Today, Dan is still slightly on the mend from being sick, so he and Jordan put off getting back into Alex Jones by taking a little Wednesday Project Camelot break. On this installment, Sweary Kerry interviews a woman who claims that she owns the rights to The Matrix and Terminator franchises. Tune in to learn whether or not that is true, and whether or not she's also psychic (spoiler alert: she is).
| Speaker | Time | Text |
|---|---|---|
| Andy in Kansas, you're on the air. | ||
|
unidentified
|
Thanks for holding. | |
| Hello, Alex. | ||
| I'm a first-time caller. | ||
|
unidentified
|
I'm a huge fan. | |
| I love your work. | ||
|
unidentified
|
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? | ||
| Hi, Jordan. | ||
| Dan? | ||
| What? | ||
| How do you feel about Lil Wayne's new album? | ||
| I don't give a shit. | ||
| The Carter Five. | ||
| Do you feel like it's a return to form for a guy who had really kind of lost his fastball for the past four or five years? | ||
| Have not cared about Lil Wayne since The Block Is Hot. | ||
| Thought everything was downhill from Fuck The World. | ||
| It's a great song, Fuck The World. | ||
| Or, of course, The Block Is Hot. | ||
| The Block Is Hot. | ||
| All right. | ||
| How do you feel about Christine and the Queens? | ||
| I don't know. | ||
| Is this a new doo-wop group? | ||
| No! | ||
| It's like this French lady. | ||
| Oh, I don't know. | ||
| I might be interested. | ||
| Yeah. | ||
| She does. | ||
| A reserve judgment. | ||
| Yeah. | ||
| No, it's interesting. | ||
| People are giving it a lot of high praise, and I don't know how I feel about it. | ||
| More interested in it than Lil Wayne's new album. | ||
| Not interested in that. | ||
| Kendrick has this crazy narrative thing he goes on. | ||
| He does a bunch of voices. | ||
| Fucking fantastic. | ||
| I'd like to apologize to everybody that we did not have an episode on Friday. | ||
| Rare sick day. | ||
| Real coincidental right after two episodes prior you asked me when the last time I got sick was. | ||
| Coincidentally, end up sick as... | ||
| It's a dog. | ||
| Provided that that dog is very sick. | ||
| You know what? | ||
| I do have a contention with the group there. | ||
| Everybody was like, oh, get well soon, Dan. | ||
| And then people were mad at me. | ||
|
unidentified
|
And it's like, nobody gave me any sympathy when I was sick. | |
| Nobody gave me a goddamn thing. | ||
| That's because I didn't take a fucking day off. | ||
| I don't take days off, Dan. | ||
| You can do this sick. | ||
| I can do my job sick. | ||
| I can't do all the stuff that I have to do when I'm writhing in a ball. | ||
|
unidentified
|
You can sit here and yell. | |
| Anyway, that is kind of rude of them. | ||
| No, it's fine. | ||
| I apologize on their behalf. | ||
| No, I apologize on my behalf. | ||
| Anyway, we are back in full effect and thrilled to be here. | ||
| I'm excited about what's going to go down today. | ||
| I had some other thought, but I lost it. | ||
| I can't remember what it is exactly. | ||
| I think it's... | ||
| Do you know who else is thrilled? | ||
| To be here. | ||
| Oh, is that our new donors? | ||
| I know! | ||
| See, that was a great transition on my part. | ||
| Okay. | ||
| Just patting yourself on the back. | ||
| So first of all, I'd like to say thank you to a new donor. | ||
| This is very exciting. | ||
| I'd like to say thank you so much to Mr. Matthew. | ||
| You are now a policy wonk. | ||
|
unidentified
|
I'm a policy wonk. | |
| Thank you, Mr. Matthew. | ||
| Thank you very much, Mr. Matthew. | ||
| Is Matthew the first name or the last name? | ||
| It's Mr. Matthew. | ||
| Well, it could be both. | ||
| I call people whatever the name comes up as. | ||
| It could be Mr. Matthew Matthew. | ||
| Could be. | ||
| We'll never know. | ||
| We will never know. | ||
| That's true. | ||
| But this next one, very exciting. | ||
| I can't even tell you how excited I am to announce our new donor and say a very heartfelt thank you to this person. | ||
| And they donated on a little bit of an elevated level. | ||
| So they're coming in as a globalist. | ||
| Very excited to welcome aboard Alex Jones. | ||
|
unidentified
|
What? | |
| 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. | ||
| Daddy Shark! | ||
| Thank you, Alex Jones. | ||
| Thank you so much, Alex Jones. | ||
| Undoubtedly the real Alex Jones. | ||
| I'm really sorry for you, but I just don't think you can afford to donate to our show anymore. | ||
| I think you're going to be hurting in a bit. | ||
| Yeah, you've got to save that money, man. | ||
| But either way, we do appreciate you understanding where the truth lies and what should be supported and signing up. | ||
| So, Jordan, today, like I said, I was sick. | ||
| I don't want to make too big of a deal of that. | ||
| But it made it very difficult to engage with work. | ||
| Legitimately, for a couple of days, I was just alternatingly taking really hot baths and laying in bed playing Skyrim because I couldn't barely move. | ||
| Great. | ||
| Great idea of both. | ||
| I wanted to get work done. | ||
| I wanted to jump in with this Alex Jones bullshit. | ||
| And it was very difficult. | ||
| And in the time that since... | ||
| I mean, we're recording this here beginning of the week. | ||
| Yeah. | ||
| Thursday was when we recorded our last episode. | ||
| And since then, in that in-between time, some weird things have happened. | ||
|
unidentified
|
A few things have happened in the intermediate period of time. | |
| In the world of Alex Jones in particular, like, I know that a couple things were posted in the group that were brought to my attention. | ||
| People asking, like, what we think about this. | ||
| I thought at the beginning of this episode it might be good to just sort of give a blanket comment on a couple things. | ||
| Oh, kind of catch up. | ||
| Yeah, a little bit. | ||
|
unidentified
|
Yeah, yeah, yeah. | |
| So the first thing was someone posted a blog post where someone was surprised that Alex Jones was saying that football players are kneeling to white genocide. | ||
| And my comment to that is... | ||
| Wait, what? | ||
| My comment to that is, why is this person surprised? | ||
| Like, why is the person writing that blog surprised? | ||
| I have no comment. | ||
| Alex talks about that all the time. | ||
| Yeah. | ||
| He's very much afraid of white genocide. | ||
| That's a big part of his narratives. | ||
| Right. | ||
| So that doesn't... | ||
| We don't need to spend... | ||
| And he's mainly afraid of black people exercising any kind of rights at all. | ||
| Asserting their place in society as equals. | ||
|
unidentified
|
Yeah. | |
| He's very afraid of that. | ||
| Not a fan. | ||
| The other one is a little bit more interesting, and I actually got a message from Policy Wonk Jonathan about this. | ||
| It was actually really... | ||
| He brought up some interesting points, and that was that Alex Jones recently crashed a... | ||
| What was it? | ||
| A festival thing in Austin. | ||
| There was like a trib fest. | ||
| Sure. | ||
| There was a panel. | ||
| Charlie Worzel from BuzzFeed was on the panel. | ||
| They were talking about web censorship and stuff like that. | ||
| Right. | ||
| And so Alex showed up with a bullhorn and tried to derail the proceedings. | ||
| Well, that's fun. | ||
| Which was super ironic. | ||
| Tyranny Crusher 4? | ||
| Maybe. | ||
| I don't know if he's numbering them anymore. | ||
|
unidentified
|
Okay. | |
| But it's super ironic because part of the panel, what they were talking about was Alex and his situation. | ||
| And then, lo and behold, Alex shows up. | ||
| Right. | ||
| And derails the ability of the people to run the panel. | ||
| Well, no. | ||
| I mean, it makes the panel's job much easier. | ||
| They just go like, see? | ||
| And then they all leave. | ||
| Well, they offered him a place on the dais. | ||
| They offered him to engage in the... | ||
| Terrible idea. | ||
| He just kept yelling in his bullhorn. | ||
| Of course! | ||
| And the point that Jonathan brought up is... | ||
| As soon as I saw this story, I said, I have no interest in this. | ||
| I don't want to talk about this. | ||
| This is just him further deteriorating and declining down this road. | ||
| He's no longer on places, so he's going to go bum-rush people. | ||
|
unidentified
|
Right, right. | |
| He's got to get attention somehow. | ||
| Yeah, and Jonathan brought up a really good... | ||
| You see a mental state deterioration. | ||
| He's just yelling slogans. | ||
| The answer to 1984 is 1776. | ||
| Instead of anything substantive, he's just yelling bumper sticker phrases. | ||
| And he made another really good point. | ||
| It's interesting that we haven't brought up, necessarily. | ||
| And that is, if you look at the way that Owen Schroyer treats Alex Jones these days, it's kind of like the child of an alcoholic parent. | ||
|
unidentified
|
Ooh! | |
| You know how, like, when... | ||
|
unidentified
|
Yeah, yeah, yeah. | |
| That night that Alex, quote-unquote, turned on Trump, Owen was like, Alex, maybe we should stop. | ||
| Maybe we should, you know... | ||
| Yeah, yeah, yeah. | ||
| We're out of delay. | ||
| You're swearing too much. | ||
| Yeah. | ||
| That's sort of like trying to compensate for the out-of-control parents' behavior. | ||
| Uh-huh. | ||
|
unidentified
|
And... | |
| He brought that up, and I thought that was really interesting. | ||
| I wanted to give him credit for that, and I think that's a really... | ||
| It's an interesting thought. | ||
| Not worth us doing a breakdown of him crashing a speech, but I just wanted to tip my cap. | ||
| I thought that was a good call. | ||
| Yeah, well, we have called Owen Troyer. | ||
| Owen Troyer is basically... | ||
| I think we brought up the point that he's Alex Jones' daddy. | ||
| That's the thing. | ||
| He's his buff son. | ||
| He's his cool, fratty buff son. | ||
| So anyway, those are some of the things that have been coming up. | ||
| There's more, and I'm sure Alex is saying some horrible shit about Kavanaugh, and I don't really want to talk about that, because it's ugly and blah. | ||
| Yeah, and I really don't want to scream about any man telling women that they have not been sexually assaulted. | ||
| I don't have the emotional energy. | ||
|
unidentified
|
Nope. | |
| Nope. | ||
| Not possible. | ||
| So suffice it to say, Kavanaugh can go fuck himself. | ||
| Yeah. | ||
| Oh, yeah. | ||
| You want more detailed, nuanced analysis, you should probably check in with news shows. | ||
| Yeah. | ||
| And the FBI investigation is a sham, which is something that the news shows probably aren't saying yet. | ||
| That's not true. | ||
| It will be a sham. | ||
| It is yet to exist in its sham form. | ||
| Fair enough. | ||
| So, Jordan, I wanted to get into Alex Jones. | ||
| I wanted to do what we do best, but I couldn't really get it up for that in my still-recovering state. | ||
| And thankfully, the gods shone a light down upon me. | ||
| Wait, literal gods? | ||
| Perhaps. | ||
| Do you mean we're doing an episode about a man who believes... | ||
| You're reading too much into this. | ||
| Okay. | ||
| I know I told you that Project Camelot wasn't looking like very green pastures. | ||
| Uh-huh. | ||
| Carrie Cassidy came out of nowhere and surprised me. | ||
| Wait, so we're back on Wacky Wednesday? | ||
| I thought we were letting that go for a little bit. | ||
| We were. | ||
| And now it's back hot. | ||
| Manna from heaven spilled into my lap, and I listened to this interview, and I was like, oh, I gotta, okay, we gotta do this. | ||
|
unidentified
|
Alright, alright. | |
| So, today we are taking a trip. | ||
| It's actually with Brett Kavanaugh, isn't it? | ||
| Oh man, that would be amazing. | ||
| That would be amazing. | ||
| Turns out, in 2013, Brett Kavanaugh was a guest on Project Camelot. | ||
| I genuinely think that might be a real thing. | ||
| These days, anything's possible. | ||
| Yeah. | ||
| So today we got an interesting episode of Project Camelot to discuss, where we will look at... | ||
| Another element of the con and what have you. | ||
| Today, we're going to jump in at the beginning of this interview. | ||
| Well, Carrie gives the guests credits. | ||
| This goes a little bit long, but I think it's worth it on some levels. | ||
| He has two telescopes? | ||
| A she. | ||
| Oh, okay. | ||
| I'm going to let this play out as it plays out and see what your feelings are. | ||
| Hi, everyone. | ||
| I'm Carrie Cassidy from Project Camelot. | ||
| I'm very happy to be here tonight. | ||
| I've got Sophia Stewart with me, and she's going to be on the phone line because we've been having some trouble at her and at my end. | ||
| I had some strange camera failure, and so I had to go on to my... | ||
| So, what we've got is that Basically, | ||
| you're the author of the Matrix and the Terminator series, and you have claimed that Hollywood stole your works and made them, obviously, into blockbuster movies. | ||
| And we have an extensive bio here. | ||
| It's on my website. | ||
| I'm putting it on the screen as I speak here so that you can see it there. | ||
| But briefly... | ||
| She was basically a prodigy, child prodigy. | ||
| How strange! | ||
| A prolific writer, poet, creative genius. | ||
| And those are terms that were used to describe her. | ||
| And she, I guess, worked in the... | ||
| Well, she received a Bachelor of Arts from the City University of New York. | ||
| Where a lot of prodigies go. | ||
| And a degree in journalism, minors in law and psychology. | ||
| And she came under the guidance of various celebrated authors and writers, such as Max Siegel, who was a former journalist of the New York Times, Emil Capoya, a publisher, editor, and essayist, and critic, and Paul Cherry, a playwright on Broadway. | ||
|
unidentified
|
I almost thought she was going to say TV does. | |
| She also served as an intern in TV at the public broadcasting station WNET 13, worked with the Oscar-winning film documentary producer Penn. | ||
| Thank you. | ||
|
unidentified
|
I thought it was the other one. | |
| And her love and skills motivated her to move to New York. | ||
| So I wanted to play that out because it's sort of the reveal of She Wrote the Matrix is embedded in there. | ||
| It seems like that is the thing she should lead with. | ||
| Otherwise, that is all. | ||
| Now, I'm not saying that all prodigies are alike. | ||
| Right. | ||
| I know there are reclusive geniuses, like the one guy who's on Jeopardy who went to high school like four times, trying to get it right. | ||
| No, he was on Who Wants to Be a Millionaire. | ||
| Oh, yeah, that's right. | ||
| Yeah, that guy's a weirdo. | ||
