. | ||
| He said the Dracos are also working with the Chinese. | ||
| Undoubtedly. | ||
| That tracks. | ||
| Sure. | ||
| So that means the Reptoids are also working with the Chinese. | ||
| If the Reptoids and the Draco are working together and the Draco are working with the Chinese, logically speaking, they're all working together. | ||
| This is silly. | ||
| Right. | ||
| Right. | ||
| Now, here's the implication there, though. | ||
| Once you add human blood to something, it becomes far less honest. | ||
| Anytime you put a human being anywhere near something, it's like... | ||
| I've got a plan. | ||
| Well, the argument is that the raptors are the good ones who hang out with Mark Richards and steal chocolate from people. | ||
| No human blood there. | ||
| No, but yeah, you're right. | ||
| Once you put the human blood in there, it becomes a reptoid, and then it's evil. | ||
| Now, this is a morality play writ large. | ||
| Yeah, I think it might be. | ||
| That's what's going on here. | ||
| I think it might be. | ||
| We have a lot to learn from Mark Richards, and of course, I assume Shakespeare, about humanity's failure. | ||
| Yeah, human nature. | ||
| Yeah. | ||
| I'd also like to say that this is another point of similarity in these worlds, that the Chinese are working with evil aliens, and the Chinese are big villains. | ||
| So, cool. | ||
| That's interesting. | ||
| It's to the point now where I halfway expect, at some point, for Mark Riches to be like... | ||
| Also, did you know that the Draco's vaginas are sideways? | ||
| And you're like, oh no, I know what you're doing. | ||
| I know what you're doing. | ||
| Mark, do it in the silly voice. | ||
| All right, I gotcha. | ||
| No, I'm not doing that. | ||
| Just some hack old man joke. | ||
| Although I would like that to be the thing that's taken out. | ||
| If we ever get big enough to be right-wing trolled, and they're like, oh, you gotta take these down, I want my voice saying, Oh, the reptoid's vaginas are sideways to be the one clip that's taken out of context. | ||
| I was going to talk over it, but I wanted to make sure they had a clean take. | ||
| Yeah, exactly. | ||
| Absolutely. | ||
| Yeah, Cernovich, go for it. | ||
| I'm all for it. | ||
| I told you we were going to get a little update on Minerva, and here's where that happens. | ||
| Yeah, how's she doing? | ||
| Is she handling it well? | ||
| It doesn't sound good. | ||
| Minerva, the craft that is artificially intelligent, is still waiting for Mark, and apparently he's aware of that, and in touch with her, she is, in essence, a biological artificial intelligence. | ||
| And there are many ships like her out in the solar system and galaxies, but she is specifically, I guess, somewhere... | ||
| Out there, but close enough where she's in touch or can be in touch with Mark. | ||
| That's a sad existence. | ||
| She's a conscious spacecraft, and she's just hanging out waiting for this dude to finish his life sentence in prison. | ||
| This is what I'm saying. | ||
| This is the Futurama episode Jurassic Bark all over again. | ||
| That dog! | ||
| Loved Fry so much. | ||
| And he just disappeared. | ||
| Minerva, of course, being immortal, can wait a lot longer. | ||
| But there are a lot of other dogs out there. | ||
| It's true. | ||
| How many of them would be loyal enough and would be filled with love enough to wait? | ||
| Fry's Pizza Place. | ||
| Yeah. | ||
| This whole time. | ||
| Right? | ||
| That's probably, no, that's probably exactly what's going on with Minerva. | ||
| It's exactly what's going on. | ||
| It's a tragic tale. | ||
| Although later on, don't we find out that she breaks him out regularly and they still go joyriding every now and again? | ||
| No, I don't think, I don't, no, because I think that's all like astral travel that he's doing or something like that. | ||
| Oh, okay. | ||
| I think we speculated that if you have all this, you could break out of prison like that. | ||
| I think that was one of our plans. | ||
| Right, right, right. | ||
| No, I think he just gets out of prison through brain stuff. | ||
| Ah, that's just funny. | ||
| Remote viewing and shit. | ||
| And because Minerva's... | ||
| Which, if that's real, prison is nothing. | ||
| But Minerva's an artificial intelligence. | ||
| She's not capable of reaching the brain space. | ||
