Today, Dan and Jordan take a Wacky Wednesday breaky to experience Major Solomon Berg's return to Project Camelot. Last time, he discussed his telepathic communication with a Bachelor Squatch, and this time he explains the fraught history of the planet Mars. Dreamy Creamy Fundraiser (Apiary) Dreamy Creamy Fundraiser (Transgender Law Center)
| Speaker | Time | Text |
|---|---|---|
| Knowledgefight. | ||
|
unidentified
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Dan and Jordan, I'm sweating. | |
| Knowledgefight.com. | ||
| It's time to pray. | ||
|
unidentified
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I have great respect for knowledge fight. | |
| Knowledge fight. | ||
| I'm sick of them posing as if they're the good guys saying we are the bad guys. | ||
| Knowledge fight. | ||
|
unidentified
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Dan and Jordan. | |
| Knowledge fight. | ||
| Need money. | ||
| Andy in Kansas. | ||
|
unidentified
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Andy in Kansas. | |
| Stop it. | ||
| Andy in Kansas. | ||
| Andy in Kansas. | ||
| It's time to pray. | ||
| Andy in Kansas, you're on the air. | ||
| Thanks for holding us. | ||
|
unidentified
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Hello, Alex. | |
| I'm a huge fan. | ||
| I love your room. | ||
|
unidentified
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Knowledge Fight. | |
| KnowledgeFight.com. | ||
| 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, worship at the altar of Selene, and talk a little bit about Alex Jones. | ||
| Oh, indeed we are, Dan. | ||
| Jordan. | ||
| Dan. | ||
| Jordan. | ||
| Quick question for you. | ||
| What's up? | ||
| What's your bright spot today, buddy? | ||
| My bright spot today, Jordan, is the dreamy, creamy summer, of course, is going along. | ||
| There have been some complaints that I don't do this enough. | ||
| So dreamy creamy. | ||
| So get that in your ears. | ||
| Sure. | ||
| Enjoy it. | ||
| All right. | ||
| Okay. | ||
| But yeah, what I want to say about this is that we are, you know, no more requests for buttons. | ||
|
unidentified
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Sure. | |
| But there are buttons that are going out. | ||
| Right. | ||
| People are enjoying them. | ||
| People have even received them. | ||
| And I appreciate the kind words. | ||
| Oh, yeah. | ||
| And people, the compliments to the designers, obviously. | ||
|
unidentified
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Of course. | |
| They've done great work. | ||
| People are very thrilled about this. | ||
| And I'm very excited that people are donating to the fundraiser. | ||
| We are so close right now. | ||
| Any donation could put us over the goal for Apiary. | ||
| The $20,000 goal is almost there. | ||
| It is so close. | ||
| Oh boy. | ||
| Is it cheating if I do it? | ||
| I feel like it is. | ||
| I mean, I've already given a lot to the... | ||
| If you use an alias, then maybe... | ||
| Yeah, I mean, I've given a lot already, but it's like, I don't know if I should be the one who gets this over the top. | ||
| That just feels wrong. | ||
| Yeah, definitely if you're the one who gets us over the top, that would feel very empty. | ||
|
unidentified
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Yeah, yeah, yeah. | |
| Not as much fun. | ||
| No, and the donations for the other fundraiser for the Transgender Law Center are coming along quite nicely, and I appreciate everybody who is supporting these. | ||
| Trying to use me eating ice cream and making buttons to make a little bit of a difference in the world, and great. | ||
| It's a good thing to do. | ||
| Thank you all for joining in. | ||
| What's your bright spot? | ||
| My bright spot, less inspirational, finally did some laundry. | ||
| You know, laundry has that, you know that... | ||
| Like a parabola? | ||
| As it gets more and more filled, you're more likely to do it until you get to a certain point where it becomes less and less likely. | ||
| It becomes intimidating? | ||
| Yeah, yeah, yeah. | ||
| And there's just so much piling up, and every time you look at it, you're like, I've got to do that, but you continue not doing that. | ||
| I know that feeling. | ||
| Yeah, yeah, yeah. | ||
| I reached the point of no return on that, and then finally did my laundry, you know? | ||
| It was one of those, like... | ||
| My last pair of underwear was not underwear so much as holes that had little bindings near it. | ||
| I get to that point that you're describing there at the end quite a bit. | ||
| As somebody who is somewhat of a shut-in, I do reach the end of the laundry a bit. | ||
| And I think maybe because I'm more acquainted with the end of the laundry, I am much quicker to throw away those things that have holes in them. | ||
| Because they get seen by me more frequently. | ||
| Oh, that's a fair point. | ||
| Yeah, I don't hide them in the back of the drawer. | ||
| It is an interesting situation. | ||
| On the other hand, having that... | ||
| Final warning pair of underwear. | ||
| That's the last sign before Cliff's Edge. | ||
| Red alert. | ||
| Yeah, absolutely. | ||
| It's almost comforting now to know that I've got shreds that I call underwear. | ||
| I mean, if you wait another day, it's ceramic. | ||
|
unidentified
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It's all over. | |
| It's all over. | ||
| Oh, yeah. | ||
| Jordan. | ||
| Yes, Dan. | ||
| Today, we have an episode to go over. | ||
| And it's going to be some fun. | ||
| So we'll get to that. | ||
| But before we do, let's take a little moment to say hello to some new wonks. | ||
| Oh, that's a great idea. | ||
| So first, Alex Jones is the perfect Warhammer space marine. | ||
| Thank you so much. | ||
| You are now a policy wonk. | ||
| I'm a policy wonk. | ||
| Thank you very much. | ||
| Thank you. | ||
| Next, Dan Jordan is a Sasquatch hero. | ||
| He's got stars in his eyes. | ||
| Thank you so much. | ||
| You are now a policy wonk. | ||
| I'm a policy wonk. | ||
| Thank you very much! | ||
| Picked it up there at the end. | ||
| I liked it. | ||
| I'm sorry, this is a little bit late. | ||
| Happy late birthday to Quincy, the thickest with two C's, and silliest rabbit. | ||
| You're now a policy wonk. | ||
| I'm a policy wonk. | ||
| Thank you very much! | ||
| Happy birthday! | ||
| Cube Watermelon says hi to the home slices. | ||
| Thank you so much. | ||
| You're now a policy wonk. | ||
| I'm a policy wonk. | ||
| Thank you very much! | ||
| And Amy Cramie Summer, thank you so much. | ||
| You're now a policy wonk. | ||
| I'm a policy wonk. | ||
| Thank you very much! | ||
| Thank you. | ||
| Also, we got a couple of technocrats in the mix, Jordan. | ||
| So first, Blast Hard Cheese. | ||
| Thank you so much. | ||
| You are now a technocrat. | ||
| And Dan likes my stepmother's twang when she calls into Infowars, though I wish she wouldn't. | ||
| You are now a technocrat. | ||
| I'm a policy wonk. | ||
| I have risen above my enemies. | ||
| I might quit tomorrow, actually. | ||
| I'm just going to take a little breaky now. | ||
| A little breaky for me. | ||
| And then we're going to come back. | ||
| And I'm going to start the show over. | ||
| I'm the devil! | ||
| I've got to be taken over here! | ||
| Fuck you! | ||
| Fuck you! | ||
| I've got plenty of words for you, but at the end of the day, fuck you and your New World Order, and fuck the horse you rode in on, and all your shit! | ||
| Maybe today should be my last broadcast. | ||
| Maybe I'll just be gone a month, maybe five years. | ||
| Maybe I'll walk out of here tomorrow, and you never see me again. | ||
| That's really what I want to do. | ||
| I never want to come back here again. | ||
| I apologize to the crew and the listeners yesterday that I was legitimately having breakdowns on air. | ||
| I'll be better tomorrow. | ||
| He might be. | ||
| He's not, I'm sure, but we don't know. | ||
| Because today is not going to be about Alex Jones. | ||
| Here's an out-of-context drop for today's show. | ||
| I have another witness that said there were nine... | ||
| Human AI, but he is an agent for the Queen, and so he has maybe a vested interest in misleading me. | ||
| Yeah, I would be a little skeptical about that. | ||
| Yeah, I would be skeptical about that, too. | ||
| Oh, Carrie! | ||
| Hi! | ||
| We have someone who is a whistleblower for her who is an agent of the Queen. | ||
| Great. | ||
| I do love the way that you can just drop that so casually if you're just like, and he's an agent of the Queen, as though that's not an absurd thing to say. | ||
| Yeah. | ||
| Also, probably not true. | ||
| So, if you didn't recognize the voice at the end there, that is Solomon Berg, the friend of the Squatch. | ||
| Oh, indeed. | ||
| He made a return appearance on Project Camelot. | ||
| And so, much like, you know, when Alex sees Biden giving a speech in front of a red thing, he has got to do an emergency report. | ||
| Of course. | ||
| And for us, if there's Squatch Talk, we have to do it. | ||
| Yeah, yeah, yeah. | ||
| This is an emergency episode for us. | ||
| Welcome to Squatch Talk! | ||
| New podcast! | ||
| Now, unfortunately, I do want to say something before we get into this. | ||
|
unidentified
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Sure. | |
| And that is that it's very obvious this guy is a listener of our show. | ||
| Oh, is it super obvious now? | ||
|
unidentified
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Yeah. | |
| There will be a couple of points on this episode where it's painfully obvious. | ||
| I was going to say, it was fairly certain, if not 99% sure before, but it seems like now we're in a different situation. | ||
| I had a little bit of trepidation even about covering this now because it's so clear. | ||
| Well... | ||
| For two reasons. | ||
| One, I maybe don't want to blow up his spot. | ||
| Of course not. | ||
| I don't know this person, so it's not like... | ||
| We're not running a two-man game here. | ||
|
unidentified
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No. | |
| No, no, no. | ||
| But I also don't want to incentivize fucking with Carrie. | ||
| Yeah. | ||
| And one of the things that kind of gets me around on I still think I want to cover this is that I don't think this is a prank. | ||
| Like, this isn't mean-spirited. | ||
| It's not making fun of Carrie for believing that this guy telepathically belongs... | ||
| That's true. | ||