| He's a weirdo. | ||
| He wrote for the Jimmy Kimmel Live show for a while, I think. | ||
| Really? | ||
| Yeah, I think so. | ||
| God, that's great. | ||
| Yeah. | ||
|
unidentified
|
But this is not... | |
| Prodigy... | ||
| This isn't good prodigy backstory? | ||
| This isn't good prodigy resume. | ||
| Well, I don't want to take away from her collegiate accomplishments. | ||
| I don't know one thing or another about them. | ||
| I have nothing to say about them. | ||
| But I will say that your graduating class getting a letter from Jimmy Carter doesn't mean shit. | ||
| That doesn't mean anything. | ||
| That being in your resume is really padding pretty hard. | ||
| That's not good. | ||
| Now let's look at her list of mentors. | ||
| Because this is very interesting. | ||
| Yeah. | ||
| Max Siegel died in 1988. | ||
| Okay. | ||
| Emil Capoea died in 2005. | ||
| Alright, are any of her mentors still alive to confirm that they were her mentors? | ||
| Leon Roth died in 2006. | ||
| Dale, I'm starting to see a pattern. | ||
| Paul Cherry died in 2014. | ||
| I'm thinking that there might be a pattern here. | ||
| And Penny Miller Adato is not a person. | ||
| Wait, what? | ||
| Perry Miller Adato is a person. | ||
| And she recently died, but was at the age of 97. So you have to assume that she was probably not going to field any requests for comments. | ||
| Nah, she was mentoring all kinds of stuff. | ||
| 97 years young, passed away earlier this year. | ||
| None of the people who are... | ||
| Do you know that movie Mumford? | ||
| No. | ||
| It's about a psychiatrist. | ||
| I've heard of his sons. | ||
| It's a psychologist. | ||
| He's faking being a psychologist, and he goes to this town, and he fixes everybody's lives. | ||
| Then he gets in trouble for... | ||
| For being a fake. | ||
| Fake psychiatrist. | ||
| Right, right, right. | ||
| It's a good movie. | ||
| It's a tale as old as time. | ||
| It's a really fun movie. | ||
| I liked it a lot. | ||
| But the main character, Mumford, Dr. Mumford, his whole backstory... | ||
| We can't use the word doctor. | ||
| He's not a real doctor. | ||
| Sure. | ||
| His whole backstory, whenever he's grilled on it, is this list of people who have died. | ||
| Yeah. | ||
| Legit advisor tragically died in an air balloon disaster. | ||
| That'll happen. | ||
| So I get shades of that whenever I hear this list of all these people like, dead, dead, dead, dead, dead, all dead. | ||
| I hear the same story, but for a, quote, creative genius that you do for a man who was in the FBI for 20 years, where you're like... | ||
| Okay, dude, you're on Project Camelot. | ||
| I'm going to need more. | ||
| If I met you in the street, maybe I'd give you more of a benefit of the doubt. | ||
| But if you're on Project Camelot, there are some questions that need to be answered. | ||
| Yeah, you start at a lowered state of credibility, which is kind of unfortunate. | ||
| But I still come to this with an objective viewpoint. | ||
| And whenever Carrie's reading the bio, I'm like, alright, I smell something kind of weird. | ||
| First of all, she's saying she wrote The Matrix and Terminator movies. | ||
| I was halfway expecting her to say that she was the Terminator and is also Neo, and they stole her life story. | ||
| Wrong character, but we'll get to that later. | ||
| Wait, wait, wait! | ||
| She is a different character? | ||
|
unidentified
|
Hold on! | |
| Alright, alright! | ||
| You're getting ahead of yourself. | ||
| So thankfully, even though Carrie's sort of rote reading off of this bio isn't super great, thankfully Sophia can come in here and give her own version of what's important about her. | ||
| Right. | ||
| Go ahead. | ||
| Yeah, let me go ahead and elaborate for you. | ||
| Hello, everyone. | ||
| I'm from New York City, and the last time I was on Carrie's show was a while ago. | ||
| I won my court case four years ago. | ||
| Actually, September the 25th, just a couple of days ago, the 25th, September 2018 is the fourth year of my win in the Utah federal courts. | ||
| Really celebrating that hard. | ||
| I want everyone to know. | ||
| And if you don't believe it, I will give you the court docket so you can read it for yourself. | ||
| It's been going really great since my win. | ||
| The fourth installment of The Matrix is the book. | ||
| It's been out since 2010. | ||
| Eight years, selling around the entire globe. | ||
| And that's Matrix 4. I know you guys have seen it on Amazon.com and of course my website, MatrixTerminator.com. | ||
|
unidentified
|
And so that movie is going to be coming soon. | |
| I have some people on the table for what Warner Brothers offered me $30 million for the script. | ||
| What? | ||
| And this billionaire came along and he upped it five more million, which is $35 million, which is on the table right now. | ||
| Check your math! | ||
| That's a lot of money. | ||
| That's a lot of money. | ||
| For some context, Michael Crichton got paid $1.5 million plus a cut of the gross profit for writing the screenplay for Jurassic Park, which they already knew ahead of time, this is going to be fucking huge. | ||
| So that's even considered like a big payday. | ||
| Yeah, no, the cut of the gross profit there. | ||
| Now, did he get points on the back end? | ||
| Probably. | ||
| That's the question. | ||
| I think he did, but based on the deal. | ||
| But they never would have paid him $30 million up front. | ||
| Oh, good God, no. | ||
| $30 million is approximately 10 times as much as anyone has ever paid for a spec script. | ||
| And the examples of folks who have paid $3 million for such a thing are generally stories of Hollywood's big mistakes. | ||
| There's literally zero chance that anyone has offered Sophia $30 million or $35 million. | ||
| Anybody who has any awareness of how movies are made knows that that is way beyond the possibility. | ||
| Even if it's the biggest blockbuster ever. | ||
| This is Matrix 4! | ||
| Even so. | ||
| Even so. | ||
| And you know how the third one set up that cliffhanger ending that we were all waiting to find out what Matrix 4 would be like? | ||
| When they died? | ||
| Yeah, remember that? | ||
| Remember when Matrix 4 was... | ||
| When there was complete resolution at the end? | ||
| Yeah, I remember that, yeah. | ||
| Matrix 4! | ||
| Yeah. | ||
| Now I want to read Matrix 4. I do too, actually. | ||
| I want to read this Matrix 4. I really wanted to before this episode, but I was like, I don't think, I'm not paying for this. | ||
| It's like 30 bucks for an e-book of it. | ||
| Of course it is. | ||
| That's a little much. | ||
| That's the 30 million dollars of buying a book. | ||
| Perhaps. | ||
|
unidentified
|
A good book, e-book. | |
| $8.99. | ||
| All that other stuff aside, she won her court case. | ||
| That's cool. | ||
| I'm really thrilled for her. | ||
| Fourth anniversary of that. | ||
| That's awesome. | ||
| So now she owns The Matrix and Terminators. | ||
| There's a fourth one coming out. | ||
| The only thing I find really suspicious at this point is that $30 million figure. | ||
| That's impossible. | ||
| That is impossible. | ||
| If you look at a movie's budget, that's absurd. | ||
| It's just absurd. | ||
| No, but I mean, come on! | ||
| Everybody in the world is hankering for a Matrix 4! | ||
| It's true. | ||
| That's everybody! | ||
| Name one person who doesn't want to see Matrix 4. Me? | ||
| I'm fine where it is. | ||
| I don't even think the second two were as bad as I thought before. | ||
| When I saw them in theaters, I thought they were terrible. | ||
| Yeah. | ||
| But I watched them not too long ago, a couple years ago. | ||
| I was like, I would check back in on this. | ||
| I didn't think they were nearly as bad as I thought when I was a kid. | ||
| They're not as bad as you think! | ||
| No, I think they tell a fine story. | ||
| Maybe it took a little too long to do it. | ||
| Maybe some parts were superfluous as hell. | ||
| And some stylistic choices I thought were clunky. | ||
| But whatever. | ||
| I think the Wachowski sisters' next movie was Speed Racer. | ||
| I think so. | ||
| And then my favorite movie of all time, Cloud Atlas. | ||
| That movie is unwatchable. | ||
| How dare you? | ||
| It is literally unwatchable. | ||
|
unidentified
|
How dare you? | |
| I have never finished that movie. | ||
| Well, let me give it another shot. | ||
| Okay. | ||
| I don't know. | ||
| I don't think it's a good movie, but I did love it. | ||
| I thought it was really good. | ||
| All right, all right. | ||
| Who cares? | ||
| The book's better. | ||
| But be that as it may. | ||
| So, we've got the lay of the land here. | ||
|
unidentified
|
Yes. | |
| Basically. | ||
| Yes. | ||
| She is a liar. | ||
| But, I don't know why you're saying that. | ||
| I mean, she's embellishing this figure of 30 million for sure. | ||
| But you have no reason to call her a liar. | ||
| It's entirely possible that all of her legitimate mentors died. | ||
| It's possible. | ||
| Yeah. | ||
| And maybe she missed the decimal point or something. | ||
| Someone offered her 3 million. | ||
| Right. | ||
| Any of these things are possible. | ||
| You're very early in calling her a liar. | ||
| Of course. | ||
| See, because there's a lot of people out there that think that she doesn't own. | ||
| The Matrix and Terminator movies. | ||
| And actually, there's some articles about that online. | ||
| And Carrie asks her about that in this next clip. | ||
| Why is it that some articles... | ||
| There was one in 2013 who was saying that... | ||
| That's five years. | ||
| ...some reason that they said that your court case wasn't settled. | ||
| Was that because it hadn't settled yet at that point? | ||
| Yes. | ||
| 2013 article, it was before I won the court case because... | ||
| What I needed to do in a second court case, which was never done in the first court case, was to enter in my copyright, to enter in the derivative movie, and to enter in the copyright to the derivative movie. | ||
| Right. | ||
|
unidentified
|
What I forgot to do was present evidence. | |
| Because I'm the creator. | ||
| And two federal judges, the magistrate judge, Evelyn J. First, Huh? | ||
| on a matrix script and book. | ||
| Huh? | ||
|
unidentified
|
That's validated as a fact. | |
| I can send the document over to anyone who wants to dispute it. | ||
| Preemptively defensive is not a good way to live. | ||
| The snoops is something that's been carrying old news on the internet ever since 2005 when my case got dismissed in California. | ||
| The defendants, Warner Brothers, Gail Ann Hurd, James Cameron, Andy and Larry Wachowski, and 20th Century Fox and all of these defendants, they never won that case. | ||
| A lot of them terminated out before the judge's ruling. | ||
| Because they were scared of the RICO going to jail. | ||
| What? | ||
| You cannot go to jail in a civil course! | ||
| You can if you invoke the RICO Act. | ||
| You can't! | ||
| Invoke Rico! | ||
| This is racketeering, my friend. | ||
| How is it racketeering? | ||
| Because Joel Silver, Warner Brothers, the Wachowskis, they all got together and formed a criminal syndicate in order to rip off Sophia Stewart, the rightful owner of The Matrix and Terminator movies. | ||
| Also throw James Cameron in there and a couple other people. | ||
| Yeah, gotta throw James Cameron in there. | ||
| A couple other people who I have no idea who the fuck they are. | ||
| You know what? | ||
| Let's throw Joel Schumacher in there. | ||
| That guy needs to go down. | ||
| Whoever directed that Sarah Connor TV show, throw him in there, too. | ||
| Yeah, yeah, yeah, yeah. | ||
| Everybody's going down because they're a criminal syndicate. | ||
| That's where the RICO Act comes in. | ||
| And that's why they tricked everybody into voting Arnold as governor so he could sweep this all under the rug. | ||
| I'm sure that's... | ||
| He's already given a pardon to all of these. | ||
| A preemptive pardon. | ||
| Right. | ||
| I'm sure that's a piece of this that we just don't have time to get into and neither did Sophia. | ||
| I'm going to assume that's a piece of narrative. | ||
| But the Rico Act is one of those things that, like, you often hear these people who are making these audacious claims. | ||
| They invoke racketeering often. | ||
| Alex throws around racketeering Rico stuff all the time whenever he's sort of running out of steam. | ||
| It was in The Dark Knight. | ||
| And now you hear the Rico Act is what the Wachowskis and Warner Brothers were afraid of. | ||
| For sure. | ||
| Which is why they... | ||
| Terminated out of the original... | ||
| Oh no, I got it. | ||
| Lawsuit. | ||
| They terminated out? | ||
| I don't get... | ||
|
unidentified
|
Get it? | |
| I don't get how... | ||
| She wrote the Terminator. | ||
| I don't get how someone who is being sued can do that without settling, which clearly isn't what happened. | ||
| They just say, no. | ||
| No thank you. | ||
| No thanks. | ||
| No thank you to be sued. | ||
| I don't want to be sued today. | ||
| I don't feel like being sued. | ||
| No sues. | ||
| Excuse me, sir. | ||
|
unidentified
|
You... | |
| No sues me. | ||
| Sophia, I believe you forgot that we called no tagbacks. | ||
| So, sorry. | ||
| Can't sue us. | ||
| Look, I don't think that her version of that is necessarily accurate, but that case, you know, who knows? | ||
| Who knows? | ||
| Man, when we get to the reveal of how this court case actually go down, I think we're all waiting with bated breath. | ||
| This is fucking ratcheting up tension, Dan. | ||
| So what you don't understand, Jordan... | ||
| You might be thinking, like, why are these two things connected, these two IPs, these intellectual properties, Matrix and Terminator, why are they connected? | ||
| Right. | ||
| And Sophia explains that they're all the same story. | ||
| So why don't you tell people how it is you came to write, first of all, The Matrix, because I think that's the first one that came forward, and then the Terminator series? | ||
|
unidentified
|
No, no, the Terminator actually came first. | |
| Terminator and Matrix is one epic story. | ||
| It's past, present, and future time travel. | ||
| Most of the fans know this. | ||
| Oh, I get it. | ||
| The Matrix is the future. | ||
| Terminator is the beginning of the epic story. | ||
| And Sarah Connor is really Neo's mother. | ||
| What? | ||
| Because it's past, present, and future time travel. | ||
| What I wrote was the second coming of the Christ. | ||
| The evolution of consciousness, man versus the machine. | ||
| In other words, the machines hear the awful prophecy that a baby is going to be born that's going to grow up to destroy them in the future. | ||
| That's actually me. | ||