| She can't astrally project. | ||
|
unidentified
|
Or... | |
| So even if he did go visit her, they couldn't communicate. | ||
| No, because she's also a biological entity. | ||
|
unidentified
|
Oh, that's true. | |
| She's a biological artificial intelligence. | ||
| Good point. | ||
| I retract my argument. | ||
| Thank you. | ||
| So, there's a crisis in the world of refugees. | ||
| I assume that we're not talking about actual refugees. | ||
| We're not talking about Syria. | ||
| We're talking about... | ||
| No, that's exactly what we're talking about. | ||
| Oh, really? | ||
| What? | ||
| Mark has a... | ||
| Mark has thoughts on that? | ||
| He has a bleak take on this. | ||
|
unidentified
|
Okay. | |
| And I don't think this is... | ||
| I wouldn't put a lot of stock into this one. | ||
| Okay. | ||
| He said the first... | ||
| Wave of Syrian refugees that you heard about, of which there are around 200,000. | ||
| He said maybe all the refugees there are, because a lot of them never made it to their destinations. | ||
| He said the rest were rounded up and ended up on planets as slaves or food, basically, for the reptoids. | ||
| So, don't need to worry about that refugee crisis. | ||
| They've all been eaten by the reptoids by now. | ||
| I don't know if that's better or worse than the reality. | ||
| It's worse. | ||
| No, it's worse, but it's cowardly. | ||
| Because what it is is like, well, we don't need to worry about that. | ||
| We only need to worry about 200,000. | ||
| Right. | ||
| It's the way of pretending that the problem doesn't really exist. | ||
| It's just like, oh, yeah, the rest of them have been eaten by raptors. | ||
| Who cares? | ||
| The raptors do make it convenient, though. | ||
| It does make it seem like this isn't an ongoing crisis that people are being, you know, living with and surviving all the time. | ||
| And this was in 2016, right? | ||
|
unidentified
|
Yeah. | |
| So I assume it's all been fixed. | ||
| By now, yeah, yeah, yeah. | ||
| Yeah, no, it's two years later. | ||
| Oh, you wouldn't see a single extra refugee. | ||
| No, no, no. | ||
| So, like, it's great to be in the past where all of these problems have been solved, and they're certainly not ongoing issues. | ||
| I might have misspoke when I said that he doesn't make specific claims, because that one's pretty specific. | ||
| That one's pretty fucking specific. | ||
| Time has shown that to be inaccurate. | ||
| That one's pretty fucking specific, Dan. | ||
| So, now we move on to a museum that Kerry went to. | ||
| Yeah. | ||
| Science and industry. | ||
| A little bit of information about a display she saw. | ||
| We talked about the Anunnaki skeleton in London that I had seen this summer and taken a photo of, and I'm going to put that photo here. | ||
| And he agreed that it wasn't due to a disease and that this was probably an authentic Anunnaki skeleton and that, in fact, it was perfectly... | ||
|
unidentified
|
Good work. | |
| It was just being shown in plain sight. | ||
| He said the British do that all the time. | ||
| Those fucking British. | ||
| And have all kinds of secret things. | ||
| You can't trust a goddamn word. | ||
| No, no. | ||
| But you know what? | ||
| This is a very famous skeleton. | ||
| It's a guy named Charles Byrne. | ||
| Yeah, an Anunnaki. | ||
| No, he was a guy who lived from 1761 to 1783. | ||
| Can't be sure he's an Anunnaki. | ||
| He was just over 7 foot 7 feet tall. | ||
| The picture that Carrie plays on the show. | ||
| You can find the identical picture. | ||
| And the only reason that this guy looks much bigger than 7 '7 is because they have it next to a smaller skeleton. | ||
| So the perspective of it makes it look like he is like 10 feet tall or something like that. | ||
| It's forced perspective. | ||
| He's closer to the camera than the other skeleton. | ||
| Yes, absolutely. | ||
| Gotcha. | ||
| Everything is known about this guy. | ||
| It's not like he's a mystery to history or anything like that. | ||
| It's not like, where did this giant skeleton come from? | ||
| People know about who he is. | ||
| And one of the really sad things is that he made it very clear during his life that when he died, he wanted to be buried at sea. | ||
| He wanted to be sent to the ocean and against his wishes. | ||
| People have put him on display at this museum, put his skeleton on display. | ||