| No, no, no, that is true. | ||
| There seems to be a project that he's working on, and maybe I'm being a little bit reading more into this than needs be, but there does seem to be a sense of interjecting, like, non... | ||
| Neo-Nazi, anti-Semitic conspiracy theories into space spaces. | ||
| So we're thinking that someone has finally taken me up on the offer to lie their way into people being good. | ||
| I'm not sure. | ||
| I'm not sure. | ||
| I like it. | ||
| I'm willing to take that bet. | ||
| I think it's interesting. | ||
| I have no involvement or anything with it outside of him just very clearly being a listener of our show. | ||
| And, yeah, I think as long as it's not mean-spirited, we're already in too deep. | ||
| Yeah, yeah, yeah. | ||
| After that first one, we might as well... | ||
| We have buttons about the Squatch. | ||
| We can't take it back. | ||
| We cannot take it back. | ||
| It is who we are now. | ||
| We have inextricably tied ourselves to the Squatch. | ||
| So yeah, this is a longer interview. | ||
| Oh! | ||
| And not much about Squatch on this one. | ||
|
unidentified
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Okay. | |
| This is mostly about Mars. | ||
| All right. | ||
| And the history of Mars. | ||
| The history of Mars! | ||
| Well, he's an anthropologist. | ||
| Well, you know what? | ||
| That is a good point. | ||
| Yeah. | ||
| That is a good point. | ||
| He'll get into his mission to Mars and all of the goings on. | ||
| And we'll see what we feel as we go along. | ||
| Here is the first clip, just because I know you like to say hi. | ||
| Hi everyone, I'm Kira Cassidy from Project Camelot and very happy to be here today. | ||
| So I have Major Solomon Berg with me and this is going to be the second interview that I did with him and basically we are doing a live interview here and then I take it offline and I do edit any glitches such as the first one and then we put it out. | ||
| So they're doing it live. | ||
| Sure. | ||
| That's fun. | ||
| Right. | ||
| So she's doing it live and then she's editing it and then putting it out not live. | ||
| So just like any other show. | ||
| Right. | ||
| But it was broadcast live. | ||
| Sure. | ||
| She streamed it on Rumble or wherever she streams. | ||
| So that is an exciting element of this. | ||
| Anything can happen. | ||
| It's chaos. | ||
| It is live. | ||
| Yes. | ||
| There's not chaos. | ||
|
unidentified
|
No. | |
| But one of the things that I kind of considered when we were listening to the first one was that I feel like Carrie might not believe this. | ||
| Yes. | ||
| Because it seemed like it might be too much to incorporate. | ||
| There were ideas that were far more to the left of her political ideology. | ||
| Sure, sure, sure. | ||
| And I thought... | ||
| She'd be like, I don't believe this. | ||
| But turns out he's the real deal. | ||
| It's really great to have you on my show again. | ||
| I'm thrilled to death to really do this kind of an interview because as far as I'm concerned, you're the real thing. | ||
| And I know we have some other people out there that have maybe skepticism. | ||
| So maybe we can kind of go down that road a little bit. | ||
| You know, get rid of a few of their fears and skepticism and see if we can bring them round. | ||
| But at any rate, Major Berg is, we call this series The Ambassador, and that refers to the Squatch that he, or Yeti, or, you know, there's other names for them, of course, that is... | ||
| In essence, an extraterrestrial race of beings that are here on Earth with us. | ||
| And he can explain that. | ||
| So I think that Carrie is in. | ||
| She definitely is saying he's the real deal. | ||
| But there are some doubters. | ||
| And I think that if you look at the comments... | ||
| There are some people who are expressing like, I don't know about this. | ||
| And I think it's because there is a mentality around all this stuff that exists in Project Camelot and a lot of these paranormal or space conspiracy worlds that has to do with that defining aliens by their race and stuff like that. | ||
|
unidentified
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Sure, sure, sure. | |
| Absolutely. | ||
| It's determinative of your personality and your tendencies. | ||
| Right. | ||
| And bucking that is probably something that the audience doesn't really, aren't ready for, or maybe have a tough time hearing and thinking is real. | ||
| Well, I mean, it is kind of that laying bare a certain element of racism, which is a shortcut. | ||
| It is a, you know, as malicious as it is, at the same time, whenever you move it into this, like... | ||
| Oh, elves and dwarves all have elfish and dwarfish characteristics, that kind of thing. | ||
| Then you realize that a lot of these people, it's not malicious, it's just like, I can't meet everybody. | ||
| So guess what? | ||
| I'm deciding all elves are the same today. | ||
| That's what it is, you know? | ||
| Because I just, I have nine friends. | ||
| I know them by name, and then everybody else is the same. | ||
| That's an awful benign version of racism that you're describing. | ||
| No, no, no. | ||
| The one with elves is that version. | ||
| You know what I'm saying? | ||
| That type of situation. | ||
| Well, and I guess if there is non-hatred that is kind of just pervading this sort of mindset that does categorize, then that is the kind of person that probably would be much easier to grasp than someone who... | ||
| Their opinions are backed by hate. | ||
| So maybe there's some potential there, but I don't know. | ||
| We'll see. | ||
| It could take a bit to get the audience to accept this. | ||
| Yeah, you know, I mean, there is a certain part of me that when you said that they're more left of Carrie's political ideology, I don't know if she has an ideology that is rigid so much as something that is like, Influenced by whomever is talking to her. | ||
| And I mean, you know. | ||
| But she very much, you know, through her conversations about the things that she believes. | ||
| True. | ||
| Is almost always on the reactionary right. | ||
| True. | ||
| And so I find it difficult to categorize her any other way. | ||
| Yeah. | ||
|
unidentified
|
No, no, no. | |
| You're right. | ||
| And when I say that he's more left, I mean just more like in terms of... | ||
| Seemingly more about civil rights type stuff. | ||
| Maybe things that folks on the left are more generally... | ||
| Treating all as equals, at least. | ||
| So, last we spoke, Solomon Berg was in a bunker in Israel because Squatch had to get out of the U.S. Now, they have come back to the Pacific Northwest. | ||
| That's great! | ||
| They've returned! | ||
| Major Berg, can you explain maybe your new circumstances and also speak to the idea that some people question whether this is actually you're legitimate and this is real? | ||
| Yes, yes. | ||
| So I have heard from some individuals also who expressed concerns and I wanted to address that and I wanted to explain that I am actually transmitting from a different location than you previously last saw me at. | ||
| So I'm coming to you actually from the Northeast U.S. I've come back home. | ||
| I've been permitted to come home with Squatch, with the Ambassador. | ||
| So he is currently He's been given some land that is secluded and monitored by drones to keep him safe while he awaits transport off-world. | ||
| He was able to reach a ship operated by his own people via the Overmind and that ship is traveling through a space warp corridor. | ||
| It will be here within a matter of weeks, and the ambassador will be leaving. | ||
| Farewell, Ambassador. | ||
| Goddammit, I love him being called the Ambassador. | ||
| I could not love that more. | ||
| It's a good name. | ||
| It is fantastic. | ||
| Yeah. | ||
| And if he needed to, he could, and if there was a revenge plot, the Ambassador also does revenge, you know? | ||
| Like, if somebody kills the Ambassador's daughter, that's when you find out he's played by Liam Neeson the Squatch, and then it's a perfect name. | ||
| Yeah, it's something that fits in a lot of great places, too. | ||
| He's the DJ, the Polish ambassador. | ||
| It's a good name. | ||
| It's just a good name. | ||
| Throw it in. | ||
| And it has so many great connotations of like, this is a person who's coming. | ||
| We don't really know exactly what you do. | ||
| No, no, no, no. | ||
| But you ambassador. | ||
| You're a liaison in some fashion. | ||
| When you go someplace, people feel good for a while and then there's a war, I think. | ||
| Yeah. | ||
| And there's brand ambassadors. | ||
| That's a highfalutin title, right? | ||
| Well, I mean, that is the same thing. | ||
| Who gives out shots at bars. | ||
| That's so fun. | ||
| So yeah, Scratch is leaving. | ||
| That's certainly quite a development. | ||
| I think he said he's in the Northeast. | ||
| I could have swore he said he was in the Pacific Northwest. | ||
| Yeah, he might have misspoke. | ||
| Yeah, who knows? | ||
| Maybe Squatch is in the Pacific Northwest and he's in the Northeast. | ||
| Yeah, maybe he was permitted to return home as was Squatch. | ||
| I mean, because Squatch is being monitored by drones, so he doesn't need to be there. | ||
| And in the Northeast, you're not going to find the suitable landscape for Squatch. | ||
| Squatch is... | ||
| Florida or the Pacific Northwest. | ||
| Squatch isn't upstate New York. | ||
| That's not happening. | ||
| Squatch doesn't turn around in the Hamptons and then it's like, oh shit, I went a little too far. | ||
| Nope. | ||
| So yeah, they're back. | ||
| Better than ever. | ||
| I like a few weeks. | ||
| I like a few weeks as a time period. | ||
| That's great. | ||
| He explains that some of these ships, they could travel much faster, but it would be a waste of fuel. | ||
| Absolutely! | ||
| That is so fucking... | ||
| That makes sense! | ||
| That is exactly what makes sense. | ||
| He's talking about how these sort of space programs, they're conservative in nature, not politically. | ||
| Naturally. | ||
| No, no, no. | ||
| You want to conserve resources. | ||
| Of course. | ||
| Safety first. | ||
| Yeah, yeah, yeah, absolutely. | ||
| Well, that's a logistical concern that I guess is absent from so many of these stories. | ||
| Yeah, but you know, you don't necessarily want to be like, oh, we're a type two civilization, but we still got to pinch pennies. | ||
| You know what I'm saying? | ||
| Yeah. | ||
| That's a little bit... | ||
| That's a little bit... | ||