| So the Terminators are coming to kill Sarah Connor. | ||
| But they're time-traveling naked without shame because they look just like we look, wrapped in flesh, killed but cannot be killed. | ||
| Nice. | ||
| They're looking for Sarah Connors to kill her so the baby Neo will never be born. | ||
| Right. | ||
| So J.C. John Connors, J.C. John Connors, Jesus Christ, goes up to be Neo one and the same in The Matrix. | ||
| Not in Terminator 2, he doesn't. | ||
| Terminator was made October the 26th, 1984. | ||
| And my copyrights are 1981, 83, and 84. My copyrights came way before the movie, and all they did was adapt my script and my book to the screen and created the three Terminators immediately. | ||
| And then in 1999, March 31st, the release of The Matrix, that's when they created The Matrix trilogy. | ||
| One thing that's important to consider is that, like... | ||
| Terminator came out in 1984, but that doesn't mean that that's when it began development or anything like that. | ||
| It actually takes a while to make movies. | ||
| Especially a movie like that in the early 80s. | ||
| You know, like the idea that it... | ||
| I mean, it took at least a year and a half to make that movie, I would assume. | ||
| Oh, just the editing process alone. | ||
| Right, right. | ||
| And you can actually look into the history of how the Terminator movie got made, and it took a while. | ||
| Yeah. | ||
| It took a while. | ||
| People didn't have much faith in the idea. | ||
| No, they were like, that dude can't even speak English. | ||
| There's no way this is going to work out. | ||
| All I'll say right now is I guarantee the producers of The Terminator were like, well, I'll tell you what, this man's never going to be governor of California. | ||
| I do like the story, though, that she's telling. | ||
| Like, you responded to the idea of, like... | ||
| I want to see... | ||
| No! | ||
| Crossover Terminator Matrix? | ||
| Fucking... | ||
| Look! | ||
| I saw Alien vs. | ||
|
unidentified
|
Predator! | |
| That fucking sucked! | ||
| But Matrix vs. | ||
| Terminator? | ||
| Fuck yes! | ||
| Well, you know, the reason that those two are pretty similar, spiritually, is because they both pull on... | ||
| Very old archetypes. | ||
| I was going to say... | ||
| The two movies do sort of blend together when you want them to. | ||
| If you want to tell them as one story, you can. | ||
| Because they both use sort of savior archetypes. | ||
| They both pull on the same man versus technology sort of fears that humanity has had since we started making robots and technology. | ||
| Since we started making fire. | ||
| Since we had electricity, at least. | ||
| So... | ||
| That's why those things can come together. | ||
| And it is appealing. | ||
| It is appealing, the idea of, like, let's fucking throw them together. | ||
|
unidentified
|
Oh, hell yeah. | |
| See how it works. | ||
| I will say this. | ||
| You know, you can do some research and you can find that this Sophia Stewart did have a trademark or copyright registered from February 1983 on her book. | ||
| Third Eye. | ||
| Not Third Eye Matrix. | ||
| Did she just mail it to herself? | ||
| Nope. | ||
| It is through the U.S. Library of Congress copyright office. | ||
| Alright, nice. | ||
| It is, you know, it's a legit thing. | ||
| She did copyright Third Eye. | ||
| Was it published? | ||
| It is listed here as the entire text. | ||
| I believe when it is... | ||
| Give me a second here. | ||
| It's six pages long, I believe. | ||
| So it's a short story. | ||
| Yeah, it's a manuscript treatment. | ||
| Yeah. | ||
| So it's a manuscript... | ||
| It's a manuscript treatment that she shopped around, and if it's only six pages long, I'm going to guess it was not actually published. | ||
| You can't say... | ||
| Well, I mean, it was eventually a book. | ||
| I'm not sure the exact year that she put out a book. | ||
| But Third Eye is what she's basing a lot of this on. | ||
|
unidentified
|
Right. | |
| And you can't take away that it was in 1983, presumably a year before Terminator came out. | ||
| There is a copyright that she has on file for this third eye treatment that she has. | ||
| She wrote the Terminator! | ||
| She officially has more evidence on her side than any other guest in Project Camelot history. | ||
| That is true. | ||
| That actually is true. | ||
| There is something in the U.S. Copyright Office. | ||
| That is true. | ||
| We've never had anybody with actual government records. | ||
| So that alone, I think, leads us to have to, like... | ||
| Let's treat this with a little bit of... | ||
| Let's look into it. | ||
| Yeah, maybe she does fucking own The Matrix. | ||
| Maybe she fucking owns The Matrix. | ||
| Yeah, but you know what? | ||
| We never know because the media is covering it up. | ||
| Well, and Joel Schumacher just terminated the lawsuit. | ||
| You know, ever since I won four years ago, they've been covering it up in the media. | ||
| You know, I'm on the cover of a couple of magazines. | ||
| I've done over 4,000 media interviews nonstop since ABC Disney broke my story October the 17, 2003. | ||
| Okay. | ||
| Sure know a lot of dates. | ||
| And this is terrible, you know, very terrible for them to cover up this news. | ||
| Everyone has the right to know that I won and that I'm the creator and that I own the Matrix and Terminator. | ||
| Everyone deserves to know that. | ||
| Everyone deserves to know it. | ||
| Actually, didn't she say everyone has the right to know it? | ||
| Yeah, yeah. | ||
| Where was that laid down? | ||
| That was in the Bill of Rights. | ||
| It's in there. | ||
| Which was actually sent to Disney for $30 million. | ||
| Absolutely. | ||
| So far, so good. | ||
| I don't know. | ||
| Everybody has the right! | ||
| Yeah, so this lawsuit that she finished in 2014, you might be asking yourself... | ||
| Which is a very specific date that she really, really likes. | ||
| You might be asking yourself, alright, she won this fucking case, I bet she's loaded as fuck! | ||
| So we find out in this next clip if she won any money in that lawsuit. | ||
| What I'd like to know is whether or not you're winning your case, whether you were awarded any money to kind of keep you going. | ||
| Well, I was awarded almost a half a million dollars for attorney fees and $3.5 billion in liens on all of their properties because what happened was... | ||
| I had three CPAs that come in and validate that they owed me $4.7 billion. | ||
| These three CPAs are certified public accountants. | ||
| Their testimony is worth $25,000 each. | ||
| They get three at $75,000 for the expert witnesses. | ||
| And they validated that I was owed $4.7 billion. | ||
| Okay, so. | ||
| 4.7 billion is a lot. | ||
| That is JK Rowling money right there. | ||
| 4.7 Billion dollars. | ||
| Billion dollars. | ||
| And she's got liens. | ||
| She owns everything. | ||
| She's got liens. | ||
| She doesn't just own the Matrix and the Terminator. | ||
| She can own any franchise. | ||
|
unidentified
|
She owns Warner Brothers. | |
| Yeah, yeah, yeah. | ||
| She basically owns Warner Brothers. | ||
| She could? | ||
| No, she does. | ||
| She does. | ||
| She has liens on them, man. | ||
| Oh, okay. | ||
| She put liens on them. | ||
| All right. | ||
| Well, there's no way they can afford to pay those back, so I assume the bank has foreclosed on Warner Brothers. | ||
| Absolutely. | ||
| And the court has awarded her the property rights. | ||
| She now owns Disney and now owns Marvel. | ||
| Yeah! | ||
| Oh, shit! | ||
| All the dominoes have fallen. | ||
| She owns every movie. | ||
| Holy shit! | ||
| What if the Iron Man shows up in the Matrix 4? | ||
| In the Terminator-Matrix-Iron Man crossover. | ||
|
unidentified
|
Exactly! | |
| The possibilities are endless. | ||
| Oh, non-stop! | ||
| So in this next clip, she gets into what happened in that case. | ||
| Okay. | ||
| Now, none of the defendants ever showed up in the courts. | ||
| It was kind of like a double whammy. | ||
| I was getting the four law firms at the same time that had sabotaged my California case. | ||
| They were supposed to have been on my side, but they were paid by one of others and these other defendants to sabotage me. | ||
|
unidentified
|
Listen, all you know, it's a sabotage. | |
| She owns that time now, too. | ||
| September 25, 2014. | ||
| I'll say that in that Utah case, the defendant, one of them didn't show up because he was dead at the time. | ||
| That actually was one of her mentors, too, though. | ||
| I don't think so. | ||
| That guy... | ||
| Honestly, when we get down to it, that guy did her dirty. | ||
| Oh, no! | ||
| What? | ||
| The guy who died actually did fuck her over? | ||
| A little bit, yeah. | ||
| Holy shit. | ||
| This is a complicated tale. | ||
| We have two more clips, and then I'll explain everything. | ||
| I've been trying to pretend that she has a good point, and it's just... | ||
| It doesn't work. | ||
| Why are you doing this to me? | ||
| Because I thought it would be fun as a narrative. | ||
| It is fun! | ||
| Anyway. | ||
| I'm having a great time. | ||
| The sense of anticipation is unreal. | ||
| At this point, all we really know is that the courts have decided that she owns the Matrix and Terminator movies. | ||
| And is owed $4.7 billion. | ||
| $4.7 billion. | ||
| Billion dollars. | ||
| And that leads us to this revelation. | ||
| Alright, but where did you saying that you sort of had a lean on, as you called it, I think, on certain individuals? | ||
| Yeah, I got $3.5 billion in liens. | ||
| Like, I own all of their properties. | ||
| And all I have to do is perform a debtor's exam where they have to come and open up their books and show how much money that they have to pay in order for their properties. | ||
| You know, to either pay the money or to get their properties back, or I can actually, after the debtor's exam, sell the properties. | ||
| It's been four years and she is using the present tense. | ||
| Are you talking about whose property? | ||
| Warner Brothers or the individual? | ||
| Yeah, I leaned up Warner Brothers' property. | ||
| I leaned up James Cameron's property. | ||
| Hell yeah. | ||
| Gail and Herd, Andy and Larry Wachowski. | ||
| In fact, I can send you over the leans after the show and you can actually see the property that I leaned up. | ||
| Because it was all entered into the courts and the judge did not kick out the liens. | ||
| So the liens are good. | ||
| Liens are good. | ||
| So you're asking a very... | ||
| This has such a sovereign citizen. | ||
| Oh yeah. | ||
| The courts didn't stop me, so now I have liens. | ||
| You can introduce anything you want into court. | ||
| It's strange that you can do that. | ||
| And it's not like the court has a responsibility to be like, this is bullshit. | ||
| Yeah. | ||
| Cut this out. | ||
| But anyway, she has liens on... | ||
| Billions of dollars of property on the Warner Brothers, the Wachowskis, James Cameron. | ||
| Open up your books, James Cameron. | ||
| I don't know if you can afford this $3.5 million. | ||
| Billion. | ||
| Oh, so wait, wait, wait. | ||
| It's $3.5 billion in liens. | ||
| No, no, no. | ||
| She has $4.7 billion. | ||
| No, no, no. | ||
| That's what she should have been owed. | ||
| But she only has liens for $3.5 billion. | ||
| She said billion? | ||
| I thought she said million. | ||
| No, sir. | ||
| Oh! | ||
| That's a billion. | ||
| I really don't think she's going to win this. | ||
| I really don't think she's going to take this one down. | ||
| So you brought up a really interesting point there, and you said she's talking about it in the present tense. | ||
| She has these liens. | ||
| Yes. | ||
| Because she's explaining that all she has to do is do a debtor's exam. | ||
| Exactly. | ||
| All you got to do. | ||
| So you might ask yourself, why hasn't she done that yet? | ||
| Okay, fair enough. | ||
| But how long have you had the liens? | ||
| The liens are good indefinitely. | ||
| I've had the liens for four years. | ||
| All right. | ||
| Four years, yeah. | ||
| Why have you not acted on that in particular? | ||
| Do you know? | ||
| Good question! | ||
| Yeah, because debtor's exams cost a lot of money. | ||
| I see. | ||
| And so a lot of people don't know that debtor's exams, it costs money when you do a debtor's exam. | ||
| So it costs money to collect. | ||
| See, the IRS, when they collect on your lien, the IRS, they got all this money, they got all this power, they got all these lawyers working for them. | ||
| And this is where I broke. | ||
| This is where I said, no way. | ||
| This is not true anymore. | ||
| Because if she had all these billions of dollars of liens and it was real, anybody would stake her. | ||
| Oh, yeah! | ||
| Anybody would be like, I will pay for this debtor's exam, you give me a million on the back end, and we're good. | ||
| Now you get billions of dollars, justice is served, I get a million out of it. | ||
| Yeah, I'm not even going to be greedy. | ||
| I'm not even going to be like, give me $300 million of your $4.7 billion. | ||
| Right, right, right. | ||
| Look, I'm going to charge more than I normally do hourly, but hey, $4.7 billion? | ||
| I'm going to jump in. | ||
| Venture capitalists or seedy individuals would be banging down her door to pay for that fucking exam. | ||
| Elon Musk couldn't even afford to be leaned against like this, and he's going to... | ||
| Wait, is he doing well or no? | ||
| He's settled, but he's got to lose, right? | ||
| So, this is where things get kind of interesting. | ||
| What do you want to know about first? | ||
| Do you want to know about her copyrights that she has, or do you want to know about these court cases? | ||
| You know what? | ||
| First thing I want to know, is she actually a published author? | ||
| Probably. | ||
| Yeah, yeah, yeah. | ||
| I mean, she did write this fourth matrix. | ||
| I apologize. | ||
| Self-published author. | ||
| Is she a self-published author? | ||
| Most likely, yes. | ||
| Is she an actor? | ||
| Did Simon and Schuster knock down her door saying, we gotta have the fourth Matrix? | ||
| I don't think so. | ||
| But they could be part of this Rico situation. | ||
| Oh, that's true. | ||
| They could be. | ||
| So I'll just start with the court cases. | ||
| What's important to know here is that if you look into this case and the situation with Sophia Stewart, you find that there's two court cases. | ||
| Yes. | ||
| That she's conflating a little bit, and she's doing that intentionally. | ||
| The one in California and the one in Utah. | ||
| That's the first case, the California case. | ||
| Yes. | ||
| In this case, she tried to shoot the moon. | ||