| So over the years, people have constantly tried to start movements to honor his wishes posthumously, and they've generally gotten pretty good public support, but somehow they've not, to this day, not followed through and actually sent him to the water. | ||
| You know what? | ||
| I'm going to take this position? | ||
| I don't give a shit. | ||
| He's dead. | ||
| If you told him when he was dying, we're totally going to bury you at sea, and he felt better, and then he died, and then you showed a skeleton around, I'm fine with that. | ||
| I don't really care. | ||
| He's dead. | ||
| Carrie believes in ghosts. | ||
| That's a good point. | ||
| That's a good point. | ||
| Fair enough. | ||
| In the world of Project Camelot land that we're dwelling in, his vengeful spirit is probably not very happy. | ||
| No, he's totally pissed. | ||
| That for, you know, 220, 230 years he's been on display and cocked at and turned into an Anunnaki by people like Carrie Cassidy. | ||
|
unidentified
|
Right. | |
| Coming in and taking stupid pictures of him. | ||
| But in the real world where ghosts don't exist and it's only oblivion after we die, if I was dying and I was like, my last wish is don't remove my feet. | ||
| And then attach them to my skull with screws where my ears were. | ||
| So make it look like two big feet ears? | ||
| Exactly. | ||
| Don't do that. | ||
| And you just said to me, we will never do that. | ||
| And then after I died, you did that? | ||
| I don't care. | ||
| I'm already dead. | ||
| Who gives a fuck? | ||
| I know that you can't care, but I don't actually think it's for the person who died. | ||
| I think it's for the communal mental health. | ||
| I think there's some sort of comfort that we can get in terms of feeling like we're helping honor the wishes of the deceased. | ||
| That's why you have a wake. | ||
| That's why you bury people. | ||
| It's not for the dead person. | ||
| It's for the community to heal and come together and stuff like that. | ||
| So the idea of you not wanting your feet to be used as ears... | ||
| Which, by the way, is an absurd thing that no one would ever do, so I think you're in the clear there. | ||
| Now my last wish is that people do it! | ||
| Okay, well then... | ||
| I feel like that would make the community feel even better! | ||
| Right, so then... | ||
| Don't hold a funeral! | ||
| Screw my bone feet to my ear holes! | ||
| Right, that's a better way to do it, because that's an extreme thing. | ||
| So now I don't care necessarily about your soul being at peace when I screw your feet onto your ears. | ||
| It's more about knowing that we are a part of... | ||
| The grand scheme? | ||
| Right. | ||
| Something like that. | ||
| Yeah, it makes the people honoring the wish feel better, and I think there's a value to that. | ||
| I respect that position. | ||
| I don't think it's anything mysterious or ghostly. | ||
| It's just about all of us feeling good as a community. | ||
| You like to imagine that your wishes will be followed when you're dead. | ||
| Whatever. | ||
| Some people have feelings about it. | ||
| Just because you don't doesn't mean that other people don't. | ||
| No, I know. | ||
| That's what I'm saying. | ||
| I respect that position. | ||
| I'm not going to try and tear it down. | ||
| I'm just going to say, fuck it. | ||
| Plus, it also helps the community come to terms with mortality better because it's like, one day I will be in the position of this corpse. | ||
| And so treating it with respect and honoring the living person who used to be in that body with respect, I think there's value to it. | ||
| Now, by that same logic, though, one day I will be in that position, and so far I have not seen any skeletons with their feet screwed to their skulls. | ||
| Right. | ||
| So, frankly, it constantly makes me feel bad not to see that. | ||
| This is not healing the community at all. | ||
| This is hurting me. | ||
| I don't follow. | ||
| I take it as a personal affront. | ||
| I don't follow. | ||
| To not know that someday... | ||
| I got nothing. | ||
|
unidentified
|
Okay. | |
| All right. | ||
| You know what, though? | ||
|
unidentified
|
Yes. | |
| Carrie's got something. | ||
| Okay, of course. | ||
| Jordan, let me ask you. | ||
| I know that you... | ||
| Yeah, sure. | ||
| Ask me a question. | ||
| You've been to Iceland? | ||
| I have. | ||