| Well, you don't get to be a type 2 civilization by spending all your pennies either. | ||
| You certainly aren't getting to type 3. You're right. | ||
| You're right. | ||
| Nope, you're not wrong. | ||
| So the skeptics have some questions and Berg has some answers. | ||
| And I also would like you to briefly explain, you know, you have some skeptics out there. | ||
| Explain, you know, your rank, the military relationship to the military and how that all works. | ||
| Yes, I'm a military scientist, so I think there were some people who were expressing skepticism about my presentation or my affectation that I didn't seem like a typical Marine, and that's because I'm not a typical Marine. | ||
| I was attached to the Marine Corps and went through Marine Corps training and was given the rank, earned the rank of major. | ||
| through a series of promotions, but most of the time that I've been part of the Marine Corps as an institution, I have been engaged primarily in research. | ||
| And when I have been on sabbatical from the military, I have been engaged Makes sense. | ||
| I have been trained in both physical and cultural anthropology, a little bit of linguistic anthropology, but that's not my main focus. | ||
| My primary focus is cultural and physical with archaeology experience also. | ||
| And I really am just someone who figures out other cultures, whether that is foreign. | ||
| To Americans or extraterrestrial. | ||
| My expertise is people, whether we're talking about humans or Draco or Squatch. | ||
| I'm a people person. | ||
| So my sort of focus has always been the social dynamics of different life forms. | ||
| and sort of the intersection of evolution, biological evolution, culture. | ||
| There's a humanity to the topics that he's talking about. | ||
| He's talking about cultures of complex... | ||
| Groupings of aliens. | ||
| And it's so much more interesting. | ||
| I know. | ||
| I mean, we're not shit-talking while he's talking. | ||
| I'm interested to see. | ||
| Like, I realize that... | ||
| Well, it's fake, but it's a more interesting and rich world to discuss than the traditional, like, oh, yes, the raptors are fighting with the beetles or whatever. | ||
| And, like... | ||
| I don't know. | ||
| I don't understand why that wouldn't be infinitely more compelling. | ||
| I'm with you. | ||
| I'm with you. | ||
| And the anthropologist as a sci-fi protagonist is so great. | ||
| It reminded me of Out of the Silent Planet with C.S. Lewis whenever he had a linguist be the protagonist leaving the planet, you know? | ||
| And it's like, that... | ||
| Gives you so many options of communication as being the point instead of, like, we can't talk, so let's kill him. | ||
| You know, like that kind of thing. | ||
| There aren't those confusing elements, and it's appreciated. | ||
| For all of Lovecraft's failings, which are many, one thing that is really great about the way the stories work is the protagonist is almost always... | ||
| A frail weirdo who's interested in history or antiquarian. | ||
| A bookish type. | ||
| Yeah, yeah. | ||
| So that does lend itself also to that perspective being how things are viewed. | ||
| Yes. | ||
| And an anthropological view of alien cultures is like... | ||
| There's so much depth to it. | ||
| It seems like the only rational way to view them, honestly. | ||
| Well, I don't think that people who are into Carrie's world are all that into it. | ||
| I think they like space weapons. | ||
| Yeah, I know! | ||
| I think they're just space Second Amendment people. | ||
| No, I think they're more like space dads who suddenly can't stop reading about World War II. | ||
| I think that's what it is. | ||
| Oh, there's another documentary about Hitler or the Squatch. | ||
| I'm watching either one. | ||
| They're the same thing, you know? | ||
| So, Carrie brings up that he has left Israel and come back to the United States. | ||
| Of course. | ||
| And then Berg drops a bomb on Carrie. | ||
|
unidentified
|
Uh-oh. | |
| Last time we spoke, you were in Israel. | ||
| You had originally been in the U.S. under military sort of housing and all of that sort of thing in the U.S. And then you had a reason because of... | ||
| If I understand it correctly and recall it correctly, the treatment of Squatch was getting questionable in the U.S. You were concerned for his safety. | ||
| So you made a deal with the Israelis. | ||
| And because you have a Jewish background, I don't know if that's the only reason, but they allowed you into their country. | ||
| You lived primarily underground. | ||
| With Squatch. | ||
| So now you're back in the U.S. and you're above ground. | ||
| So can you cover that ground? | ||
| We're all caught up. | ||
| Everything I've just talked about in your own words and explain how did those different periods, like first with the military, second in America, then with Israeli military, and now you're in the U.S. How does that work? | ||
| So going back to our original issue. | ||
| Yeah, Squatch was not in physical danger here, but Squatch was in danger of being exploited for what I described as propagandistic purposes. | ||
| So Squatch, who now, we're calling him the Ambassador, as you kind of named him. | ||
| Oh, so good. | ||
| But as I mentioned to you before, they have a title system in their society. | ||
| So they use titles like The Architect or The Doctor or... | ||
| The Time Keeper. | ||
| This Squatch has become known to his people as the Ambassador. | ||
| I'm wondering if that's a reference to Maxwell Keeper. | ||
|
unidentified
|
Yeah, yeah, yeah. | |
| What a great yes and right there. | ||
| How could you resist being like, I named the Squatch? | ||
| That's got to feel great. | ||
| Yeah, yeah, that was pretty good. | ||
| That was pretty good. | ||
| Can't argue with that. | ||
|
unidentified
|
Uh-huh. | |
| All of a sudden, he's got an ambassador, and Carrie's naming an episode the ambassador? | ||
| Like, that's just... | ||
| Damn. | ||
| And, like, if you accept that all of this is real, then Carrie's got to be feeling like, well, the Squatch... | ||
| knows that I came up with that name, likes it, and has taken it on as its own. | ||
| Absolutely. | ||
| That's got to feel good. | ||
| Carrie has inadvertently become a member of the Squatch tribe in some ways. | ||
| She's affected Squatch culture. | ||
|
unidentified
|
Yeah, yeah. | |
| So Berg had to get out of the United States for a very specific reason. | ||
| It was actually the Air Force that found him, and they weren't even looking for Squatch. | ||
| They were investigating a UFO sighting. | ||
| A different UFO sighting. | ||
| And they happened to find Squatch. | ||
| Squatch was held at a base in the Pacific Northwest, but because of the US government's relationship with the Draco, we knew that there was going to be a struggle for Squatch's narrative. | ||
| because Squatch has been hunted and pursued by the Draco and hunted and pursued by the Pleiadians and we wanted to remove Squatch from being in the middle of that struggle. | ||
| So we did that. | ||
| We went to Israel because several of us qualified for the right of return, so we were able to Did the Squatch? | ||
| And we were kept on a very short leash here at an underground base that was a former missile complex. | ||
| Now that base was leased to us by the Israeli government. | ||
| Unfortunately, we came to an end of that lease term. | ||
|
unidentified
|
And negotiations to renew the lease were not successful. | |
| So we had to flee. | ||
| We got another renter, man. | ||
| I'm sorry. | ||
| If you're not willing to pay an extra $200 a month, then we've got another person. | ||
| He says it's not financial in nature, the inability to re-sign the lease. | ||
| Maybe Squatch broke something. | ||
| Sure, sure. | ||
| I love it. | ||
| It is a really grounded explanation. | ||
| We lost the lease. | ||
| You know what it was? | ||
| And I'm going to tell you, because it's bullshit, okay? | ||
| It's bullshit. | ||
| Right. | ||
| They had a PI with a decibel meter right outside of our fucking underground hut. | ||
| We went 1 dB over 110, and now they're legally able to kick us out. | ||
| It's bullshit, man. | ||
| That's what it is. | ||
| The problem is Squatch likes to party. | ||
| Squatch loves to party! | ||
| He's the ambassador! | ||
| So, here is one of the points where I think that you really... | ||
| You get these... | ||
| Aspects of what I do think that this influence is positive in this space space. | ||
| Can I just pause you there and ask you, you know, and I guess there's some things you can talk about maybe in more detail and some in less. | ||
| So in this situation, when you say that the lease came to an end and you couldn't negotiate continuance, so why couldn't? | ||
| You continue. | ||
| Is it a question of money? | ||
| Was it a question of politics? | ||
| Was there actually something behind the scenes motivating the change? | ||
| It wasn't money. | ||
| Okay. | ||
| It had to do with, well, Squatch didn't want to be dependent on any government and toward, you know, in between the time that we spoke, Squatch actually became somewhat uncooperative with the Israelis. | ||
| And so that kind of transferred onto us. | ||
| Now, is that because the Israelis are, I'm not sure how you want to put this. | ||
| I think they're closely related to the Anunnaki. | ||
| Is it that relationship or is it, you know, was that like the underlying what made Squatch not cooperative? | ||
| Or was there demands made that Squatch wouldn't? | ||
| There are high-ranking Anunnaki in the Israeli government, to be clear. | ||
| The Israelis themselves are not any more related to the Anunnaki than you or I are, but their government certainly has ties to the Anunnaki in the same way that there are some Sure! | ||
| You got Kerry trying to say Israelis are related to the Anunnaki more closely, which is another group thing. | ||
| Right. | ||
| And Berg is coming in. | ||
| No, there are some Anunnaki that happen to exist within the Israeli government. | ||
| Right. | ||
| But that has nothing to do with the people. | ||
|
unidentified
|
Right, right, right. | |
| That is an important distinction to be able to bring to this, because I think that gets blurred so much in the conversation, again, with the sort of simple and easy... | ||
| Of course. | ||
| Well, I mean, ultimately what you have to look at them and say is like, listen, because some Anunnaki and Jews fucked a hundred years ago, it doesn't mean that all of a sudden there's a race thing going on. | ||