| She filed a lawsuit against the Wachowski siblings, Joel Silver, Warner Brothers. | ||
| And 20th Century Fox, claiming that the Matrix and Terminator movies were based on her book, The Third Eye. | ||
| In June 2005, the case was dismissed when Sophia Stewart failed to appear at the preliminary hearing for her case. | ||
| In the court's ruling, Judge Margaret Morrow of the Central District Court of California dismissed the suit, saying Stewart and her attorneys had not entered any evidence to bolster its key claims or demonstrated any striking similarity between her work and the accused director's films. | ||
| Seems like you really want to show up to court that day considering it's like a big deal. | ||
| Indeed. | ||
| So at that point, her case was closed. | ||
|
unidentified
|
Of course. | |
| The California case is open and shut like that. | ||
| Easy. | ||
| Now, the Utah case starts on August 1st, 2007, when Sophia Stewart sued a whole bunch of people. | ||
| Many of them are named as John Doe's, like anonymous people she's suing in court. | ||
| The named individuals were people who were involved in her legal team for her California case. | ||
| She sued Michael Stoller, Jonathan Lubel, Dean Weber, and Gary Brown. | ||
| The court dismissed the cases against Stoller. | ||
| Well, all those people terminated by not being named. | ||
| Who cares? | ||
|
unidentified
|
You can't sue an unnamed person, can you? | |
| It's a mysterious lawsuit. | ||
| That's why I was thrown up. | ||
| How can you sue an unnamed person? | ||
| So she was suing for breach of contract, breach of covenant of good faith and fair dealing, malpractice, civil conspiracy, fraud, breach of fiduciary duty, and conversion. | ||
| Sounds right. | ||
| According to court documents, Sophia was acting as her own attorney in the California case when, quote, sometime around July 2004, Jonathan Lubel contacted Ms. Stewart at her home in Utah to deliver his services as an attorney with respect to the California action. | ||
| Mr. Lubel spoke with Ms. Stewart over the phone from her home in Utah and sent a written fee arrangement to Ms. Stewart's home in Utah, where she executed the agreement and paid a He is not a real lawyer. | ||
| He wasn't the guy. | ||
| Of Lubel's inaction. | ||
| Yeah. | ||
|
unidentified
|
So Lubel was a horrible lawyer and failed to prosecute Sophia's case in a competent manner. | |
| It kind of wouldn't have mattered in the end because she was never gonna win that case. | ||
| No, of course not. | ||
| But he was clearly acting poorly as an attorney, and as a result of her losing the California case, Sophia was ordered to pay the California defendant's attorney's fees and legal costs. | ||
| Ooh, of course. | ||
| Which, if you can imagine, that was a huge bill. | ||
| Yeah. | ||
|
unidentified
|
'Cause she's suing Warner Brothers, the Wachowski siblings, Joel Silver, 20th Century Fox, That is a steep fucking bill. | |
| They got some serious lawyer's fee racked up. | ||
| So because of Lubel being a terrible attorney in that case and getting it thrown out with prejudice, she ended up being charged the opposite side's legal fees. | ||
| She got charged $4.7 billion. | ||
| In the Utah trial, the court did find that Lubel, though at this point deceased, was still guilty of having wronged Sophia. | ||
| And they found, quote, Ms. Stewart's malpractice claims, breach of contract, breach of fiduciary duty and negligence. | ||
| Entitle her to damages stemming from the money she paid under the contract, and the attorney's fees and costs awarded against her in the California action, and lost damages, if any, based on the underlying California copyright case. | ||
| If any is a super important piece of words there. | ||
| Okay, so, had she and her lawyers shown up, and had they won the case, or... | ||
| Were she to sue again and found to be entitled to damages, then she would be owed those. | ||
| Right? | ||
| Is that what we're saying? | ||
| Well, that would be in a whole other case. | ||
| Okay, so if you read that, what it's saying is that she's entitled to the money that she paid him as a lawyer. | ||
| Yes. | ||
| The lost amount that she had because of the attorney's fees that she was charged because of the resolution of the case. | ||
|
unidentified
|
Yeah. | |
| And then... | ||
| Lost damages, if any, based on the underlying California copyright case. | ||
| Which were zero. | ||
| So she would be owed that $4.7 billion, but the if any is in there, and that's important. | ||
| And the if any is zero. | ||
| Well, yeah. | ||
| So Sophia won damages in the amount of $305,000. | ||
| $930,000. | ||
| $300,000. | ||
| $305,930.62, which is the amount she was sentenced to pay for the attorney's fees in the California case. | ||
| This isn't a win as much as it is a shifting of blame off her and onto Lubel, this lawyer who did her dirty. | ||
| Interestingly, the only place liens come up in this court document are in relation to how the defendants in the California case had liens on her in three states prior to the judgment, which were then released after this verdict. | ||
| Of course. | ||
| So that's probably what she's talking about there. | ||
| As for this case affirming that she owns the Matrix, quote, Ms. Stewart seeks approximately $15 billion in damages in this case, stemming from her... | ||
|
unidentified
|
$15 billion? | |
| Yep. | ||
| It's in the court documents. | ||
| She shot the moon so hard the game of hearts should sue her. | ||
| This is like I'm reading straight from the court documents. | ||
| So she was seeking $15 billion in damages in the case stemming from her attorney's failures in the California copyright case. | ||
| Ms. Stewart submitted documents and presented expert witness testimony to support this award. | ||
| One of these documents consists of a response from a Time Warner Entertainment Company lawyer to a patented trademark office action. | ||
| The exhibit also includes IMDB printouts with gross profit fees. | ||
| Well, I'm glad she printed it out. | ||
| Thus, even assuming the merits of the underlying claim, the California defendants would | ||
| have been able to establish deductible expenses and the profit not attributable to Ms. Stewart | ||
| Yeah, of course. | ||
| The answer is zero. | ||
| Zero out of 15 billion. | ||
| Yes. | ||
|
unidentified
|
In the order adopting this report and its recommendations, they lay out that she's entitled to just over $300,000 in damages for her lawyer's malfeasance. | |
| But the document ends by pointing out that, quote, Ms. Stewart has objected to this damages amount and asserts that she's entitled to damages connected to the profits of the Terminator and Matrix movie trilogy. | ||
| For reasons stated in the report and recommendations, her objection is overruled. | ||
| Those are the two cases that she has. | ||
| And all these documents she has up on her website that actually disprove her own claims. | ||
| I don't know why she has these. | ||
| That's a weird thing to do. | ||
| Don't know why. | ||
| That's a weird thing to do. | ||
| Yeah. | ||
| I found them on her website and in other sources. | ||
| So, like, I can say that they're not, like, doctored or anything. | ||
| See, I think she's doing the Apple terms and conditions gambit where it's like, I'm going to put these up here. | ||
| Nobody's actually going to read this shit. | ||
| So I'm just going to claim it says what I wanted to say because nobody's actually going to read this shit. | ||
| Yeah. | ||
| So the other thing is she does have a bunch of copyrights. | ||
| She has filed a bunch of certificates of copyright that she has up on her website, truthaboutmatrix.com. | ||
| She's posted some screenshots of these certificates of registration with the U.S. Copyright Office that she asserts are proof that she won her court case, but this is absurd. | ||
| The first problem is that these copyrights are largely for things that are not contested. | ||
| For instance, she placed a copyright in 2013 for a screenplay titled Terminator 5, The Hologram Clones. | ||
| I love it. | ||
| This is not proof that she created Terminator, nor is it even proof that she wrote a script. | ||
| Well, she posted the screenplay up, I assume. | ||
| No, I couldn't find that. | ||
| Oh, she didn't post the screenplay? | ||
| She doesn't want to get that stolen. | ||
| Oh, that's a good point. | ||
| Copyrights and patents are an area of law where fraud is rampant. | ||
| If I have an idea for something, I could get a patent for it without ever making it. | ||
| Yeah, there was the patent troll literally for podcasts. | ||
| A couple years back. | ||
| And then the same thing with copyrights. | ||
| If I have a manuscript that I'm claiming to have written, I can get it copyrighted. | ||
| But all that is is copywriting that specific thing. | ||
| It seems kind of important to prove that it was stolen. | ||
| So one thing that threw me for a huge loop is that one of the things that Sophia has a certificate of copyright for is the Animatrix. | ||
| Her certificate is from 2013, though the Animatrix shorts were released in 2003. | ||
| I was going to say, didn't the Animatrix came between the first movie and the second movie? | ||
| Right. | ||
| And it explains some of the lingering plot details that the second movie just kind of didn't even bother with. | ||
| I thought this was really strange, and clearly this wouldn't fly. | ||
| The producers of the Animatrix would have already, they'd have a copyright on their works. | ||
| But then I noticed that this copyright was specifically for an artwork, whereas the rest of the copyrights she claimed to have were for screenplay. | ||
| and scripts. | ||
| She most likely got a copyright for a work of art she made called the Animatrix that doesn't violate the existing copyright that the producers have for the film's Animatrix as they would be in a separate category of copyrights. | ||
| Right. | ||
|
unidentified
|
Similarly, she has a certificate of copyright for Enter the Matrix. | |
| Right. | ||
| for a work described as text. | ||
| Enter the Matrix is a video game, so they would have a completely different copyright Of course. | ||
| So she has these things. | ||
| What it appears to me is that Sophia is doing, what she's doing is filing totally fair copyrights to the works that she's created, like Terminator 5, the hologram clones, or the fourth Matrix book that she's written, then asserting copyright claims to existing names of intellectual properties under different categories, knowing that the appearance of having a copyright with the name Animatrix will trick most people into thinking that she did, in fact, win her court case. | ||
| This theory is sort of elevated by her writing, in all caps, on her website. | ||
| Quote, Sophia Stewart has won the copyrights to the Matrix and Terminator movie franchises. | ||
| The government has settled the matter. | ||
| Hmm. | ||
| It's all a shell game. | ||
| Wow. | ||
| All of this is kind of moot, though, because according to the government copyright office, So she's also saying that she owns the Bible. | ||
| I mean, she'd have to be, to some extent. | ||
| She's saying that she owns the hero's journey as a concept. | ||
| I mean, it's that brash. | ||
| Yeah. | ||
| Alright, I like it. | ||
| I like it. | ||
| Again, she has plated balls with chrome. | ||
| There's no doubt. | ||
| Yeah. | ||
| It's pretty wild. | ||
| Yeah. | ||
| And this interview gets wilder. | ||
| Okay. | ||
| So you might be asking yourself, why did she do all this stuff in, like, 2000s? | ||
| I'm asking myself a lot of questions. | ||
| Terminator came out in 1984. | ||
| Why didn't she know that her work was ripped off back then? | ||
| It seems like she would automatically know since it was such a huge hit. | ||
| You know about the Matrix movies. | ||
| When did you realize that your stuff was stolen? | ||
| In other words, what was the process by which it was stolen? | ||
| Yeah, I want people to realize there was never any battle or any fight or any warring going on. | ||
| When I went, I didn't go to the movies in 84 because I was pregnant and I was married. | ||
| Whoa! | ||
| Divorce him! | ||
| But in March the 31st, 1999, I go and I see The Matrix and I recognize my work on the screen. | ||
| And me being a paralegal, as I studied to be an attorney and a doctor, I called up one of other's legal departments. | ||
| Plus, I come from a military law enforcement family. | ||
| That doesn't make sense. | ||
| They offered me $5 million for the copyrights. | ||
| But the copyrights are worth more than that because I was doing taxes when I was 11 years old. | ||
| Like H&R Block, I was getting paid by wrong people to do their taxes because they didn't understand how to do taxes. | ||
| That's why H&R Block was born. | ||
| But I was already an entrepreneur and doing also as a teenager payroll. | ||
| I was creating grown people's paychecks. | ||
| And I scored a 98 on the IRS exam, which is nothing but pure math. | ||
| So they wanted me to come and work for them. | ||
| So I understood numbers. | ||
| That's why you see in the matrix the binary codes for one in the Not binary. | ||
| Oh, that's why. | ||
| Why are we throwing in ancient sacred geometry? | ||
| Why not? | ||
| That answer was rambling enough. | ||
| We don't need to do that. | ||
| No, you gotta throw it in. | ||
| Wait, did she just... | ||
| Did she just say that the reason that she knows she owns the matrix is because they used binary? | ||
| No, no, no. | ||
| It's because she was an accountant. | ||
| At 11? | ||
| Yeah, doing people's taxes. | ||
| Isn't that illegal? | ||
| That's child labor. | ||
| A lot of that answer, I don't think is, I think it's just nothing. | ||
| I think it's kind of just spaghetti on the wall. | ||
| It is a lot. | ||
| I think when you boil it down, it's, okay, I was pregnant and I was married to a guy who didn't want me watching movies in 1984. | ||
| Is he dead or did they divorce? | ||
| She says it in the past tense, so I assume something happened. | ||
| Okay. | ||
| But now she's 99, you know, comes around. | ||
| She's going to movies now. | ||
| Finally allowed to see movies. | ||
| Right. | ||
| Her kids are 15 at that point. | ||
| Yeah, yeah, yeah. | ||
| I think women got the vote shortly after that, too. | ||
| Isn't that how that worked? | ||
| They want to burn their bras and got three movie tickets. | ||
| Yeah, yeah, yeah. | ||
| First thing you do... | ||
| Get the ability to watch movies. | ||
| Right. | ||
| Then you get the right to vote. | ||
| So she goes and sees The Matrix and she's like, gall darn it, I've been ripped off. | ||
| Of course. | ||
| I wrote six pages. | ||
| So then she calls a lawyer and the lawyer's like, here's five million dollars. | ||