| It's delightful. | ||
| You've been... | ||
| Have you ever been to Spain? | ||
| I have never been to Spain. | ||
| I want to go. | ||
| I would like to go to Spain, although this next clip makes me less eager to go to Spain. | ||
| He said Spain is a very strange place that things often disappear there, and it's one of those places on Earth where that happens. | ||
| He said... | ||
| Basically, that means there's some kind of a dimensional rift in Spain. | ||
| Is that what it means? | ||
| Is that the only possible explanation? | ||
| I think Mark might have misplaced something in Spain at some point, and he's like, God damn, everything disappears here. | ||
| Or maybe he got mugged in Spain, something like that, and he's just trying to work into it. | ||
| Everybody knows you lose one sock in the dryer from time to time. | ||
| Sure. | ||
| Spain. | ||
| Spain. | ||
| That's where they go. | ||
| Things disappear. | ||
| Things disappear in Spain. | ||
| Yeah. | ||
| That's... | ||
| The best tourism advertisement slogan. | ||
| Things disappear here. | ||
| Things disappear here. | ||
| Oh shit, what? | ||
| Let's go see it. | ||
| We gotta see what disappears there. | ||
| It could be magical. | ||
| It could be you. | ||
| So, we're about at the end of this here adventure. | ||
| This Mark Richards adventure. | ||
| A little bit of a shorter episode than usual, but I think that's good for everybody. | ||
| Yeah. | ||
| Especially us. | ||
| But, Jordan, I think I've solved the mystery of Mark Richards. | ||
| I hate to break it to you. | ||
| He is a murderer. | ||
| Maybe not. | ||
|
unidentified
|
What? | |
| I found one way. | ||
|
unidentified
|
Wait, what? | |
| I found one way. | ||
| Alright, alright. | ||
| This is a premise that I want to hear. | ||
| In this next clip, I found the one way that his story checks out. | ||
| And it doesn't. | ||
| But, this next clip... | ||
| If it were, it would. | ||
| This next clip gives me some sort of plausible deniability, or something like that. | ||
| It gives me... | ||
| I am not certain. | ||
| I am certain of his guilt, but who cares? | ||
| Anyway. | ||
| He said there, yes, he says there are multiple realities, alternative Earths and parallel Earths, as well as multiple timelines, that he is aware of. | ||
| He says that he thinks, perhaps... | ||
| As far as this timeline, that he may have actually landed in the wrong one. | ||
| Okay. | ||
| All right. | ||
| That's the only way this story works. | ||
| You know what? | ||
|
unidentified
|
I buy that one. | |
| You're from a completely different world. | ||
|
unidentified
|
I buy that one. | |
| Because on this earth, you committed a murder. | ||
| You murdered. | ||
| Yeah. | ||
| You murdered. | ||
| So that also introduces the question of what, like, if you aren't that guy from this timeline, where is that guy? | ||
| Did you merge with that guy? | ||
| Flying around with the cool fucking Minerva. | ||
| That guy murdered, and then they switched timelines. | ||
| Like a 13 going on 30 scenario. | ||
| That's really the only way that works. | ||
| Is if now the murderer, Mark Richards, is in the Secret Space Program guy's timeline. | ||
| And he's stuck here doing the time. | ||
|
unidentified
|
Holy shit! | |
| Did we just write the greatest movie ever made? | ||
| I think we just did. | ||
| I think Mark Richards did. | ||
| By accident, yeah. | ||
| But, because I don't believe anything he says, I know that this is just a really convenient way to get out of any kind of inconsistencies in his story and stuff like that. | ||
| But it's brilliant. | ||
| It's the next best way to tell this story. | ||
| Disregarding Mark Richards entirely. | ||
| This is something I don't think we've ever really talked about. | ||
| How do you feel about the multiverse theory? | ||
| I'm fine with it. | ||
| Oh, okay. | ||
| Well, that was an interesting road. | ||
| So we have a website? | ||
| No, I mean, I don't know. | ||
| What are you asking specifically? | ||
| I don't know. | ||
| What do you think? | ||
| Like, as far as multiple universes go, as far as your Heisenberg principles go, do you accept the premise that there are multiple years, there are multiple timelines, and they are infinite? | ||
| Yeah, every decision makes off branching paths and what have you. | ||
| I don't know. | ||