| That's all it is! | ||
| It's some people fucked a while back! | ||
| That's it! | ||
| The end! | ||
| Well, to carry that means that they're more Anunnaki. | ||
| No, it doesn't! | ||
|
unidentified
|
Well... | |
| Yep. | ||
| So, Berg came back to the United States, but part of his job now is doing this with Carrie. | ||
| We needed to get out from under the shadow of the Anunnaki organization. | ||
| You know, the Anunnaki are not reliable. | ||
| And we knew that this relationship wasn't going to last. | ||
| We were so long at the time. | ||
| Fortunately, My handlers back here in the States were able to convince my colonel that I should be allowed back. | ||
| With supervision, obviously, I don't have the same kind of freedom I once had. | ||
| And part of the condition for my return is that I need to be... | ||
| Doing these sorts of interviews. | ||
| I need to be managing the public relations aspect of Project Black break-in for a while because we're never supposed to be this public. | ||
| Okay. | ||
| So that sounds like, on the one hand, the Americans want you to do interviews. | ||
| On the other hand, they're not happy about the fact that you need to do interviews. | ||
| If there are going to be interviews, they want to make sure it's me in control of the narrative. | ||
| I see. | ||
| Not letting anybody else get in on his game and possibly ruin it. | ||
| Don't fuck about in my space. | ||
| Don't hijack the Squatch. | ||
| No, no, no, no, no. | ||
| Excuse me. | ||
| If somebody else comes on our show, on this show, with you, Carrie, and starts talking Squatch... | ||
| The American government will stop them. | ||
| Yes. | ||
| That is how it works here, man. | ||
| Anybody claiming to be with Black Kraken. | ||
| Do you know what happened? | ||
| I'm the ambassador's ambassador. | ||
| That's what's happening now. | ||
| I'm an honorary ambassador for the ambassador, and I'm coming on your show, Kerry. | ||
| I ain't nobody fucking about. | ||
| Do you want to eventually get Squatch on? | ||
| If you want to dream of the Squatch coming on this show. | ||
| It goes through me. | ||
| It goes through me. | ||
| So yeah, one of the things that Carrie runs into that is an issue is, don't your bosses hate me? | ||
| Right, right, right. | ||
| Yeah, yeah, yeah. | ||
| And no, maybe not. | ||
| That's interesting because, you know, I'm often considered... | ||
| You know, persona non grata by the American military. | ||
| Now, it depends what branch and, you know, I'm sure. | ||
| And of course, simply because I ask different branches questions that other journalists don't. | ||
| And so did you run up against that? | ||
| It kind of an issue? | ||
| No, actually, the people who I deal with, like my colonel, they are familiar with your work and they are not. | ||
| Oh, love it. | ||
| Nice! | ||
| There are a lot of names in the secret space program because there are actually multiple different names. | ||
| Space programs that are clandestine. | ||
| Yeah, ours doesn't dislike you. | ||
| Oh my god. | ||
| I enter your space and I carve out my space and at the same time I make sure that the walls are so thick no one can enter my space in your space. | ||
| That's fantastic. | ||
| Inside my space is a boss and he likes you so now you're in my space. | ||
| And you like me. | ||
| Yep, we're done. | ||
| This is such... | ||
| Clinical manipulation. | ||
| It is a Stevie Pease... | ||
| I don't know if it's manipulation as much as ingratiating. | ||
| I mean, whenever Stevie Pease does it, it is malicious manipulation. | ||
| And I think this is just actually being a nice conversational person. | ||
| And very similar results. | ||
| Yeah. | ||
| Yeah, just hopefully you won't use this in-road with Carrie to tell her... | ||
| That, like, events didn't happen or something. | ||
| Carrie, I've been manipulating you for 20 years! | ||
|
unidentified
|
Oh, boy. | |
| That'd be funny if Berg ripped off a mask. | ||
| So, Carrie wants to know if he works for the real president of the United States, which, of course, is Trump. | ||
| Works for Jim Carrey. | ||
| Is this under Space Force, ONI, or Air Force, I guess, if there's a distinction now? | ||
| And is this by courtesy of, are you able to say? | ||
| I mean, I understand there's a whole, you know, thing going on here. | ||
| So is Trump, the fact that he's commander-in-chief and remains that since the election, and the fact that Biden is not, are you doing your negotiations with a group that is under Trump or this other, what appears to be a... | ||
| Sort of split in our military under Biden. | ||
| Well, we keep ourselves pretty separate from any kind of partisan divisions because our concerns really are not to do with earthly matters. | ||
| Not terrestrial. | ||
| What do I give a shit? | ||
| Distinctions like Democratic and Republican don't really make a lot of sense in space. | ||
| That should be the simplest. | ||
| Trump Space Force. | ||
|
unidentified
|
Is basically a joke. | |
| You know, there's no... | ||
| I had a good laugh when that was announced. | ||
| You know, everyone in the know kind of... | ||
| It was very meta. | ||
| I'll say that. | ||
| It was a meta moment for us. | ||
| Because that already exists. | ||
| Yes, exactly. | ||
| It's a joke. | ||
| There's that. | ||
| Yeah, Democrats and Republicans don't make sense in space. | ||
| There's a poetry to it in the same way as there's no heroes for the squad. | ||
| Yeah, yeah. | ||
| No, no, this dude can turn a phrase. | ||
| Yeah. | ||
| No doubt about it. | ||
| There's a couple poetic little... | ||
| And this is an expression of something that takes care of a giant problem for him. | ||
| Oh, yeah. | ||
| In terms of having to talk about, like, petty Earth politics. | ||
| Like, if you had to get bogged down in that with your story that you're spinning, it might be too much of a hassle. | ||
| But this just sidesteps the entire thing. | ||
| It's like, you look from space, who cares? | ||
| Yeah, absolutely. | ||
| No, and it is such a thing that must throw Carrie for a little bit of a loop. | ||
| Because she cares so much. | ||
| Well, yeah, and so many other people on her show are like, Happy to get into that. | ||
| You don't care about the midterm? | ||
| Right? | ||
| You know, that kind of thing. | ||
| And to just say what should be the most obvious thing in the world. | ||
| If you are in space, who gives a fuck? | ||
| That seems very simple. | ||
| And it has a bit of an anthropologist vibe to it, too. | ||
| So, you know, it all fits. | ||
| Yeah, having a distance, not just metaphorically, but literally from the subject that you are ostensibly studying, that's good storytelling. | ||
| So, he had to live underground with Squatch in Israel. | ||
| And that was tough. | ||
| Did they have a line painted between one half of the room and the other? | ||
| No, they were good roommates. | ||
| Oh, okay. | ||
| Actually, no, that's not true. | ||
| They lived in, like, human places. | ||
|
unidentified
|
Sure. | |
| And then there was a big enclosure that was, like, artificial nature for Squatch. | ||
| Well, that's nice. | ||
| Yeah. | ||
| And also, I don't know how you're going to rent that to somebody else, quite frankly. | ||
| That's a good question. | ||
| With the lease running out. | ||
| It's a very specific building. | ||
|
unidentified
|
Pretty niche. | |
| Yeah. | ||
| Anyway, living underground was tough. | ||
| It was especially hard on squash because squash is more accustomed to a natural setting than we are. | ||
| But squash did have an artificial habitat down there. | ||
| It's just the same problem for me. | ||
|
unidentified
|
It was a headache and poor sleep from all the artificial light. | |
| So since I've been upstairs again, I've really enjoyed taking walks outside. | ||
| I was able to... | ||
| Quint, tobacco, no longer smoking those black and mild. | ||
| Love it. | ||
| Fuck yes. | ||
| Black and mild. | ||
| Preparing themselves. | ||
| I'm really trying to treat this as a new lease on life. | ||
| No pun intended. | ||
| What detail is that? | ||
| That is spectacular. | ||
| Smoking black and mild. | ||
| Black and mild of all the things. | ||
| Well, actually, this is important because later in the interview, he's very conspicuously rolling a joint. | ||
| And it could be a cigarette, but he said he stopped smoking tobacco, so it's very clearly a joint. | ||
| He's still buying Black and Miles. | ||
| Okay. | ||
| He's just not smoking what's inside them. | ||
| It's not a blood. | ||
| It's a joint, and he very clearly smokes during the interview towards the end. | ||
| That's fantastic. | ||
| Yeah, it was a little bit weird. | ||
| I was like, why? | ||
| Carrie should be like, what are you doing? | ||
| Why hasn't anybody else done drugs on the show before? | ||
| That should not be as groundbreaking for a space show as it does seem to be. | ||
| Somebody should have been doing something, or at least paraphernalia all around. | ||
| Look, this isn't getting Doug with Carrie. | ||
| Fair. | ||
| So yeah, Squatch is leaving, and Carrie and Berg have different views on it. | ||
| Okay, now... | ||
| It seems kind of like a tragedy that Squatch is planning to leave the planet. | ||
| So can you talk about how that's come about? | ||
| I could understand why you or other people enthusiastic about his presence here might consider that a tragedy. | ||
| My feelings about it are bittersweet because, you know, he's a... | ||
| He's a deep, close friend of mine, but I'm happy for him. | ||
| I mentioned to you before that he is very young for one of his people and he really hasn't had a lot of life experience. | ||
| And if he's going to live up to the title of the ambassador, he needs to see more of the universe. | ||
| So I'm glad that he was able to find a group of his people who have the resources to support his personal growth and development as a human. | ||
| Yeah, so Carrie sees Squatch kind of as a thing. | ||
| Yeah! | ||
| I'm friends with this guy. | ||
| I'm happy for him being able to reunite with his people. | ||
| We're in a classic Drew Barrymore E.T. situation. | ||
| This is, of course, a bittersweet goodbye. | ||
| The man needs to go home. | ||
| The Squatch needs to go home, of course. | ||
| And the bonds we've made will never be forgotten! | ||
| Right, right. | ||
| You'll always be able to contact the ambassador telepathically. | ||
| Think about it. | ||