| It seems a little bit preemptive. | ||
| Yeah, I don't think that happened at all. | ||
|
unidentified
|
So... | |
| In this next clip, she just talks about how her work is copyrighted. | ||
| We already talked about that a little bit, so I'm going to skip it. | ||
| Because Carrie asks her, like, okay, she was trying to get to that in this clip, where she was saying, how did you know you got ripped off? | ||
| What was the process? | ||
| And so now she tries to understand, like, how did this start? | ||
| In other words, how did they get your work? | ||
| Where was your work? | ||
| Did you submit? | ||
| Because it kind of sounds like you didn't submit it to a film company. | ||
| It does kind of sound like that. | ||
| I sent it over to 20th Century Fox looking for George Lucas. | ||
| Because when I saw Star Wars, and I didn't know that Star Wars... | ||
| You were not allowed to see movies back then! | ||
| I only saw that George Lucas was the director and I wanted him to direct my work. | ||
| Really? | ||
|
unidentified
|
I wanted him to send my work to Lucas. | |
| Really? | ||
| he was at 20th Century Fox. | ||
| So I sent my script and book to him at 20th Century Fox. | ||
| And Susan Mesbeck, who was Vice President of Creative Affairs, she got a hold of the script and the book and saw how valuable it was commercially. | ||
| And she just stole it right and brought in Gail Ann Hurd and Cameron and all these people and David Madden and Valerie Ray. | ||
| And they just started passing it around. | ||
| Right, I appreciate that. | ||
| But your name was on it. | ||
| Your copyright was on it. | ||
| How did you get it submitted over at Fox in those days? | ||
| Good question. | ||
| Back in 1981, there were no agents to receive anything. | ||
| People were just receiving all kinds of stuff back in the day in 1980 and 81. That's pretty ludicrous. | ||
| Wait, in 80 and 81, every studio had just like a, hey, unsolicited scripts, send them on over. | ||
| Yeah, absolutely. | ||
| And this is cockamamie because... | ||
| She, in other places, has claimed that the Wachowskis posted that they wanted, like, submissions for science fiction stuff, and that she sent her work into them! | ||
| Posted where?! | ||
| I don't know, Craigslist? | ||
| What, in the classified ads? | ||
| No, there was no Craigslist in 81. Something like that? | ||
| Who gives a shit? | ||
|
unidentified
|
What? | |
| Who gives a shit? | ||
| If they don't, and look, if you don't have agents, you definitely don't have the internet. | ||
| And you did have agents going all the way back to the fucking 50s! | ||
| But I'm just saying that, like, that story is even different than the main story that she tells. | ||
|
unidentified
|
Yeah. | |
| Of the Wachowskis getting the text, and that's where it all rolled from. | ||
| She sent it to 20th Century Fox because she was hoping George Lucas... | ||
| Famed director! | ||
|
unidentified
|
George Lucas. | |
| He only directed the first one. | ||
| Who directed, what, like three movies? | ||
| But he only directed the first Star Wars, right? | ||
| Yeah, he directed the first Star Wars. | ||
| And that was in 77. Yeah, and then he directed... | ||
| Her copyright isn't until 1981 or 1983. | ||
| Right. | ||
| So four years after Star Wars. | ||
| Yeah, she got it. | ||
|
unidentified
|
She had it. | |
| Look, she... | ||
| Hold on. | ||
| I don't know why she didn't reference American Graffiti, because that's probably his best directorial work. | ||
| When did Empire Strikes Back come out? | ||
| Uh, 76? | ||
| No. | ||
| No. | ||
| It was 80-something. | ||
| I'm pretty sure it was in the 80s. | ||
| No. | ||
| Regardless, I think that... | ||
| I know it was before agents were around. | ||
| Absolutely. | ||
| No agents. | ||
| No agents. | ||
| That's why Harrison Ford is broke. | ||
| All this is a little tough. | ||
| It's a little tough to swallow. | ||
| There's red flags pretty much everywhere. | ||
| There's a few. | ||
| So I'll just say... | ||
| Dude, genuinely at the start of this, you had me kind of convinced that there may have been some sort of case for her where it's like, oh, she did put together all of these ideas. | ||
| Maybe they were stolen. | ||
| Well, it's one of those interesting things that if you go to her website, truthaboutmatrix.com... | ||
| Which is the 9-11 blogger of... | ||
| Truth about Matrix. | ||
| It might as well be. | ||
| There's an entire section that she has of her copyrights. | ||
| And it's interesting because here she has her copyright for The Matrix 4. And the date of it is July 20th, 2010. | ||
| Is it just Matrix 4? | ||
| She doesn't have a subtitle? | ||
| The Evolution Cracking the Genetic Codes. | ||
| That's the subtitle of Matrix 4? | ||
| Yep. | ||
| Oh boy, I don't want her helming the Matrix 4. Also, the nature of the work... | ||
| Nor do I want George Lucas anywhere near the Matrix 4. The nature of the work is listed as movie treatment, synopsis, 4D movie attraction, and hologram clones. | ||
| 4D? | ||
| Hologram clones! | ||
| Listed as... | ||
| In the 4D movie! | ||
| Listed as... | ||
| I'm back in! | ||
| New machines. | ||
| Just new machines. | ||
| There's a copyright on the hologram clones, which is a new machine. | ||
| This could be another copyright troll here. | ||
| All right. | ||
| But the interesting thing here is that was from 2010, but she claims that she wrote it in 2000. | ||
| Right. | ||
| Which is fine, but legally there's no proof of that until this 2010 date. | ||
| You've got to mail it to yourself. | ||
| And it's the same thing with this stuff, like Enter the Matrix, this text that she has copyrighted. | ||
| Is from 2015, but she claims the date of completion was 1981. | ||
| Ha! | ||
| That's just based on her own reporting in this, basically an affidavit. | ||
| Well, she was a famously published author in 1981, so I assume everybody can trust that she was writing so many fucking manuscripts and screenplays that there's just no way that you couldn't kind of accept that there's a benefit of the doubt there, right? | ||
| I don't think so. | ||
| I just don't. | ||
| Sorry. | ||
| I don't believe any of this. | ||
| But it's interesting because... | ||
| On a recent episode that we didn't go over, the one where Carrie was talking about how like, hey, you know, a lot of my people have been brainwashed. | ||
| A lot of my sources have been brainwashed. | ||
| And like, just because they lie doesn't mean they're liars, that sort of thing. | ||
| Another thing that she was really trying to stress is that like, just because I have someone on doesn't mean I agree with them. | ||
| Sometimes I'm trying to get to the bottom of stuff because I'm a journalist. | ||
| I'm an investigator. | ||
| Well, double well. | ||
| Because she's like, you know, Eddie Page can come on and we can have a conversation. | ||
| That doesn't mean I believe him. | ||
| She fucking believes him. | ||
| Oh, of course. | ||
| But that's why I just want to play this next clip to show that she's not just investigating. | ||
| She 100% believes Sophia. | ||
| No, it's kind of funny. | ||
| A lot of people have had their stuff stolen, okay? | ||
| But yours is one of the most outrageous, sort of flagrant cases, I think. | ||
| Okay. | ||
| So you believe this is the most flagrant case? | ||
| Flagrant copyright violation. | ||
| She is, well, how could it not be? | ||
| It would be the single largest court case in history if the Utah court were to award her $3.5 billion. | ||
| I mean, it would be crazy. | ||
| I'm not going to go out on a limb here because... | ||
| The Cloud Atlas never would have been made. | ||
| All I'm saying is, I would guess they would try and appeal that. | ||
| Oh, yeah. | ||
| They wouldn't just lose the case and be like, Bap! | ||
| 3.5 billion! | ||
| Oh no, we got liens! | ||
| At least we get to keep the other 11.5 billion that she wanted. | ||
| Well, the other thing to recognize, and this is something that comes up in that court case, is that at the end of the day, even though The Matrix is a massively successful franchise, that doesn't mean that it made a lot of money. | ||
| It doesn't necessarily mean because of all the money that went into it. | ||
| Right. | ||
| There is still a decent chance that they barely broke even. | ||
| No, they made a lot of money. | ||
| Well, I don't know all the specifics, but you always assume that, like, oh, you made 80 million at the box office. | ||
| You might have paid... | ||
| $80 million to make a movie. | ||
| No, no, no, for sure. | ||
| But the Matrix money was big money. | ||
| But also, you've got to consider, too, that a lot of the times when people talk about budget stuff, like the budget figures that are included on IMDB and stuff like that, often don't include advertising budget. | ||
| They often don't include a lot of extra expenses that are on there. | ||
| I'm not saying that necessarily these movies didn't make money. | ||
| But the figures that you assume about them, the $15 billion and stuff like that, is probably grossly exaggerated. | ||
| Oh, of course. | ||
| Well, the Matrix was a fairly low budget, and it had very little advertising behind it, which is why everybody was surprised that it became such a huge hit. | ||
| So at the very least, the first Matrix has been wildly popular. | ||
| And then you've got to figure, like, yeah, I know you've got to have the advertising costs in there, but you've got to figure merchandising, you've got to figure all this other stuff in there. | ||
| And a lot of the merchandising stuff ends up making money for like... | ||
| Tyco, the toy companies, and stuff like that. | ||
| That's true. | ||
| So there's a lot of hands in that pot that aren't necessarily all going to the Wachowskis or Warner Brothers. | ||
| Well, what they are doing is going to Sophia, is what they are doing. | ||
| Hell yeah. | ||
| The reality of filmmaking and all this stuff is a lot more complicated and less enticing than people like Sophia want to make it appear. | ||
| Right. | ||
| Now, the other thing you've got to consider is that Sophia Stewart is far from the only person to sue Warner Brothers and Joel Silver claiming that they stole the idea of the Matrix from them. | ||
| There's a certain fanaticism that's inspired by movies like The Matrix, and a lot of people want to take ownership for having created it. | ||
| One such fellow litigant was a guy named Thomas Althaus, who claimed that his screenplay The Immortals had 119 similarities with The Matrix. | ||
| 119? | ||
| Yeah, man, that's a lot. | ||
| That's not even... | ||
| There weren't even 119 pages in The Matrix. | ||
| Yeah, probably not. | ||
| A lot of just repeating flip. | ||
| Yeah. | ||
| Flip. | ||
|
unidentified
|
Jump. | |
| So, uh, this case went to court, and the judge ruled against him, which seems fair, given this plot synopsis for The Immortals. | ||
| Quote, Old House's film follows a CIA agent who takes a drug that makes him immortal. | ||
| Jim Reese finds himself in the year 2235 AD. | ||
| Case dismissed! | ||
| Excuse me, uh, case dismissed, sir. | ||
| Jim Reese finds himself in the year 2235 AD, battling to wreck the plot of Adolf Hitler's son to wipe out all non-immortals. | ||
| I find in favor of the defendant, please excuse this, sir. | ||
| I would like you to pay the defendant's court costs. | ||
| Frankly, I want you to pay the cost of me being here today. | ||
| A substantively different plot than The Matrix. | ||
| Althaus's main argument was that the Christ-like nature of Neo was similar to the Christ-like part of his main character. | ||
| It's similar to the Christ-like! | ||
| Christlike nature of Christ! | ||
| Which is the older thing! | ||
| To which Judge Klausner said, quote, Allusions to Christianity and literature date back hundreds of years and are not generally protectable. | ||
| Interestingly, Althaus has a very similar backstory to Stewart in that they both claim that they submitted their scripts to Warner Brothers, at which point Joel Silver stole it and passed it on to the Wachowski siblings. | ||
| That fucking Joel Silver, man. | ||
| This makes absolutely no sense, because before The Matrix, the Wachowskis were not the sort of folks that movie companies would be committing crimes to bolster. | ||
| Before The Matrix, the only two movies they'd made were the forgettable movie Assassins, which boasts a 16% on Rotten Tomatoes, which the Wachowskis unsuccessfully tried to take their name off of, claiming the co-writer Brian Haglund had essentially written out all of their contributions to the movie, and bound the sexy noir crime film starring Jennifer Tilly and Gina Gershaw. | ||
| I want to see that. | ||
| I love Jennifer Tilly. | ||
| She's great. | ||
| Have you ever seen The Wrong Man? | ||
|
unidentified
|
No. | |
| Oh, no, no, no. | ||
| It's got Dave Foley in it and Jennifer Tilly. | ||
| I don't care. | ||
| It is legitimately one of the funnier movies you'll ever see in your life. | ||
| The Wachowskis showed promise, but their first two outings did not produce the sort of response where a studio would go out of their way to set them up to succeed. | ||
| They weren't a team that was like, oh my god, we've got to fucking break the law for them. | ||
| It's absolutely ludicrous to assume that there would be this grand conspiracy in order to get them this intellectual property that had been stolen based on the fact that their first two movies didn't even really break even. | ||
| Frankly, and not to be insulting, I still don't think they're a team that a studio would go out on a limb legally and break a crime for. | ||
| Well, I mean, crime, sure. | ||
| Or commit a crime for. | ||
| Break a crime? | ||
| Cloud Atlas is great. | ||
| Alright. | ||
| So, now the... | ||
| Interview takes a bit of a turn. | ||
| Sophia is about to make a claim that I do not believe. | ||
| The FBI have told me that when they come in, they're going to arrest all of these people because since it was theft of the copyrights, they have to come in. | ||
| At some point, it'll be some kind of task force because they got special task forces to come in and do this type of work, especially when it's a conflict of interest. | ||
| They got these special task forces that they can send in to make these arrests, and then you would only get restitution, they told me, because they stole copyrighted work. | ||
| It's a RICO offense. | ||
| That's really not what it is. | ||
| Nope, it's not. | ||
| And the FBI is not going to arrest the Wachowskis. | ||
| What would the task force look like? | ||
| Like, you got a SWAT team, right? | ||
| Everybody knows. | ||
| They are highly militarized, probably too militarized. | ||
| Special weapons and tactics. | ||