| Yeah, I believe it, but I don't think it has any utility to my life. | ||
| I don't think that travel between them is possible or anything like that. | ||
| Okay. | ||
| I would be willing to believe, yeah, that there are, because I don't know what life is. | ||
| You know what I mean? | ||
| That's a good point. | ||
| I'm sitting here with you, and it's very weird that we're in physical bodies, and that we're able to speak, and that there's light, and we live inside houses. | ||
| True. | ||
| And there's liquid that we need to stay alive, and all of us have curiosities that guide us through passions. | ||
| choices. | ||
|
unidentified
|
Yeah, that doesn't make any sense. | |
| It's super weird. | ||
| And the fact that we just go along with so many cultural traditions because they happened long before any of us were alive and everyone just decided, yeah, this is the way it should be. | ||
| So we value money. | ||
| And that's why we should ban burkas. | ||
| We go about our lives just trying to gather up money in order to get resources. | ||
| It seems like a really silly game that we play, but we do anyway. | ||
| I'm looking at my hand. | ||
| I know that my hand is a part of my body. | ||
| It's fucked up. | ||
| It's very weird. | ||
| In the same way that multiverse stuff, it's very weird, but it doesn't help me. | ||
| And it also doesn't help me to sit back and think about life like that. | ||
| It doesn't? | ||
| No. | ||
| Why the hell are we doing this? | ||
| Isn't that sort of comforting in a way, though? | ||
| No. | ||
| Because why the hell are we doing this is a question that can only be answered with, why the hell aren't we doing this? | ||
| So that situation of multiverses suggests to me a kind of Calvinist outlook, where you're in your timeline, regardless, and your decisions don't actually matter, because all of your decisions are already made, and there are an infinite number of yous who have already made all of those decisions. | ||
| So isn't it kind of comforting to know that regardless of what it is you choose to do or are doing, it has already been done and decided? | ||
| And there's no reason to worry about it. | ||
| That doesn't comfort me. | ||
| It also doesn't freak me out or make me nervous, I would say. | ||
| Because I don't need that to get me to why the hell not do something. | ||
| Okay. | ||
| Because I have a shortcut there. | ||
| Which is just... | ||
| Starting there. | ||
| Yeah. | ||
| Good point. | ||
| I don't need the workaround to get myself inspired to do something. | ||
| But, I don't know, man. | ||
| I think a lot of that abstract hypothetical stuff... | ||
| I'm willing to believe any of it is true, but I just don't think it means anything to me. | ||
| Like, I don't know. | ||
| I imagine... | ||
| There's a lot of stuff that I imagine. | ||
| That's a very practical way of viewing this. | ||
| Well, I mean... | ||
| I find that interesting. | ||
| Give me an application where I could use it in my life, and I'll gladly say it matters. | ||
| All right. | ||
| So, here you are. | ||
| You're at the grocery store. | ||
| You are looking at all the cereal. | ||
| What cereal do you choose? | ||
| Depends on the mood I'm in. | ||
| Right, so you're... | ||
| I'll tell you which one I'm not choosing. | ||
| That's Honeycomb. | ||
| Honeycomb can get out of here. | ||
| But you do. | ||
| Maybe Apple Jacks. | ||
| What? | ||
| Did you just wiggle your eyebrows at me? | ||
| Apple Jacks are pretty good. | ||
| Apple Jacks are pretty good. | ||
| You know what? | ||
| I haven't thought about Apple Jacks. | ||
| Cheerios. | ||
| Cheerios are also pretty good. | ||
|
unidentified
|
Yeah. | |
| Honey Nut. | ||
| Yeah, you can't go wrong with Honey Nut Cheerios. | ||
| So what are you getting at here? | ||
| I'm just saying that isn't it comforting to know that in reality, you have... | ||
| No. | ||
|
unidentified
|
I can answer that with a very clean no. | |
| Fair enough. | ||
| Because in actual fact, I haven't. | ||
| So it does not comfort me at all. | ||
| Well, but that's the opposite of the argument. | ||
| In actual fact, you have. | ||
| It's only in your reality that you haven't. | ||
| Right. | ||
| I don't identify with myself in other timelines. | ||
| I feel like it only reinforces my belief that I am eating the cereal that I chose to know that all of me has chosen all of these cereals, but the me that is me has chosen the cereals that I chose. | ||