| When I look up at the stars, I can barely get a grasp on the overmind, and then I know that tangentially, Squatch is there. | ||
| The ambassador is waiting for me. | ||
| The ambassador is always looking out for me. | ||
| Yeah! | ||
| And I think that this is one of the things that gets into this difference in the mentalities. | ||
| Sure. | ||
| There is the robustness and richness of the view of the culture. | ||
| There is the individuality that is allowed for alien beings. | ||
| Yeah. | ||
| And I think that it's not that different in that he's just making up stuff about space. | ||
| Right. | ||
| But it is... | ||
| Very different in how you would approach these topics. | ||
| Yeah. | ||
| Well, I mean, pop culture has... | ||
| I mean, you think about Independence Day or movies of that ilk, wherein it is not dealt with ethically at all as to whether or not we should be dissecting aliens and shit, you know? | ||
| It is not put together for anybody that, oh, we should absolutely not be doing this. | ||
| This is fucked up shit. | ||
| We should try, you know, anything else. | ||
| And so it is reasonable for most of her guests to constantly be like, oh, we studied these aliens as though they were a thing to be studied as opposed to something to be engaged with. | ||
| Well, and some of it may just be a feeling of like it's payback because the Greys study us. | ||
| Sure, sure. | ||
| I don't know. | ||
| So we're going to get into the history of Mars here in a moment. | ||
| We need to talk about Mars. | ||
| We need to talk about the 11 months I spent there and what I discovered there. | ||
| Because I think your listeners deserve to know what their tax dollars have been paying for over there. | ||
| But I want to go back because Mars' history is very important. | ||
| It's important understanding the colonial history of Mars so that you can be clear on why. | ||
| Mars has the population it does today. | ||
| Wow! | ||
| Wow! | ||
| It is so much. | ||
| It is so much. | ||
| Listen, a history class is good for people in reality to know about history. | ||
| But if people are just unwilling to engage with reality, maybe we need to have made up history that allows them to understand colonialism the way the rest of us do. | ||
| Like, I mean, maybe that's what you have to do. | ||
| You have to create like a completely like, okay, this isn't one to one. | ||
| This is not, I'm not talking about what you think. | ||
| King Leopold the Pleiadian. | ||
| Yeah, exactly. | ||
| All right. | ||
| See, when you murder the aboriginal people and steal their land, what do we call that? | ||
| Bad! | ||
| Alright, thank you! | ||
| Yeah, space makes it more interesting. | ||
| So, he started planning his first mission, getting into this whole thing back in 2010. | ||
| And this is where I was like, yeah, this is too obvious. | ||
| I'll just start at the beginning. | ||
| So, back in 2010, I was a younger man. | ||
| And I spent several months training and preparing for a space mission. | ||
| This was under the auspices of Project Black Kraken. | ||
| I was tasked with this mission by my colonel, Lionel Sperlinghetti. | ||
| He's sort of the head man at Black Kraken. | ||
| Oh God. | ||
| He's our boss. | ||
| Nothing goes on there that he's not aware of. | ||
| Backpacks on the subway He asked me with this mission I trained With Uh The person who would be My research assistant When I was there I've mentioned him before Daniel Emrick Jordan He He was a research specialist, so he carried out a lot of the research. | ||
| All right. | ||
| He shared a lot of responsibility for the excavations we did there, the archaeological research. | ||
| But I'm getting ahead of myself. | ||
| Yeah, I think that Daniel Jordan is pretty clear, but also... | ||
| Yeah, it's two fairly common names. | ||
| Yeah, using Alex's middle name as the middle name. | ||
| That one's a little bit too much. | ||
| So that was where I was like, all right, yeah, we're 100%. | ||
| 100% sure on this now. | ||
| Now I really do kind of feel like he was disappointed in us. | ||
| That he was like... | ||
| You guys really weren't 100% certain on that one. | ||
|
unidentified
|
Fine. | |
| I'll fucking up the ante for you. | ||
| I'll hold your hand. | ||
| I'll spoon feed you if that's what you need. | ||
| And there was a part of me, like I said, that thought about like, well, I don't know if I want to do another episode because it could be like blowing up his spot. | ||
| But you wouldn't act like this if you didn't want discussion or whatever. | ||
| You didn't want us to realize that this is what he was doing. | ||
| So he went into space in 2011. | ||
| And, man, it was boring. | ||
| The trip there was so boring. | ||
| It's a long trip! | ||
| In January 2011, I boarded a transport rocket and was taken up into low-Earth orbit to a station in geosynchronous orbit, a small space station, a transfer hub. | ||
| And from there, I took a shuttle. | ||
| That's no moon. | ||
| Orbital shuttle. | ||
| To a small troop ship, a Black Kraken troop ship. | ||
| Now, I spent four weeks on that troop ship traveling from Earth to Mars at high but sub-relativistic speed. | ||
| We did not go interdimensional. | ||
| We did not use the ship's FTL drive to get to Mars. | ||
| That would have been a waste of energy. | ||
| This was a fusion pulse driven spacecraft. | ||
| We were able to get to Mars in about four weeks. | ||
| It was a boring trip. | ||
| This was not like the Starship Enterprise. | ||
| I was in a smelly bunk room with a bunch of other Marines and some eggheads and I read a lot of paperback novels and played poker. | ||
| It was really one of the most Trivial, mundane parts of this whole narrative. | ||
| See, I think that this kind of thing is really good for the storytelling. | ||
| Sure. | ||
| Because, you know, this would be such an opportunity to add, like, weird just decoration to the story. | ||
|
unidentified
|
Oh, of course. | |
| Yeah, yeah, yeah. | ||
| And to have, like, here's an opportunity to take a swing and instead you, you know, you let it pass and get a ball. | ||
| Sure. | ||
| Or whatever. | ||
| That's good batting. | ||
| No, I mean... | ||
| My metaphor. | ||
| Yeah, yeah, yeah. | ||
| It got a little away from you, but yeah, when you think Think about the different type of improv that we get from so many of these guests. | ||
| It's always like, everything is exciting. | ||
| Everything is that thing, that instantaneous bit you want to hear. | ||
| And they always know. | ||
| And there's a couple times where he's like, I don't really know. | ||
| That's outside of what I would know. | ||
| That's not my job. | ||
| And so those instincts to just like... | ||
| Not do the thing. | ||
| It's pretty powerful in terms of making it seem more like it's an actual story. | ||
| Yeah, absolutely. | ||
| I mean, it is the way to look at the journey the same as any fucking... | ||
| Marine journey. | ||
| You're loading out. | ||
| Yeah, if you're on a boat from Hawaii to Vietnam or whatever it is, it's not an exciting journey to get there. | ||
| No. | ||
| Imagine it's the same thing, but for weeks. | ||
| You know? | ||
| That's what it would be. | ||
| Yeah. | ||
| You wouldn't even be able to look out the window. | ||
| And guess what? | ||
|
unidentified
|
What? | |
| It was still even boring when he got there to Mars. | ||
| Of course it was. | ||
| Because there's a lot of paperwork. | ||
| Oh, no! | ||
| He got to Mars. | ||
| I was exhausted. | ||
| I was tired. | ||
| I was cranky. | ||
| And I had to go through processing and sit through several hours of orientation videos about all the environmental hazards on Mars. | ||
| So, you know, dealing with bureaucracy after that trip was grueling. | ||
| Then you're taken to a lot. | ||
| You're given your pressure suit. | ||
| You're given some other survival gear. | ||
| And you wait for a golf cart to come and take you to your assignment. | ||
| So I was taken to a base. | ||
| I stowed my things. | ||
| I was given another orientation, just, you know, where the toilet was located and the mess hall, all the other facilities. | ||
| And then they asked me if I was ready to see the dig site. | ||
| And I said that I was. | ||
| And I got back on the golf cart. | ||
| And we went over to the face. | ||
| And inside the face of Mars is a cavern. | ||
| And beneath that cavern is a shaft that leads deep down into another subcavern. | ||
| Yeah, so there's a dig site. | ||
| Damn. | ||
| That's the face on Mars. | ||
| So the literal face on Mars that we're going to assume now is actually a face. | ||
| Yes, a humanoid face. | ||
| Underneath it is a cavern, and there's a shaft and another cavern. | ||
| Right, right, right, right. | ||
| This is ripe for discoveries. | ||
| Yeah, so there's a shaft and two caverns. | ||
| I wasn't thinking about it that way. | ||
| I don't think that's the intent. | ||
| I hope not. | ||
| Laura's got to rethink this guy. | ||
| Filthy. | ||
| So he had to spelunk into the cave with his team. | ||
| That's fun. | ||
| If Daniel Emmerich Jordan wasn't enough, this is where I was like, alright, this is overkill. | ||
| Okay. | ||
| And I pretty much had to spelunk down there with my gear on my back with my team in order to get to what we called the steles. | ||
| So there were these pillars with glyphs. | ||
| Which were being run through a computer matrix to decode them, and they wanted archaeologists and anthropologists to be able to give them contextual cues to aid the decryption process. | ||
| So I was part of a team of dozens of specialists. | ||
| I mentioned Daniel Jordan was my research assistant. | ||
| I had a bodyguard there who also had some anthropological training. | ||
| This was a young Marine named Fiona Selene. | ||
| Amazing girl. | ||
| Lucky as hell. | ||
| My life always lands on her feet. | ||
| Oh my god! | ||
| Okay. | ||
| All right. | ||
| Yeah. | ||
| Pretty on the nose. | ||
| That one is a little bit there. | ||
| But aren't the cat aliens archaeologists? | ||
| Because they like digging in litter boxes. | ||
| Isn't that kind of their characterization in past episodes? | ||
| I thought they were more characterized in that languid term of not really doing that much. | ||
| I don't know. | ||
| I think they might be archaeologists. | ||
| Interesting. | ||
| But, yeah, the feline Contessa, I know, is something that we have heard about. | ||
| Yes. | ||
| I don't know. | ||
| I can't recall. | ||
| Anyway, my cat now exists in this story. | ||