|
unidentified
|
Yeah, yeah, yeah. | |
| Not good, right? | ||
| So, your task force, though, for a fake RICO situation, what do they look like? | ||
|
unidentified
|
I don't know. | |
| Like, just suits, man. | ||
| Just suits? | ||
| Just suits. | ||
| Just suits? | ||
| It's a normal FBI. | ||
| No, no. | ||
| You gotta come in casual. | ||
| Oh. | ||
| You've got to come in like, hey, we're a bunch of tourists. | ||
| We just want to see Universal Studios. | ||
| And then bam! | ||
| You're thinking of Rico Suave. | ||
| You're thinking of unbuttoned shirts. | ||
| That's exactly what I'm thinking of. | ||
| And a bandana. | ||
| That is the real crime here. | ||
| Rico Suave. | ||
| So now we find out something that I think we all probably should have assumed about Carrie long ago. | ||
| Because, you know, I worked in Hollywood, right? | ||
| You know, I was an independent producer. | ||
| I actually wrote screenplays. | ||
| I tried to shop them around. | ||
| How did it go? | ||
| I met a lot of these players you talk about. | ||
| So, as is the case with all of these people that we end up talking about, they all have failed entertainment history. | ||
| It's weird. | ||
| It's really weird. | ||
| Gary has a history in trying to sell films. | ||
| Why didn't Charles Manson just sue the Beach Boys? | ||
| Why not? | ||
| That would make more sense than... | ||
| Well, it wouldn't make as much sense. | ||
| You would lose. | ||
| Whereas with Cole... | ||
| He has a better case than Sophia Stewart. | ||
| That's actually true. | ||
| Yeah. | ||
| So anyway, Carrie was trying to break into Hollywood. | ||
| Obviously it didn't work out because we're where we are now. | ||
| Yeah. | ||
| But here's what she wants you to know about her time in Hollywood. | ||
| I worked... | ||
| In, you know, pretty deep in, many years. | ||
| Undercover. | ||
| But I never, they never would let me in, but I was quite psychic and I tapped into and heard a lot of gossip and whatnot. | ||
| So I know a lot of the stories back channel. | ||
| What? | ||
| I can tell you that what went on with your screenplay, with your book and your writings, some people knew. | ||
| That's dangerous. | ||
| That's a dangerous line to be taking with someone who is clearly a little delusional, as Sophia Stewart clearly is. | ||
| You know, if she's willing to post these Like these court documents on her site that prove that she's wrong. | ||
| Right. | ||
| There's an element of delusion into what she's putting out into the world. | ||
| Oh, absolutely. | ||
| And so now Carrie's saying that I worked in Hollywood, I was in deep, not really in that deep, but I was psychic and I heard gossip. | ||
| See, I really don't like that part. | ||
| That part is the part that bothers me. | ||
| What, the psychic part or the gossip part? | ||
| No. | ||
| Because they're both bad. | ||
| One, the gossip. | ||
| Why do you gossip? | ||
| I heard gossip. | ||
| Say things to my face. | ||
| I heard gossip. | ||
| Second, if you are going to gossip... | ||
| Definitely don't gossip about a psychic person who can fucking remote view you while you're doing it. | ||
| She's saying that she knows that the stuff that Sophia is saying are true because she's psychic, which I just throw out whole cloth. | ||
| I just say, no thank you. | ||
| And then the other part, the gossip part, I'm like, oh, that sounds more real. | ||
| That's what you're basing this on. | ||
| You heard gossip. | ||
| It sounds less like you were psychic and more like somebody was like, okay, I'm going to be honest with you, Carrie. | ||
| It's kind of not going to happen for you. | ||
| I saw something on TMZ. | ||
| Yeah. | ||
|
unidentified
|
Hmm. | |
| So, okay. | ||
| Now, here's the thing. | ||
| Right. | ||
| This is the thing? | ||
| This is not far-fetched. | ||
| Like, many ideas are stolen. | ||
| Maybe not entirely. | ||
| Like, everybody sends in scripts and all that. | ||
| Not everybody retains the rights to them. | ||
| Maybe somebody has an idea. | ||
| Somebody else writes a better script based off that idea. | ||
|
unidentified
|
And, I mean, think about our friends. | |
| People who do commercial auditions, right? | ||
| Sometimes you'll do a commercial audition and you'll have a great performance and they'll be like, yeah, but we don't want you. | ||
| And what winds up happening is the guy they do choose or... | ||
| The person they do choose winds up doing an imitation of the performance that they really liked. | ||
| I get it. | ||
| I get it. | ||
| It's tough. | ||
| But, Sophia... | ||
| I'd like to now read you some of her treatment for this third night. | ||
| Oh, God, no. | ||
| This is in the court documents. | ||
| Well, hold on. | ||
| If there's one thing I know, it's that she is a creative genius. | ||
| I'm just going to quote. | ||
| And a prodigy! | ||
| Doing great! | ||
| moving from the unconscious to conscious stages of spiritual development. | ||
| That seems like the reverse of what the Matrix is, but fine. | ||
| Thus, it seemed apparent that the spirituality would soon prevail over technocracy and Earth would have a lasting, quote-unquote, peace. | ||
| Unfortunately, members of Earth's largest banking institutions and corporations secretly banded together in a final effort to maintain the object worship of money as a permanent way of life. | ||
| By controlling the mass media, the secret organization with the codename of Rothfellers... | ||
| Creative genius, Rothfellers. | ||
| That's a definition of clunky right there. | ||
| So the Rothfellers... | ||
| I can't even hear you say those words anymore. | ||
| So the Rothfellers convinced... | ||
| Why are you saying it again? | ||
| They convinced people on Earth to rebuild their weapon systems as a means to provide money and jobs for everyone. | ||
| War began again even before the new weapon systems were finished and most of the population abandoned the pursuit of spirituality and died in nuclear battles. | ||
| One of the major research and weapon system development organizations on Earth was headed by the philosopher-scientist Econ. | ||
| His organization was instrumental in building the space star, a huge vehicle shaped like a pyramid. | ||
| space travel. | ||
| That actually sounds fun. | ||
| Additionally, the space star was supposed to be the flagship of Earth's space fleet, and it contained the most secret and highly advanced devices known at the time. | ||
| The Rothfellers commanded Econ to use the space star as a vehicle for war against people who resisted their tyranny. | ||
| Econ accepted the assignment with some reluctance. | ||
| Just before beginning the assigned mission, Econ personally experienced a spiritual happening that began to manifest in the form of an eye. | ||
| After the happening, he set it aside as a simple hallucination and continued his organizational This doesn't sound anything like The Matrix. | ||
| That does not sound anything like The Matrix. | ||
| Doesn't sound like Terminator at all. | ||
| Doesn't sound like anything. | ||
| It does not. | ||
| It sounds interesting-ish. | ||
| I said ish. | ||
| Anyway. | ||
| I want to read The Matrix 4 still. | ||
| I know that's terrible, but you know what? | ||
| That's her earlier work, Dan. | ||
| Look, we can't all come out the gate throwing haymakers, even if you are a prodigy. | ||
| Which literally means you come out the gate throwing haymakers. | ||
| Quote, Queen John A. is gorgeous and possesses the unique capability of changing the color of her skin to reflect her inner emotions. | ||
| She's a mood ring. | ||
| She's a mood ring! | ||
| Unfortunately for Queen John A., she comes into intimate contact with Ekon's growing spirituality that penetrates her machine-conditioned consciousness. | ||
| Whoa! | ||
| The intimate contact that penetrates? | ||
| Dan. | ||
| Sexy. | ||
| She falls in love with Ekon. | ||
| Oh, okay. | ||
| So yeah, of course. | ||
| At the last minute, John A. helps Ekon and his people escape from Soar, avoiding the oncoming war fleet from Earth. | ||
| Ekon escapes, but the Rothfeller soldiers capture and hold John A. as hostage for her deceit. | ||
| Do you know what's really interesting? | ||
| Ekon moves to the planet Cove 3. She has a better case against, uh, who's the guy who did Fifth Element? | ||
| I don't remember. | ||
| Oh, God, why can't I remember? | ||
| Yeah, I know. | ||
| Luc Besson! | ||
| She has a better case against Luc Besson! | ||
| Yeah, there's an argument to be made there. | ||
| I'm scanning through this, and I don't think it anything... | ||
| No, nothing reminds me of The Matrix so far. | ||
| So, there's a bit of a fight between them. | ||
| Was it a kung fu fight? | ||
| The followers of Econ board the space star and fight their way into Earth orbit. | ||
| Kung fu. | ||
| They descend to Earth amid cheers of the multitudes now affected by powers of the third eye within Econ. | ||
| Wait, he did them all? | ||
| The Rothfellers are defeated and peace is proclaimed. | ||
| So wait, that's the exact opposite. | ||
| That's really nothing like the Matrix. | ||
| I don't see any similarities in this thing, except for maybe there's a ship. | ||
| I mean, there's a ship in the Matrix, too, the Nebuchadnezzar. | ||
| Yeah, but that's not a spaceship. | ||
| And you could make sort of a flimsy argument that, you know, it's spiritual in nature, like the stuff in the Matrix. | ||
| Like, what Morpheus is trying to impart is spiritual in nature, when it's really not. | ||
| It's more of a user manual, kind of. | ||
| It's not really a spiritual awakening that Neo goes through. | ||
| It might be presented as such, and if you want to interpret it that way, you can, but it's really not. | ||
| No. | ||
| It's anything but. | ||
| Pretty much. | ||
| It's very concrete. | ||
| Yeah. | ||
| I mean, in fact, it's rooted as though that spiritualism itself is a function of reality as opposed to the higher spirit. | ||
| Which is a function of the trick. | ||
| Yeah, exactly. | ||
| I don't know, man. | ||
| Her screenplay and her pitch don't sound anything similar to this. | ||
| No, that's not good. | ||
| That's not good. | ||
| But she's mad at some judges. | ||
| Sophia is. | ||
| Well, let's be honest. | ||
| We all are mad at some judges. | ||
| That's fair. | ||
| That's just life. | ||
| But in this next clip, she might slander one. | ||
| And I went in there, by the grace of God... | ||
| And I did pray to God, and he told me what to write, and I wrote that she, and I didn't know she was, she had prostituted her way to becoming a judge. | ||
| Wait, what? | ||
| Until a attorney named Larry Long called me up with a witness on the phone, and he was laughing, and he was reading the legal briefs, and he asked me, how did you know? | ||
| I said, what? | ||
| He said, how did you know she was the chief prosecutor? | ||
| Because she fucked my Johnson. | ||
| She sucked her way to the top. | ||
| I told her God told me. | ||
| And I wrote it in a legal brief. | ||
| Whoa! | ||
| Wait, wait, wait, wait, wait, wait. | ||
| That's crazy. | ||
| She wrote a legal brief saying my judge is a whore? | ||
| She sucked her way to the top. | ||
| That is not good. | ||
| With no evidence, God just told her that was the guy. | ||
|
unidentified
|
Oh, boy. | |
| See, now here's the other thing. | ||
| I'm starting to think that she stole the copyright from God and God should be awarded damages. | ||
| Interesting. | ||
| That's my position here. | ||
| I feel like there's no way to mead that out in court. | ||
| Also, you really shouldn't put that in your court briefs. | ||
| No. | ||
| Look, I don't know a lot about judges. | ||
| But I'm going to guess they are immediately going to be far more hostile to your case. | ||
| It might prejudice the court against you. | ||
| Were you to say, by the way, no matter what you do... | ||
| I invalidate this judgment because you blew a lot of guys to get here. | ||
| And I have no evidence of that. | ||
| I would like to put into court my prayers. | ||
| A voice I have decided is God told me you suck a lot of dick. | ||
| It's also very strange that God told me the thing that I thought before I asked God. | ||
| It's super weird. | ||
| It's so weird how me and God are often in agreement when I'm getting petty as hell. | ||
| Really, really on the same page here. | ||
| Yeah. | ||
| I think it's probably because I'm also a prophet. | ||
| Yeah. | ||
| So, I think at this point... | ||
| Don't you remember when Elisha was like, Dude! | ||
| Shut it! | ||
| Too many dicks getting sucked in my way! | ||
| I think that we're pretty much done with her Matrix talk at this point and Terminator talk. | ||
| I think we've kind of dealt with that for the most part. | ||
| How so? | ||
| I'm not going to say that I could be a lawyer and walk through this case in an actual court, but for a podcast I think I've pretty well laid out what the deal is. | ||
| But what's interesting is that the episode doesn't end. | ||
| That seems like it's where it should end. | ||
| That's her credits. | ||
| That's why she's there. | ||
| She and Carrie keep talking, and the interesting thing is, as they talk less about the Matrix stuff, it becomes more clear why I don't believe her about the Matrix stuff. | ||
| Because she starts to get real wacky. | ||
| Is it because she tries to describe the plot of The Matrix and gets it wrong? | ||
| No, that would be amazing, though. | ||
| That would be amazing. | ||
| I would love that. | ||
| Oh, that would be so good. | ||
| No, but here is where, this is where I was like, uh-oh. | ||
| The Illuminati told me in the year 2006 in the Masons. | ||
| The Illuminati called me up, and the Rothschilds and Leo Zagami are big fans of mine, and the Matrix in Terminator. | ||
| And they told me that I would have a second lawsuit and I would win that lawsuit and I would play a major role in world events. | ||
| So they pretty much told me what was getting ready to go down in the year 2006 before I even initiated a second lawsuit. | ||
| Alright, very interesting. | ||
| They already know what's going to happen. | ||
| I'm telling you, the Luminatis, they know what's written in prophecy. | ||
| They know what's going to happen and everything. | ||
| And so what I'm trying to say to you is that they did everything in their power to put Hillary in there because they were going to keep everything the same with Hillary. | ||
| It was going to be business as usual. | ||
| And they were going to keep getting away with everything. | ||
| But they knew that Trump was part of the revelation. | ||
| His name is like a trumpet. | ||
| This is off the fucking rails. | ||
|
unidentified
|
What? | |
| When did we get here? | ||
| Turns out the creator of the Matrix is into trouble. | ||