| Right. | ||
| Well, here's what I would say to that. | ||
|
unidentified
|
Yes. | |
| So there's a guy in Bangladesh who you've never met. | ||
| His name is Kevin. | ||
| Right? | ||
|
unidentified
|
Yeah. | |
| There's a guy in Bangladesh that you have never fucking met. | ||
| We'll call him Kevin for the sake of argument. | ||
| This guy is a stranger to you. | ||
| Do you feel any interest in what cereal he eats? | ||
| I don't know. | ||
| Don't you dare say yes. | ||
| Don't you dare say yes. | ||
| I didn't until you asked the question and now I'm curious. | ||
| You don't care at all. | ||
| I do now! | ||
| I want to know what Kevin from Bangladesh eats! | ||
| Well, here's the thing. | ||
| He's a complete stranger, but you could go to Bangladesh and talk to him and then he is no longer a stranger and you could find out what cereals he's eating. | ||
| In the same way, the me's in different timelines? | ||
| Complete strangers to me. | ||
| I've never met these me's. | ||
| I don't care what cereal they're eating. | ||
| It means nothing to me. | ||
| If you are a listener from Bangladesh named Kevin, please call in. | ||
| It's 530-NEON-NIP. | ||
| Let me know what fucking cereal you'll eat because I am interested. | ||
| Probably Lucky Charms. | ||
| It's delicious. | ||
| They're not allowed Lucky Charms in Bangladesh. | ||
| Oh, no. | ||
| Did you not know that? | ||
| They outlawed freeze-dried marshmallows? | ||
| No, they outlawed rainbows. | ||
| So, look, all this stuff, all right, maybe I'm close-minded, but I just don't see what good there is other than fun things to think about. | ||
| And I'm not against things just because they're only fun things to think about. | ||
| Like, I've talked to you a bunch about how I like to think about Atlantis, and it's completely pointless. | ||
| But I think in life you just choose the things that you... | ||
| Want to think about that are outside of the realm of proving or outside the realm of being meaningful. | ||
| And then whatever resonates with you, you go ahead and think about that. | ||
| Only becomes a problem when you try and force it on other people or you act like it's actually concrete truth. | ||
| Which you actually just undercut by saying that there's no possible way I could be interested in what Kevin from Bangladesh is eating. | ||
| Definitively you are. | ||
| The moment you ask me that question, though... | ||
| I did become interested in what cereal Kevin from Bangladesh is eating. | ||
| No, you didn't. | ||
| I'm now really interested. | ||
| One, what guy named Kevin is living in Bangladesh? | ||
| Right. | ||
| I want to know him. | ||
| I want to know his story. | ||
| How did he wind up in Bangladesh? | ||
| Two, what cereals are available in Bangladesh? | ||
| I don't know. | ||
| This is very frustrating. | ||
| And here's why. | ||
| And here's the worst part. | ||
| I'm really not trying to just rile you up. | ||
| I'm genuinely now interested. | ||
| No, you're not. | ||
| If you had never asked me the question, if you had never asked me the question, are you interested, I would not be. | ||
| I agree with your premise. | ||
| You're still not. | ||
| I do. | ||
| No, you're not. | ||
| I do as long as I don't think about it. | ||
| You are not interested in the least. | ||
| You are not. | ||
| I'm genuinely not doing this just to rile you up. | ||
| I promise you. | ||
| I'm not getting riled up, but I am steadfast in my belief that you don't care about cereal consumption in Bangladesh. | ||
| I didn't until now! | ||
| Now I want to know the statistics on cereal consumption in Bangladesh! | ||
| If anybody can find us the Gallup data on that, please send it our way so Jordan can get some of his... | ||
| Possible questions answered. | ||
| How's General Mills doing in Bangladesh? | ||
| Can I also follow this up by saying that you get an answer to this and it doesn't change your life at all? | ||
| That I agree with. | ||
| You get an answer to this and it doesn't matter. | ||
| So even if you are kind of curious about it, all it is is like, I wonder what cereals they have in Bangladesh. | ||
| It doesn't mean anything towards you and Kevin becoming closer. | ||
| Not just that, but... | ||
| It would almost certainly be disappointing to know. | ||
| Undoubtedly. | ||
| Yeah. | ||