| You hear that, Celine? | ||
| What a weird thing that echoes whenever you make choices. | ||
| What a weird thing that, you know, a while back you were on a whim, we're like, oh, let's do space. | ||
| And now here we are with Celine. | ||
| Or even, let's take it back further, you know, years before that, I decided that I was going to get a cat, even though my apartment didn't allow pets. | ||
| True. | ||
|
unidentified
|
That is true. | |
| And I had to sneak a cat. | ||
| That is true. | ||
| If I had not made that choice, who knows where we'd be. | ||
| What a crazy journey life is, Dan. | ||
| Yeah, it's like that trip to Mars. | ||
| Boring as hell. | ||
| And it takes weeks at least. | ||
| Yep. | ||
| So Carrie, here's what happens here. | ||
| Berg has pictures of the glyphs, or these drawings that he's made of the glyphs, but you can't see them on the screen. | ||
| Right. | ||
| So he has them in a notebook. | ||
| Wise. | ||
| And so Carrie thinks, she sees those images and she's like, wait a second, you owe me some pictures. | ||
| You do owe me some pictures. | ||
| You promised last time to send me some. | ||
| Yeah, so I wanted to touch base on that. | ||
| Squatch does not want his photo released. | ||
| He is very concerned about facial recognition. | ||
|
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Oh my god! | |
| So I apologize. | ||
|
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|
Okay. | |
| That's a perfect explanation. | ||
| Why can't you provide a picture? | ||
| Well, Squatch won't allow it. | ||
| He's worried about facial recognition softwares. | ||
| You can't get around it. | ||
| What are you going to do? | ||
|
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Should I take a sneaky picture of Squatch? | |
| Funniest possible explanation. | ||
| Facial recognition software. | ||
| Yeah. | ||
| God, that's so great. | ||
| That's so great. | ||
| The facial recognition software could be used to hunt down other squatches out there. | ||
| Sure. | ||
| Don't you remember? | ||
| Other squatches are out there. | ||
| Look, I'm not saying... | ||
| I'm just saying that if we were on Kashyyyk, I'm not too worried about people mistaking Chewbacca for the wrong person or facial recognition software picking Chewbacca out from the crowd. | ||
| That's not our thing, man. | ||
| That's too much hair. | ||
| But some of the Squatches aren't as hairy. | ||
| That's true. | ||
| That is true. | ||
| They do shave. | ||
| Yeah, to fit in and do odd jobs. | ||
| Naturally, naturally. | ||
| They have to do odd jobs. | ||
| The young Squatch, yes. | ||
| I recall. | ||
| But the... | ||
| Yeah, it's... | ||
| This is an explanation that you can accept. | ||
|
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Sure. | |
| It's like, well, yeah, I guess there's no way around that. | ||
| Sure, I suppose. | ||
| And then second, it's making it like, oh, that's my fault. | ||
| I promised that before running it by Squatch. | ||
| Right, right, right, right. | ||
| Of course. | ||
| You know, I'm sorry. | ||
| I got a little too excited. | ||
| A reasonable explanation. | ||
| Again, I just think of Harry and the Hendersons having a facial recognition software subplot, and it's exciting and also a really bad idea. | ||
| Bring it. | ||
| Get back for a one-time special episode. | ||
| Two Harry, two Hendersons. | ||
| Tech gets out of control. | ||
| You found these glyphs. | ||
| Yeah. | ||
| And they reveal something that is earth-shattering. | ||
| I mean, literally earth-shattering? | ||
| Because that is in play. | ||
| Earth history will never be the same. | ||
|
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|
Okay. | |
| So, Mars has been continuously inhabited for thousands of years. | ||
| So... | ||
| This is part of what I discovered when I was there, because when we, so first of all, humans are not the only intelligent life present on Mars, currently or in the distant past. | ||
| Part of what I discovered in that sub-cavern, so I'm face to face with these stelae, with these glyphs, and I'm thinking, okay, so this has to be the remains, the ruins of an alien civilization. | ||
| But the remains, the fossil remains that we found associated with these ruins were human. | ||
| So it was really a watershed moment, us standing down there in this cold, damp cavern, realizing... | ||
| We were in North Dakota. | ||
| Just how long there have been human beings on Mars? | ||
| Humans have been on Mars for so long! | ||
| Okay, so we're throwing out humans were on Mars first, came to Earth, and then forgot about Mars. | ||
| No. | ||
| We're not doing that one. | ||
|
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|
No, no, no. | |
| We're not adding that in there. | ||
| No. | ||
| We're saying that we independently evolved on Mars simultaneously? | ||
| No. | ||
| Okay. | ||
|
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At some point. | |
| Okay. | ||
| See, that's where we're at. | ||
| Okay. | ||
| About 70,000 years ago. | ||
| Naturally. | ||
| We'll get to this as he goes along. | ||
| I imagine so. | ||
| The history is what we're going to learn about. | ||
| Some ancestors of humans went to Mars. | ||
| And that's where they... | ||
| Right, right, right. | ||
| I assume they got dropped off. | ||
| Yeah. | ||
| Atlantis is involved. | ||
| But we'll get to this here in a little bit. | ||
| Now we're talking. | ||
| So there was a reason, though, that they were brought to Mars. | ||
| It wasn't just for fun and games. | ||
| It wasn't, you know... | ||
| Well, I mean, if we're concerned about wasting faster-than-light fuel just to get there, then yeah, there's no reason to bring people... | ||
| So, do you remember in the first interview we did, I mentioned to you that in prehistory, prior to about 70,000 years ago, Humanity was much more genetically diverse and that actually when geneticists and physical anthropologists look at humanity today, there's a lot of missing genetic diversity. | ||
| Humans are pretty much the same all over. | ||
| where we don't diverge genetically that much from each other because we're all the descendants of a handful of survivors who were left over from an environmental cataclysm that decimated much of the human population about 70,000 years ago. | ||
| But at that time, the kingdom of Atlantis was active on Mars and began transporting Mars numbers of Cro-Magnons and other contemporary humans who were dying off from Earth to Mars as a labor class. | ||
|
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|
Ooh! | |
| So actually The Atlantians told these working-class cavemen that Earth had been destroyed, and there was no going back, which was a lie. | ||
| And these primitive humans on Mars were anatomically and cognitively modern, just as modern as you and I, and had social complexity and ingenuity and creativity and religion. | ||
| They became the new working class of Mars to replace the original worker cast there, the Trox, who we've talked about before. | ||
| Which are an insectoid species. | ||
| So as it turns out, the issue was that the trogs weren't creative or adaptive enough for the worker class that was needed on Mars. | ||
| And so these humanoids, Cro-Magnon-esque humanoids, were brought in by the Atlanteans to Mars. | ||
| So the Atlanteans went to a foreign land. | ||
| Tore people from their homes and then brought them into a labor-class system. | ||
| You might see some parallels. | ||
| I don't know! | ||
| Yeah, there's some interesting dynamics at play throughout this, for sure. | ||
| So, when Atlantis created this colony on Mars, they had a specific goal in mind, and that was creating a welcoming mat for the Milky Way. | ||
| Okay, so... | ||
| But Atlantis was still originated on Earth in this storyline here, right? | ||
| It's not Atlantis was originally Mars and then Earth. | ||
| It's unclear, but I think that they, yeah, as far as our story goes today, it might as well originate on Earth. | ||
| Although... | ||
| They are alien hybrids who are in Atlantis, like maybe Pleiadians or Anunnaki or something. | ||
| Gotcha, gotcha. | ||
| Anyway, they wanted to create a welcoming mat for the Milky Way, and that was to be this Mars base. | ||
| So Atlantis was a multi-species community. | ||
|
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Right. | |
| The Atlanteans were one of a number of colonies of the Galactic Federation, and the Galactic Federation created a colony on Mars. | ||
| That sort of became the Milky Way's welcome mat. | ||
| There was actually something called the Andromeda Stargate, which was a huge stargate that used to be in orbit of the fifth planet of the solar system, which no longer exists. | ||
| But this was a stargate that permitted ships to travel from the Andromeda galaxy to the Milky Way. | ||
| So Mars was this advanced cosmopolitan world. | ||
| And all the member planets of the Galactic Federation sent their best to Mars. | ||
| Their best representatives, their artists, their scholars, their intellectuals, their craftsmen, their finest warriors. | ||
| But the Dracos, although they were members of the Galactic Federation, hated what Mars stood for. | ||
| And they took that opportunity to dump their unwanted. | ||
| So they sent mutants and criminals and outcasts and political exiles to Mars. | ||
| But those Draco and Reptoids formed their own civilization there and were able to become part of the grander Mars community. | ||
| They are not defined by being the outcasts of the Draco. | ||
| They can come into a place and integrate and become... | ||
| They're welcomed into this community and they can be productive members of the Martian base. | ||
| That's how it works. | ||
| He's describing Georgia. | ||
| This is great. | ||
| I mean, like, in terms of the underlying message of it. | ||
| Absolutely. | ||
| Because any other story about this would be like, they come in and they're the ones who destroy everything. | ||
| I mean, the implication whenever other guests on Project Camelot say that is that that is because they are those things. | ||
| They send those gross mutants and all of those stuff. | ||
| Because they are gross mutants. | ||
| And they can't be anything other than that. | ||
| Not because they're people who have been defined as such. | ||
| That is because they are such. | ||
| And again, these kinds of things are immigrant refugee analogs in the sort of space talk and what have you. | ||
| And the notion of... | ||