| So, as she put it. | ||
| Right. | ||
| The Illuminati called me up. | ||
| Bring, bring. | ||
| Hello, Illuminati. | ||
| Excuse me, Illuminati. | ||
| Oh, Illuminati, I've been expecting your call. | ||
| Now you're going to make another lawsuit and then you're going to play a big role in the Vogue. | ||
| I was praying to God about this whore who was pissed off at me in the store. | ||
| Right, right. | ||
| And it turns out she sucked her way to the grocery aisle. | ||
| Right, right. | ||
| She sucked her way to stocking. | ||
| Late shift. | ||
| Just to be clear, I am saying this from her point of view, not sex worker, not whore. | ||
| I'm just trying to be... | ||
| I'm not trying to be that guy. | ||
| I'm not trying to be that guy. | ||
| You're fine. | ||
| We're in a place where you just don't need to be that guy. | ||
| You don't need to be that guy. | ||
| You're fine. | ||
| You're in the character of Sophia. | ||
| Okay, hold on. | ||
| The safe harbor of the characters. | ||
| Let me get really into the character of Sophia. | ||
| You better turn around. | ||
| Okay, alright. | ||
| It's important for an impression. | ||
| Alright. | ||
| Hold on, let me start with the classic. | ||
| Does anybody here like impressions? | ||
| Pause for the audience to say they do. | ||
| There you go. | ||
|
unidentified
|
Alright. | |
| Turn around. | ||
| Alright, turn back. | ||
| I for real wrote The Matrix, right God? | ||
| I just heard him say I did. | ||
| Better sue this shit. | ||
| God damn it. | ||
| You told me I was not going to win the first lawsuit. | ||
| I don't even know why I filed that lawsuit. | ||
| No, that wasn't them. | ||
| That was the Illuminati. | ||
| That wasn't God. | ||
| No, the Illuminati told her she was going to win the second lawsuit. | ||
| Right, right, right. | ||
| But God obviously had to have told her that she was going to lose the first lawsuit. | ||
| I would assume he would have. | ||
| Maybe he didn't want to break that news. | ||
| That's hard. | ||
| Giving someone bad news? | ||
| That is tough. | ||
| God doesn't really give the news so much as he legitimately does stuff. | ||
| We've got to work out our relationship with God. | ||
| God doesn't like to be the bearer of bad news. | ||
| Where does Trump come into this? | ||
| Well, it's because the Illuminati wanted Hillary to get in because then they can keep doing their dirt. | ||
|
unidentified
|
But it has nothing to do with their lawsuit? | |
| It has everything to do with her lawsuit. | ||
| I told you this is where things get off the rails. | ||
| She starts picking up the Illuminati telling her the future. | ||
| See, now somehow I'm fine with that part. | ||
| Well, it's more Project Camelot. | ||
| Exactly. | ||
| I don't like it dovetailing into... | ||
| And that's why Trump is great. | ||
| Right. | ||
| That is super weird. | ||
| But that is where all these people are. | ||
| Because con men understand other con men. | ||
| Yeah, that's true. | ||
| That's why they... | ||
| There's a familiarity with Trump that a lot of these... | ||
| I've started to think about why Trump is appealing across so many weird, disparate bases. | ||
|
unidentified
|
Yeah. | |
| And it's really interesting because with Alex, I think it's like... | ||
| You know, his business model largely relies on the deregulation of the supplement industry. | ||
| Right. | ||
| That sort of thing. | ||
|
unidentified
|
Right. | |
| Not anymore it doesn't. | ||
| Well, sure. | ||
| But at the time it did. | ||
| If you want to take it from that level, if you want to look at it on a crass materialistic level, you could make the argument that he sided with Trump because he realized there was a chance that if Democrats got in power again that there would be trends towards putting restrictions on a lot of the things that he sells. | ||
|
unidentified
|
Right. | |
| It would make his empire crumble. | ||
| This billion-dollar, unregulated industry of selling snake oil, maybe they might regulate it. | ||
| Sure, that's a possibility. | ||
| Or you could look at it from the angle of, like, it's very clear that Trump has been a white supremacist forever, and that resonates with Alex. | ||
| And he knows that he's not going to get rid of regulations on guns. | ||
| There's a hundred reasons why Alex would join up. | ||
| So for him, it's kind of a murkier territory. | ||
| But then you start to look at people like... | ||
| Carrie Cassidy. | ||
| Why would she support Trump? | ||
| Yeah. | ||
| And because he's crazy. | ||
| You know, he's a conspiratorial weirdo. | ||
| Right. | ||
| And she believes him when he says, I'm going to release all the JFK information. | ||
| He's fucking not. | ||
| He's never going to do that. | ||
| But he keeps saying he's... | ||
| God, but that'd be fun if he did. | ||
| He keeps saying he's going to do that. | ||
| And that gets people like Carrie Cassidy... | ||
| sort of nefarious thing going on on the hook. | ||
| And then Trump talks about the deep state. | ||
| That resonates with Carrie Cassidy and these paranoid weirdos. | ||
| Right. | ||
|
unidentified
|
So, of course, they're on board. | |
| Right. | ||
|
unidentified
|
Jim Baker, his sort of milieu... | |
| that whole world, the evangelical world, on one level, they don't realize that the reason that they're being led to support Trump is because people like Jim Baker and a lot of people who make money off religion realize that Trump is going to and has moved to ease the rules for churches to make money. | ||
| Right, right, right. | ||
| And make profits and that sort of thing. | ||
| The con men know that the con man is not going to hinder their con and, in fact, will probably enhance their con. | ||
| Right, so you have a bunch of diverse con people and it's like there's nothing really bringing all of them together. | ||
| Like, because Carrie... | ||
| Largely doesn't seem hyper-conservative. | ||
| She doesn't seem like someone... | ||
| I mean, she has some bigotry in her, certainly. | ||
| Yeah. | ||
| But she doesn't seem like somebody who's, like, political in that way. | ||
| Right. | ||
|
unidentified
|
No, no, no. | |
| She's not on the we-need-healthcare trip because the Trump administration is going to finally release the hologram beds that heal everybody. | ||
| Right. | ||
| Med beds. | ||
| Randy Kramer's med beds. | ||
|
unidentified
|
Yeah. | |
| Yeah. | ||
| So all of this comes down to, like, I think... | ||
| I think that everybody's being tricked in different ways, but they're doing it to themselves. | ||
|
unidentified
|
Yeah. | |
| Or it's being done to them by the tastemakers and the voice. | ||
| People like Alex, like Jim Baker. | ||
| And fucking Fox News. | ||
| Jim Baker's leading a lot of people astray, insinuating that Trump is going to be a blessing for Christians because he knows that his business is protected by Trump being in office. | ||
|
unidentified
|
Right, right, right. | |
| There's not going to be any kind of SEC IRS investigation of Jim Baker's weird compound as long as Trump's in office. | ||
| Yeah. | ||
| So, and Alex, same thing. | ||
| It's weird to me because... | ||
| We always want to overcomplicate things. | ||
| I think it might be that simple. | ||
|
unidentified
|
Yeah. | |
| Like, there might be just a lot of people realize that, like, he is way too busy covering his own ass. | ||
| He's never coming after us. | ||
| Right, right, right, right. | ||
| He's the conifier in chief. | ||
| Well, it's kind of like if you're a shit kid in school and your, like, substitute comes in hungover, and you kind of intuitively know, like, hell yeah. | ||
| Yeah, yeah, yeah. | ||
|
unidentified
|
It's a good day. | |
| I can't get in trouble today. | ||
| It's a good day. | ||
| This guy is just going to be... | ||
| We're going to watch a movie. | ||
| Everybody's going to be cool. | ||
| Yeah. | ||
| I'm going to sell drugs right in front of him. | ||
| He's going to be like, I could use some drugs. | ||
| Exactly. | ||
| There's some element of that, I think. | ||
| I don't know how much that's the entire thing, but I think more than probably people want to accept. | ||
| So, like, your theory, and I'm not saying that you're 100% behind this or anything, but if I understand it correctly, when the conners who are used to conning these dumb people... | ||
| You're talking about Sarah and John? | ||
| No, no, no. | ||
| I can't talk about that. | ||
| It's copyrighted. | ||
| Not on this podcast. | ||
| We released this. | ||
| When they realized that a con man was going to be president, they directed all the people they were conning to support the con man to be president. | ||
| That way, the con man who knows the game isn't going to crack down on their cons. | ||
| Which is why Alex probably hates Bush and the other guys. | ||
| They're Republicans, but they're not con men. | ||
| They're just liars and stupid and evil. | ||
| Maybe. | ||
| I think that's definitely a piece of it. | ||
| I don't know. | ||
| I think there's much more to look at here, but that's just a sort of thought. | ||
| Anyway, I told you this is going to be crazy. | ||
| And in this next clip, Carrie asks Sophia if she's been thinking about aliens. | ||
| And then her answer... | ||
| Why?! | ||
| Her answer makes no sense. | ||
| Are you thinking about the incoming AI that's basically alien technology? | ||
| You know, alien AI. | ||
| Where is your mind going with everything now? | ||
| Well, I want people to know I'm ambidextrous. | ||
| Amidextrous meaning is that I have the same strength in both hands and it means that I'm using both lobes of the brains. | ||
| Sure. | ||
| No, it doesn't. | ||
| And I crack the codes on systems, so that's why I never studied trademark law ever. | ||
| You should have. | ||
| I beat them in trademark law. | ||
| I can beat them in any law because I can crack the system on anything that I do and come up with things that you can't even imagine. | ||
| So have you been thinking about AI? | ||
| Yeah, I know a lot about trademark law. | ||
| What? | ||
| Hold on. | ||
| Huh? | ||
| So that's weird. | ||
| That's weird. | ||
| But we'll just call it weird. | ||
| This next clip, Jordan, this made me feel so worried on a number of levels. | ||
| It is an instance of, like, I think that she thinks that movies are taunting her. | ||
| It made me deeply uncomfortable. | ||
| You remember that? | ||
| I know you remember because you're reading The Matrix book. | ||
| You do remember the virtue card? | ||
| Yes. | ||
| The hologram card that starts up with a musical note? | ||
| I think I do. | ||
| I'm still, you know, I have no clue. | ||
| You can go back and look at it. | ||
| The wireless car, the Virtue car, it's the first Virtue wireless hologram clones. | ||
| You saw the holograms in the movie. | ||
| They even said in the Black Panther movie, hi, Sophia. | ||
| She owns the Black Panther movie? | ||
| You remember the Asian woman they called her Sophia? | ||
| You do know that the artificial AI in Saudi Arabia... | ||
| Yes. | ||
| a paycheck her name is Sophia now that's you know they read the third eye matrix book and they read the fourth installment I got bad news. | ||
| Sophia comes from a Greek word for wisdom. | ||
| So there's an AI in Saudi Arabia? | ||
| I don't care about that part. | ||
| That's not really interesting to me. | ||
|
unidentified
|
I want to know. | |
| I'm more interested in... | ||
| They orchestrated 9-11, Dan. | ||
| I'm more interested in the idea that she did... | ||
| Did an AI orchestrate 9-11? | ||
| I'm more interested in the idea of this virtual car thing. | ||
| I like to call her attention to the Wonder Woman cartoon of an invisible jet. | ||
| And then her saying that even in the Black Panther... | ||
| They said, hi, Sophia, because one of the characters was named Sophia. | ||
| They only named that character Sophia, so she would get the shout-out. | ||
| Well, if that's the case, I would recommend that Sophia Stewart avoid watching The Golden Girls, The Walking Dead, Nip Tuck, Vanilla Sky, Color Purple, Grey's Anatomy, or Young and the Wrexless. | ||
| She should also never agree to meet with countless Russian queens from history, or Sophia Vergara, Sophia Coppola, or Sophia Loren. | ||
| Don't talk to any of those people. | ||
| No, hold on. | ||
| She could totally meet Sophia Loren. | ||
| Or the embodiment of wisdom from Gnostic scriptures. | ||
| Come on. | ||
| She owns that story now. | ||
| She does, yeah. | ||
| That one is part of the court case. | ||
| She owns Gnosticism. | ||
| Yeah. | ||
| So, look. | ||
| Sophia Stewart has done a lot for the world. | ||
| She has written The Matrix. | ||
| Yeah. | ||
| She has written Terminator. | ||
| I've heard. | ||
| The Illuminati say she's going to have a lot to do with the future. | ||
| She's going to be a big deal. | ||
| But it's not just the future. | ||
| She's also helped with things that we didn't even realize she's helped with. | ||
| Homeland Security and the FBI, they all got autographed copies of my book and Homeland Security called me up one year and they were totally blown away. | ||
| They read the Matrix workbook and they said I solved the Roswell incident. | ||
| God damn it! | ||
| They said we didn't know how these ships flew. | ||
| They had captured these ships back in the, you know, the 40s and the 50s. | ||
| So you wrote Independence Day? | ||
| And the aliens died, and they broke them down by aerodynamics, and they didn't know how they flew until they saw it in the Matrix 4 book, where I said they flew with magnetic ring pulsion and the reversal of gravity, and how they cloak invisible, how they break the time barrier speed, but how they also hover like helicopters. | ||
| They broke the time barrier speed. | ||
| And how they go in and out of portals. | ||
| And if you don't believe it, Carrie, I will send you over the classified information that they sent me from Homeland Security. | ||
| That's illegal! | ||
| I do believe you. | ||
| You know, I've remote viewed the moon myself. | ||
| In fact, I just had a dream about it the other night. | ||
| That's not the same thing! | ||
| Yeah, there's a lot of crazy stuff going on on the moon. | ||
| No, there isn't! | ||
| There's a lot of crazy stuff. | ||
| It's a really boring place! | ||
| A lot of crazy stuff. | ||
| It's not! | ||
| A lot of crazy stuff. | ||
| Oh, God! | ||
| A lot of crazy stuff that Carrie's dreaming about on the moon. | ||
|
unidentified
|
Talking to weird dudes who take pictures of the moon. | |
| God damn it. | ||
| This is so fun. | ||
| Why did this... | ||
| Where did this... | ||
| Ugh! | ||
| Thought we were just going to get some serious copyright talk, Dan. | ||