| It would be... | ||
| The greatest disappointment would be knowing what cereals... | ||
| It's like a muesli or something. | ||
|
unidentified
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Yeah, yeah. | |
| Grape nuts. | ||
| Oh, sure. | ||
| Actually, grape nuts are great. | ||
| No, they're not. | ||
| You're wrong. | ||
| But yeah, it would be a complete disappointment to find out. | ||
| Yeah. | ||
| The mystery is what I'm interested in. | ||
| And maybe that's why multiverse stuff is really fun to think about because it's a mystery that we'll never really crack into or most likely never will. | ||
| Who knows? | ||
| Well, there's only one way to find out. | ||
| We've got to get Mark Richards out of prison. | ||
| No! | ||
| Who was it that proposed this scenario of the logical conclusion to the cat in a box? | ||
| You know, the 50-50 Schrodinger's cat is to sit in a chair and have a gun with a 50-50 chance of having a bullet or not and pull the trigger again and again and again and again. | ||
| And if you continue surviving to a certain extent, you can prove to yourself That there is no possibility that you are not just existing in whatever universe where you don't die. | ||
| Yeah, let's not do that experiment. | ||
| I know! | ||
| Well, that's because the only person you can prove it to is you. | ||
| But no, you couldn't prove that even to yourself. | ||
| Because there's other rational explanations for why they didn't. | ||
| Maybe the gun is jammed. | ||
| Maybe there's some sort of failure in the mechanism of the gun. | ||
| There's all kinds of other things that could come into play. | ||
| It's not like Lost where you can't kill yourself. | ||
| Well, you need a controlled experiment. | ||
| Right. | ||
| All right. | ||
| This is getting frustrating for you. | ||
| I can see that. | ||
| And probably for the listeners. | ||
| Yeah. | ||
| Anyway, we have a website. | ||
| If you like the show, please do check out knowledgefight.com. | ||
| That's where we are. | ||
| We're also on Twitter. | ||
| We are also on Twitter. | ||
| It's at knowledge underscore, right? | ||
| Correct. | ||
| We're on Facebook. | ||
| We are on Facebook. | ||
| You can join a group. | ||
| Go home and tell your mother you're brilliant. | ||
| Correct. | ||
| We'll also be back later in the week with an Alex Jones episode, but thank you for joining us on this Project Camelot vacation. | ||
| For sure. | ||
| If you liked this episode, don't worry. | ||
| We do more of these. | ||
| Sure. | ||
| If you didn't like this episode, don't worry. | ||
| We talk about Alex Jones a whole fucking lot. | ||
| Although, I will say at this point, the Project Camelot world is getting a little thin. | ||
| I'm having to dig much deeper than I expected to find stuff that's any good. | ||
| Yeah, when you mentioned that we were going back in time to listen to an old Mark Richards episode, I was like, she is not bringing the heat. | ||
| Yeah, we've kind of hit, like, we had an embarrassment of riches when we first showed up. | ||
| We've hit bedrock. | ||
| A little bit. | ||
| I hope there's better, there's greener pastures. | ||
| To be found. | ||
| But for now, I'm not sure there are. | ||
|
unidentified
|
Ah. | |
| Someday. | ||
| Jordan, at this point, I think it's your turn. | ||
| No, it was my turn last time. | ||
| Yeah. | ||
| All we've got... | ||
| The problem with this episode is... | ||
| No, I got it. | ||
| We have few characters. | ||
| I got it. | ||
| Yep. | ||
| All right. | ||
| So, I would like to say... | ||
| There's only one person. | ||
| I mean, Mark Richards, you're a very creative man, and I'm not going to begrudge you for a murder you committed 26 years ago. | ||
| I'm not going to tell you to fuck yourself. | ||
| Carrie. | ||
| You get the Alex Jones pass. | ||
| You're the host of this show. | ||
| You didn't say anything weirdly racist this time around. | ||
| Yeah, we've already told her to go fuck herself. | ||
| Give you a little bit of a pass. | ||
| I would like to say, Alan Dulles, for turning on the Dutchman and the Dutchman's little baby boy, all because they supported JFK. | ||
| You, sir, can go fuck yourself. | ||
| Andy in Kansas, you're on the air. | ||
| Thanks for holding. | ||
|
unidentified
|
Hello, Alex. | |
| I'm a first-time caller. | ||
|
unidentified
|
I'm a huge fan. | |
| I love your work. |