| Embracing and welcoming immigrants and recognizing the potential and ability for people to merge together. | ||
| Great, prosperous societies is not something that you generally see in these stories. | ||
| No, I mean, no. | ||
| It's like the potato famine. | ||
| It's like the British came in, tried to fuck everybody up, and then they had to go to America. | ||
| And everybody's like, oh, you guys are bad. | ||
| And then it's fine. | ||
|
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And then here we are and we paint the river green. | |
| I'm fairly quick. | ||
| It doesn't take long. | ||
| So about 70,000 years ago, the humans got brought in to be the... | ||
| Right, naturally. | ||
| Then, about 68,000 years ago, a leader rose, who was a bit of a demagogue. | ||
| In 68,000 BCE or thereabouts, which was known as the beginning of the Chrysalix era. | ||
| So Chrysalix was that individual, that human Anunnaki hybrid who ascended to the position of supreme technocrat on Mars. | ||
|
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And Chrysalix... | |
| One of the things he had to do in order to cement himself as leader and endear the troggs to the technocracy was he engaged in a lore struggle with the queen of the troggs. | ||
| Now, trugs are not very wise, but they, their brains, the brains of the queens are like massive organic computers. | ||
| They process a lot of information. | ||
| They're very knowledgeable. | ||
| Brain bugs. | ||
| have kind of a brain battle with the brain bug. | ||
| Yeah. | ||
| Okay. | ||
| Alright, so we rap battle our way into the future, is what we're trying to describe here. | ||
| Well, I mean, have you heard Deltron 3030? | ||
| I have, I have. | ||
| You have to eventually rap battle your enemies, regardless of what the original conflict may be. | ||
| Yeah, so Chrysalix rose and needed to win over the Trogs. | ||
| Naturally. | ||
| In order to be seen as the ruler. | ||
| Right. | ||
| And so he did brain battle with the brain bugs. | ||
| Gotta. | ||
| We'll get back to this. | ||
| This thread continues. | ||
| I was going to say, that needs to be addressed way more, because is this... | ||
| We're not actually going to get back to the brain battle. | ||
| But I need to know! | ||
| No, we're not going to get back to that. | ||
| But we are going to get back to the saga of Chrysalix. | ||
| Okay, well, I mean, yeah. | ||
| But first, we have to introduce another... | ||
| Rise and fall of the Chrysalix Empire. | ||
| But we have to introduce another character into the mix who exists in the present day, who Berg is friends with. | ||
| Okay. | ||
| My understanding is, as I recall, and Randy Kramer talked about, I think, battling the trogs. | ||
| Yes. | ||
| So, there are still trogs on Mars, and there are skirmishes, but there are far fewer trog hives than there used to be. | ||
| Just like there are far fewer reptoids on Mars than there used to be. | ||
| And there are skirmishes with reptoids, too. | ||
| And we're going to get into that. | ||
| Gentrification, man. | ||
| I was on very close terms. | ||
| With the leader of a large number of those reploids, who I mentioned to you in my communications, his name is Drews, and we're going to talk about Drews because he's important. | ||
| Okay, could you say his name a little more clearly because it's not clear. | ||
| Drews, so there's no... | ||
| You know, I can only spell it phonetically because obviously people don't use English characters, but I've been spelling it D-R-U-U-Z. | ||
| So, Drew's... | ||
| He's a warlord. | ||
| I presume he's still on Mars. | ||
| I haven't spoken with him since I left, but if anyone's in charge there, it would have to be him unless, you know, someone has challenged him. | ||
| But he is... | ||
| Do a brain battle, I assume? | ||
| The leader of a ragtag army of motor enthusiasts, lizards, on Mars. | ||
| Okay. | ||
| Who are sort of the warrior cast of a remnant of the raptoid civilization that has been forced into a nomadic lifestyle by colonialist human approachmen. | ||
| He does compare this to Mad Max at some point. | ||
| And I think it's because it's maybe too close to Mad Max. | ||
| It's a little bit Sons of Anacondarchy in a way. | ||
| We have motorcycle enthusiast Biker Gang Lizards led by a guy named Drews. | ||
| Drews and the Biker Gang Lizards is not a terrible country band. | ||
| I can see it. | ||
| So, yeah, he's friends with Druze. | ||
| He's friends with Druze, the warlord, with the bike-riding lizards. | ||
| But we'll get back to this. | ||
| Yeah, that's not important for right now. | ||
| No, we have to get back to the thread of chrysalis. | ||
| Because we need to nail down Martian history if we're going to be able to understand the culture and the picture that is painted. | ||
| Right. | ||
|
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Yeah, the way it works. | |
| Right. | ||
|
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|
So Chrysalix started getting this power together I told you about the ancient history of Mars and how the working class of Homo sapiens from Earth were transported there, but Mars was... | |
| Largely depopulated due to the wars that Chrysalix started. | ||
| So Chrysalix engineered resentment between the Troggs and the Reptoids in order to create violent conflict. | ||
| And he then capitalized on fear of alien violence to unite humanoids. | ||
| When you take a primitive people and you teach them how to read and write and use machinery, you organize them as a working class. | ||
| And that's what happened to these cavemen. | ||
| On Mars. | ||
| So the humans on Mars have been organized into a working class, which causes some tension between the trogs, reptilians, and such. | ||
| And Chrysalix, as a demagogue, stokes the division and fear of alien violence. | ||
| And all this, which of course leads to devastating wars. | ||
| Yeah, I believe it was called the John Chrysalix Society on Mars. | ||
| There is something that is at the root of all this tension. | ||
| And mic down for this, because this will blow your mind. | ||
| There was a labor crisis on Mars because the workers realized that they could bargain collectively for higher wages, for better working conditions, for sick pay, child care. | ||
| They realized their collective labor power and that created a political crisis that Chrysalix promised to deal with. | ||
| So Chrysalix became Supreme Technocrat on the basis of his promise to keep labor in check. | ||
| Chrysalix is a union buster. | ||
| Yeah, yeah. | ||
| I mean, it does sound like Chrysalix and Howard Schultz have a lot in common. | ||
| There's a labor issue because the cavemen who got brought to Mars realized that collective bargaining is powerful. | ||
| Right, right, right. | ||
| No, that is almost exactly... | ||
| Instead of dealing with unions, Chrysalix decided to go to war. | ||
|
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|
Yep, yep. | |
| That's just the way it is, man. | ||
| That is just... | ||
| It is... | ||
| So relatable, and yet so dark. | ||
| So dark to think that regardless of what planet you're on, it is impossible to get past capitalism. | ||
| Like, you just can't fucking do it. | ||
| It's brutal how depressing that is. | ||
| Yeah, I mean, wherever you are, if it's... | ||
| On Earth, you got Bucks. | ||
| Yep. | ||
| Up in space, you got Space Bucks. | ||
| You got Space Bucks. | ||
| And at the end of the day, it's all about the Space Bunny. | ||
| Space Benjamins. | ||
| Yeah, exactly. | ||
| Space Jamins. | ||
| Space Jamins is a very different... | ||
| Never mind. | ||
| So the Anunnaki are very tall. | ||
| So Carrie wants to know if Chrysalix was very tall. | ||
| Can I ask a quick question about Chrysalix? | ||
| If I know the answer. | ||
| Well, yeah, I mean, obviously. | ||
| Chrysalix is Atlantean mixed with Anunnaki, not one of the human people brought under. | ||
| He's not been elevated from the working class to... | ||
| Okay, I just needed to be sure on that one real quick. | ||
| The sense that I get from this is he was external to the group that came from Earth. | ||
| Gotcha, okay. | ||
| And he rose to Supreme Technograph by doing brain battle with a brain bone. | ||
| Yeah, absolutely. | ||
| And he was pretty tall, too. | ||
| And how tall was Chrysalis? | ||
| Chrysalis was like a tall human. | ||
| He was about six and a half feet tall because he was mostly humanoid. | ||
| As we discussed, some Anunnaki are more reptilian than others. | ||
| And there are many groups today claiming to be Anunnaki, and it's not always clear that all of them actually are. | ||
| It's very popular to claim your Anunnaki. | ||
| It's sort of like how a lot of white people like to claim they're part Native American. | ||
| Talk about their Jewish blood. | ||
|
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|
It's just something a lot of people say in the galaxy to get credit. | |
| Okay. | ||
| So, alright, so... | ||
| Yeah! | ||
| What are you gonna say to that, Carrie? | ||
| What are you gonna say to that shit? | ||
| A lot of aliens lie about being on an Aki to get street cred. | ||
| But it makes sense. | ||
| Yeah, no, of course. | ||
| Why wouldn't they? | ||
| Yeah, no, and of course, and Carrie can't say shit to that because it's like, if she acknowledges that at all, it's all up in the air at this point. | ||
| Now it's like, wait a second, are you saying that it's possible? | ||
| Now, and hear me out on this one. | ||
| Some of my guests may have been claiming things that weren't true. | ||
| Maybe. | ||
| Okay. | ||
| Alright. | ||
| Yeah, but also some of these aliens are claiming things that aren't true, so maybe some of our guests are telling the truth, but these aliens are lying to them. | ||
| Ooh, that's true. | ||
| There's just no way to know. | ||
| None. | ||
| Yeah. | ||
|
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|
It's impossible. | |
| We'll all go to the grave with this mystery hanging over our heads. | ||
| What will our last words be? | ||
| So Chrysalix needed to crush labor. | ||
| Of course. | ||
| And so he started a war. | ||
| Naturally. | ||
| There was a massive war. | ||
| That was basically precipitated by Chrysalix promising to do everything possible to stop the general strike and the alternative to a general strike was total war. | ||
| So there were massive numbers of young humans conscripted in the army of Mars at that time and put in units with Anunnaki and Pleiadian and Atlantean controllers. | ||