| I have always wanted serious copyright talk on this show. | ||
| And now we're getting Illuminati shit. | ||
| Every time I try and have a substantive discussion with you about the real issues... | ||
| You can't have the sweet without the salty, the sour without the bitter, the rough without the smooth. | ||
| She did sound... | ||
| That's a Jason Lee speech from Vanilla Skies starring a character named Sophia. | ||
| I wasn't going to talk about it. | ||
| Was that... | ||
| What's-her-face? | ||
| I don't remember. | ||
| You're talking about Penelope Cruz? | ||
| No, no, the other one. | ||
| Cameron Diaz? | ||
| Yeah, Cameron Diaz. | ||
| I don't remember character names. | ||
| I remember Tom Cruise was in there. | ||
| Was it Cameron Diaz? | ||
| Yeah, it was totally Cameron Diaz. | ||
|
unidentified
|
So... | |
| You lost your train of thought pretty hard there. | ||
| So, if I understand this correctly... | ||
| She solved the Roswell mystery. | ||
| She's willing to, one, share classified information to somebody who's not allowed to have it. | ||
| Tell people on air that I'm willing to give you this. | ||
| Two, she sounded more Alex Jones-y than I think anybody we've ever heard on Project Camelot, in that she's like... | ||
| She's totally claiming that they called her up and they were like, how did you know? | ||
| And she was like, I just reverse engineered it. | ||
| God, that's stupid. | ||
| She will go into later talking about how she astrally time travels and she's able to go to other places and then ask them how their technology works and then come back and write about it. | ||
| So she's a time traveler also. | ||
| So here's my new pitch. | ||
| We've said before that these people should just be screenwriters and clearly we know. | ||
| They can't do that. | ||
| Because writing is actually hard. | ||
| And dialogue is an issue. | ||
| Yeah, yeah. | ||
| They're not good with that part. | ||
| Lucas learned that. | ||
| Not good. | ||
| Yeah, he did. | ||
| Yeah. | ||
| Maybe they should just be in writers' rooms, though. | ||
|
unidentified
|
Yeah, yeah. | |
| Just, like, throwing shit at a wall. | ||
| Like, if you put them near a whiteboard, you're gonna get something. | ||
| If you are in a writer's room and you're trying to write, like, Black Mirror episodes... | ||
|
unidentified
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Yeah! | |
| If you have Leo Zagami in there and you just tell him to shut up unless he's poked. | ||
| Yeah. | ||
| You hit a dead end and you poke him. | ||
| Exactly. | ||
| And then he's like, blah. | ||
|
unidentified
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Yeah, yeah. | |
| We don't need your help when it comes to the actual writing part. | ||
| Right. | ||
| But I don't know where... | ||
| We'll pay you double to shut up unless we poke you. | ||
| That would be a smart idea. | ||
| You have to wear a blindfold and a dunce cap. | ||
| But we'll poke you and then... | ||
| A blindfold and a dunce cap. | ||
| That's harsh, Dan. | ||
| The dunce cap is just for us. | ||
| Well, now that you're blindfolded, we can just say that it's a nice hat. | ||
| Yeah, it's a poke hat. | ||
| Leo. | ||
| Yeah, so, I mean, she solved the Roswell mystery. | ||
| But you notice, I mean, the thing that I thought was the most Alex Jones-y about that is, like, you were recognizing earlier that she seems to have a lot of dates. | ||
| And then when she's talking about the Roswell thing, she's like, the National Security Agency called me some year. | ||
| Some year they called me. | ||
| Some while back. | ||
| Some year. | ||
| It was a while back. | ||
| I'm not even saying a year. | ||
| It was a few... | ||
| The other one, she has specific dates. | ||
| I'm going to go with many moons ago. | ||
| So, in this next clip, Carrie asks if she has had contact with aliens. | ||
|
unidentified
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Yeah. | |
| Let's see. | ||
| There was another question I saw in here. | ||
| Someone wants to know, oh, have you been, basically, do you feel that you've been contacted by aliens, abducted, any of that? | ||
| Well, I'm going to say this. | ||
| While I was writing the Matrix and Terminator in 1980, I had a dream where I saw the ship that you saw in the Matrix, the Nebuchadnezzar. | ||
| I saw the ship in a dream, but I didn't know that the ship was an alien ship until Homeland Security contacted me in 2010 or 2011, and they sent me over the Pentagon, and they kept a picture of the ship. | ||
| Why? | ||
| Which I will give to anybody when they get the Matrix 4 book. | ||
| I will give you the Homeland Security. | ||
| Pentagon information is real. | ||
| I think that's illegal. | ||
| I'm really going to go with that's still illegal. | ||
| I mean, if it's true, it's illegal, but it's not. | ||
| Right. | ||
| This is a trademark of her sort of technique. | ||
| I've read interviews, or not interviews, but I've read pieces that people have written about interviewing her, and oftentimes you hit a brick wall whenever you ask for evidence, because she'll say, like, buy my book and you can get it. | ||
|
unidentified
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Yeah. | |
| It's all this stuff that's just intended to sell the book with this carrot that she's dangling out in front of it, secret Pentagon pictures of the Nebuchadnezzar. | ||
| That prove that my book is actually blah, blah, blah. | ||
| Look, I respect the hustle. | ||
| Totally. | ||
| You got to hustle. | ||
| I get it. | ||
| No, this is a bad hustle. | ||
| It's a bad hustle. | ||
| You're only going to get idiots to believe you. | ||
| That's a good group of people to hustle, though, Dan. | ||
| Yeah, they're the hustliest people. | ||
| It's really not hard. | ||
| The hustlable-est people. | ||
| It's really not hard. | ||
| But any halfway right-thinking person would hear, like, oh, I buy your book and then you're going to send me Pentagon documents? | ||
| Yeah, fucking right. | ||
| Yeah, that doesn't make sense. | ||
| Yeah, get out of here. | ||
| That doesn't make sense. | ||
| So... | ||
| I have one huge pet peeve with language. | ||
| Like, I don't... | ||
| Obviously, like, as, like, all of those little words that we've just thrown into our conversation, even though they're not really there for any reason, the one word I cannot stand anymore is basically. | ||
| Basically, what's going on, I can't do it. | ||
| Yeah. | ||
| The word needs to be removed. | ||
| It's kind of an attempt to sound smarter while using like. | ||
| Yeah, yeah, yeah. | ||
| I'm boiling this down to the particulars for you, when in reality, you are absolutely not. | ||
| You're dodging everything. | ||
| Yeah, exactly. | ||
| But it doesn't matter, because it turns out that we learned something else about Sophia in this next clip. | ||
| Oh, no. | ||
| Let's see. | ||
| Do you feel that you're what I would call a precog to see the future? | ||
| Yes, I'm the oracle. | ||
| The oracle was created after me being a visionary seer. | ||
| There it goes. | ||
| She's the oracle. | ||
| She's the oracle. | ||
|
unidentified
|
Yep. | |
| So now, not only should she be suing James Cameron and the laundry list, but she should go after just about everybody? | ||
| Socrates, the oracle of Delphi. | ||
|
unidentified
|
Yeah. | |
| No, but she's the oracle in the Matrix, man. | ||
| That's her. | ||
| What do you fucking think? | ||
| I did not think that. | ||
| I would assume what happened is she wrote this vaguely science fiction-y treatment in the early 80s, and she ended up seeing The Matrix, and the character of the Oracle is a kindly older black lady, and she identified with that character, and because she's a little bit delusional, kind of put a bunch together, and then was like, oh, that's me. | ||
| Oh, that's... | ||
| And then everything went off the rails from there. | ||
| That's my guess. | ||
| So if that's what she identifies with, I assume she's sued Akira as well, the producers of that movie. | ||
| What do you mean? | ||
| Well, because that scene was essentially directly taken from a scene in Akira. | ||
| Nope. | ||
| She doesn't know about that. | ||
| She doesn't know about that? | ||
| She doesn't know about a lot of the sources that The Matrix actually came from. | ||
| Because they did take a lot of shit. | ||
| There's a lot of homage. | ||
| Like, it was a remix movie. | ||
| Yeah. | ||
| It's a great movie. | ||
| It's like a DJ. | ||
| Yeah. | ||
| Because, like we said right at the beginning of this episode, one of the reasons that it's so mixable with other things is because it's so basic. | ||
|
unidentified
|
Right. | |
| It has such archetypal imagery and storytelling. | ||
| And what it did is it took this very simple universal story, put it into a story, and then a weird sci-fi cyberpunk aesthetic and then served as a proof of concept of a slightly stolen version of filmmaking. | ||
| Yeah. | ||
|
unidentified
|
With the bullet time stuff and the... | |
| The interesting cinematography. | ||
| Well, it's just like Star Wars was stolen from Kurosawa and all of this shit. | ||
| Like, look, we get it, man. | ||
| It's tough to come up with ideas. | ||
| And that shit's great. | ||
| Kurosawa didn't come up with it originally either. | ||
| No, exactly! | ||
| Yeah. | ||
| Fucking Shakespeare and shit. | ||
| Joseph Campbell didn't come up with the hero's journey. | ||
| He described it. | ||
| No, he didn't. | ||
| No, he came up with it. | ||
| He described it. | ||
| Are you sure? | ||
| Yes. | ||
| How do you know? | ||
| I mean, for somebody who has studied Greek, I have no idea how it is possible for you to know where archetypes come from. | ||
| Come on, Dan. | ||
| I don't even think they come from that. | ||
| But anyway, we have one last clip. | ||
| Yeah. | ||
| One of the things that ties all of these disparate worlds of con people together, whether it's Jim Baker, whether it's Alex Jones, whether it's Project Camelot. | ||
| It's a lack of flossing. | ||
| They're all afraid of CERN. | ||
| Look at the CERN machine. | ||
| Instead of using CERN to create different weather patterns that the indigenous people, the natives, were using when they did the war dance for the rain, the rain dance. | ||
| That's right. | ||
| Well, they brought the rain down to water the earth when it had a drought so they could grow plants and food. | ||
| But these people are using the CERN to destroy and kill people so they can bring Wealthy oceanfront properties and all kinds of evil stuff of wealth. | ||
| Right. | ||
| They wanted Hades. | ||
| They wanted Puerto Rico. | ||
| They wanted Cuba. | ||
| But Fidel died. | ||
| But you know what was holding them back on? | ||
| The voodoo. | ||
| Voodoo! | ||
| Cuba. | ||
| Fidel was saved by voodoo? | ||
| Yeah. | ||
| All right. | ||
| They couldn't get around the voodoo. | ||
| Okay. | ||
| Couldn't get around the voodoo. | ||
| Could not get around the voodoo. | ||
| You know what? | ||
| I swear to God I say that on a daily basis. | ||
| Yeah. | ||
| God, I wish I could just get around the voodoo! | ||
| You can tell even in that clip that Carrie's like, okay. | ||
|
unidentified
|
Oh, right. | |
| Okay. | ||
| I don't know what we're talking about anymore. | ||
| We gotta close this one up. | ||
| I do not know. | ||
| This has gone too off the rails. | ||
| Look, I'm a remote viewer, and I know what's going on on the moon. | ||
| It's weird stuff on the moon. | ||
| Even I don't believe that voodoo is real. | ||
|
unidentified
|
Voodoo. | |
| It's such a, it's such, like, It's amazing that Arthur C. Clarke's quote of, like, any technology indistinguishable from magic. | ||
| Right, right. | ||
| Like, it's a frustrating truth that that is true, even when the technology is explainable. | ||
| Right. | ||
| Like, it's not magic. | ||
| No. | ||
| It's very explainable. | ||
| It doesn't... | ||
| Do a weather dance. | ||
| No! | ||
| What? | ||
| CERN... | ||
| Wait, so weather dances are real. | ||
| That's number one. | ||
| And CERN is just a big science weather dance. | ||
| It's a big evil weather dance. | ||
| It's a big science weather dance that's taken down Puerto Rico. | ||
| But also, Fidel, they wanted to take Fidel down, but it was voodoo that kept them from here. | ||
| God damn it! | ||
| She goes on to ramble about, like, Louisiana and New Orleans is full of voodoo folk. | ||
| No, that's true. | ||
| And it's like, wait, you're talking about evil weather weapons and, like, voodoo not being very strong against these weather weapons. | ||
| The voodoo is strong with this one. | ||
| We can think of one hurricane that was the most devastating in all of history, and it hit the one place that is most voodoo in the United States. | ||
| Well, somebody is going to get around the voodoo eventually. | ||
| I think that argument's flawed, if your argument is that voodoo negates weather weapons. | ||
| Even on your own merits, that argument is flawed. | ||
| I think it's all bullshit, but you've got to get around that somehow, and you can't. | ||
| You can't get around the voodoo death. | ||
| So, all this is to say that Sophia Stewart undoubtedly wrote The Matrix and Terminator movies. | ||
| This is a mess. | ||
| If there's one thing that we can all take away from this is that you can't get around the voodoo, dude. | ||
| No, can't. | ||
| Can't do it. | ||
| That's a good shirt. | ||
| Can't get around the voodoo. | ||
| Can't get around the voodoo. | ||
| So I think now, at this point, you probably recognize why I decided, eh, we gotta talk about this. | ||
| Yeah, we gotta talk about this. | ||
| It was a lot of fun. | ||
| It was a lot of fun. | ||
| We will be back to Alex Jones on Friday, but until then, we do have a website. | ||
| It's knowledgefight.com. | ||
| We do! | ||
| What if you wanted to follow us someplace? | ||
| We have Twitter, at knowledge underscore fight. | ||
| How about another place? | ||
| Facebook! | ||
| How about if you wanted to subscribe to something? | ||
| iTunes is an option. | ||
| Alright. | ||
| What else we got? | ||
| I don't know. | ||
| Do we have any other plugs? | ||
| I don't think so. | ||
| We're terrible at this. | ||
| You know what, though? | ||
| Oh, I'm going to be in Still Not Friday on Thursday. | ||
| Tomorrow night, if you're listening to this on Wednesday, it's in Aurora, Illinois. | ||
| Good friend of the show, Matt Drafke. | ||
| Yeah, two brothers around us. | ||
| Love Matt Drafke. | ||
| Can't wait to be there. | ||
| They're a lot of fun. | ||
| But you know what? | ||
| Sophia Stewart clearly lying about a whole bunch of shit, but she's not killed anyone. | ||
| Alex Jones probably did kill a dude. | ||
| 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. |