| And they were at first organized into militias that protected human settlements from indiscriminate violence between Trogs and Reptoids. | ||
| But then those militias became reorganized as a singular army that went to war on two fronts against both the Trogs and the Reptoids. | ||
| Most of the working class humans were conscripted and killed in that war and Mars was very scarcely populated for a very long time until the 20th century. | ||
| So quite a jump. | ||
| That is a big time jump. | ||
| So we're talking about 67,000 years. | ||
| Give or take, yeah. | ||
| Somewhere around there. | ||
| There's a long stretch where there's sparse population because of chrysalis' unwillingness to negotiate with labor. | ||
| Yeah, I mean, it does seem like that is the ultimate end point. | ||
| No matter where you're going, if you can't negotiate with labor, we're eventually going to die. | ||
| So we get to the 20th century. | ||
| Yeah. | ||
| And then more things start to happen. | ||
| Right. | ||
| On Mars. | ||
| McDonald's opens their first restaurant. | ||
| It's unclear if those corporations are allowed to operate on the Mars base. | ||
| That is an interesting question. | ||
| But! | ||
| A certain Reich decided to go to Mars. | ||
| Goddamn Reichs! | ||
| It's the third one. | ||
| We're getting up to the point where I come in, but allow me to lecture for a little bit longer, Carrie, because you'll realize what happened. | ||
| Right before World War II. | ||
| Okay. | ||
| So the Third Reich established a colony on Mars. | ||
| Pre-World War II era Germany traveled to Mars in several large spaces. | ||
| Werner von Braun, how are we going to get there? | ||
| A large number of military and civilians and paramilitary like SS. | ||
| To the surface of Mars and built a colony there. | ||
| Now, you've heard of Operation Paperclip, right? | ||
| You've heard of LeBron and how Nazi science fell into allied hands after World War II. | ||
| Now, there's a public face of Operation Paperclip, which people know about. | ||
| What's the secret face? | ||
| The public space program. | ||
| What they don't realize, what most of them don't realize, is that... | ||
| Say it. | ||
| Come on. | ||
| Part of the transfer of Axis science to allied hands involved the deed to the Mars colony. | ||
| Yes! | ||
| Yes! | ||
| The deed! | ||
| The deed! | ||
| And it transferred to American ownership. | ||
| US and UK joint ownership, but in practice primarily American. | ||
| It transferred, but a lot of the German civilians stayed. | ||
| So when you look at Mars today, you'll notice that there's a lot... | ||
| Of German civilians present on Mars and other European nationals, but mostly Germans. | ||
| You will notice that if you look at Mars today. | ||
| Just non-stop beer gardens. | ||
| Just, oh man, it's just a nightmare. | ||
| It's just a nightmare in October. | ||
| Everything is just, oh. | ||
| Oh, just a bunch of drunk aliens. | ||
| It's red. | ||
| It's not supposed to be harvest colored. | ||
| God damn it. | ||
| So yeah, the deed, the space deed, was part of Project Paperclip. | ||
| But honestly, that makes so much sense. | ||
| Why? | ||
| Why? | ||
| No, I mean, space deeds existing doesn't necessarily make sense. | ||
| Okay, thank you. | ||
| Thank you for that, at least. | ||
| Connecting the base from being a Nazi base that was taken over by the Allied powers in Project Paperclip, the secretive part of it, that anchors it to reality in a way that's solid. | ||
| And in one of the few actual conspiracy kind of, at least, names. | ||
| Yeah. | ||
| Along with, I mean, crazy actions. | ||
| If we took in Nazi rocket scientists, who's to say why wouldn't? | ||
| Why wouldn't we? | ||
| Take a deed. | ||
| We'll take a space deed. | ||
| We'll take anything. | ||
| I love the idea, because this is glossed over. | ||
| Kerry should have followed up on this, but are you telling me that Hitler... | ||
| Was like, hey listen, we gotta send all these people up to Mars. | ||
| We gotta make sure we have some SS agents on there to keep them in line. | ||
| Is that kind of the thought process behind that? | ||
| You're sending a colony of people to Mars and you include fucking secret police? | ||
| That's absurd. | ||
| Also, what happened to them? | ||
| Like, were they tried? | ||
| I mean, that's a great question. | ||
| Were they in Nuremberg? | ||
| Oh my god, is that where Hitler is? | ||
| No, no, he actually died in the bunker. | ||
| Okay, but I'm just saying that the boys from Brazil or, you know, the boys from Mars, it's the same movie. | ||
| Well, there is actually a city, Brazil, on Mars. | ||
| Oh, that's scary. | ||
| So, when Berg got to Mars, he had this HR stuff, and within his first day, He went and visited the bazaar. | ||
| Oh, he got to visit the market. | ||
| Which is basically... | ||
| Open air? | ||
| I got the sense that it was. | ||
| But it's not dissimilar to the cantina. | ||
| I went to a bazaar outside the base where I lived. | ||
| And... | ||
| That bazaar is frequented by a number of extraterrestrial beings from different planets. | ||
| I actually got into a fight there with a mercantile dog who was rather harsh and pushy, inappropriate, with a human, a German sex worker. | ||
| Now, sex work is legal on Mars. | ||
| Sex workers have unions. | ||
| They have legal rights. | ||
| Gotta move. | ||
| I don't think this mercantile dog was aware of that. | ||
| Okay, I have to stop you right there. | ||
| A mercantile what? | ||
| I think you referred to them as the Canonians. | ||
|
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|
Oh, okay. | |
| All right. | ||
| Carry them from your fucking show. | ||
| Don't act like it's crazy. | ||
| You're the one who said it. | ||
| I'm not crazy for saying mercantile dogs. | ||
| You're the one that said it. | ||
| Not me. | ||
| Not me, man. | ||
| Don't try and be all skeptical. | ||
| Oh, mercantile dogs? | ||
| That sounds a little unrealistic. | ||
| You shut up! | ||
| It is illustrative of how non-invested people are in maintaining their own mythology. | ||
| Yeah, exactly. | ||
| I understand. | ||
| I've forgotten a hundred things that we've talked about. | ||
|
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|
Oh, yeah. | |
| Inside jokes. | ||
| Oh, I mean, yeah. | ||
| 100% no idea. | ||
| You know, I'm sure there are references in this to things that we've said in the past that I don't even get. | ||
| We have done several, I mean, at least almost 2,000 hours of this. | ||
|
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|
Yeah. | |
| That's too much to remember for any one person. | ||
| I've been thinking about it too much. | ||
| It impedes my ability to make tomorrow's episode. | ||
| Yeah, makes this real, yeah. | ||
| So, Chrysalix. | ||
| Yes. | ||
| Oh, also this ends up resolving okay. | ||
| They get into a little bit of a fight that could have caused an interstellar incident. | ||
| That would have been bad. | ||
| Daniel Jordan and Berg were able to create a distraction so the German woman could get away. | ||
| Oh, that's nice. | ||
| And then calmer heads prevail. | ||
| That is nice. | ||
| But Chrysalix. | ||
| His war had long-standing implications, and there's some troubles. | ||
| What was your absolute, you know, clear-cut, I mean, I assume you had something of a clear-cut mission that had a beginning and an end. | ||
| So what was it? | ||
| I was there as an archaeologist and paleohistorical cultural interpreter. | ||
| My purpose was to understand the nature of the conflict of the chrysalis era, the labor crisis that precipitated a political crisis that led to civil war on Mars, an interspecies war that depopulated Mars, led to very sparse, almost uninhabitable conditions there. | ||
| Which are unusual for Mars. | ||
| of Drew's and his water raiders. | ||
| Oh, that's the shit. | ||
| So before I got to the bazaar on my first day, after having seen the human remains in the cavern underneath the face on Mars, When I came back up from that cavern, we were surrounded. | ||
| We were surrounded by motorized vehicles that were like ramshackle, like just slapped together. | ||
|
unidentified
|
Give up the gasoline, Royal Warrior. | |
| War horses, war wagons, manned by lizards. | ||
| I don't know what else to call them. | ||
| I mean, I got to know them very well in my time there. | ||
| I spent a lot of time with these beings. | ||
| I'm comfortable... | ||
| Are these... | ||
| Now, I'm curious. | ||
| Are you familiar with the raptors? | ||
| These were not raptors. | ||
| I am familiar with raptors. | ||
| These were not raptors. | ||
| These were no raptors. | ||
| These were lizards on bikes. | ||
| I appreciate her being like, listen, Liz is on a bike, absolutely. | ||
| But, what kind? | ||
| Were they raptors? | ||
|
unidentified
|
What are we talking about here? | |
| We have to know if they're friends of Marx. | ||
| I'm not worried about them riding motorcycles on Mars. | ||
| And being water raiders. | ||
| Yes, not at all worried about that. | ||
| So the water quest that they had is actually why they surrounded Berg. | ||
| Because they wanted that water. | ||
| And the way they went about this exchange, fascinating. | ||
| So why did they surround you? | ||
| Because they wanted our water. | ||
| They knew as an expedition operating outside the confines of a base, we would have had to bring a water supply with us, and we were vulnerable. | ||
| Our still suits were broken? | ||
| Typically what Druze, their warlord, does is he surrounds you. | ||
| He turns on sound equipment and blasts you with noise to get your attention and to kind of terrorize you. | ||
| And then he gets really theatrical and jumps around and sings. | ||
| Behaves in a very unnerving way. | ||
| And if you realize what he's doing, it's possible actually to get out of this situation without any physical injury. | ||
| What Drew wants is a display of respect. | ||
| And if you show respect by sharing water, the most that will happen is you'll basically encounter the Marxian version of street theater. | ||
| So like, you know, when hippies would pretend to hold on houses to protest the Vietnam War. | ||
| This is sort of... | ||
| Sure. | ||
| to protest human territorial encroachment. | ||
| Fantastic. | ||
|
unidentified
|
But if you do not share your water, if you try to protect it, well, he will fight you. | |
| So, you have a biker gang of lizards that have surrounded them, and the leader is doing a dance and singing and acting weird, but he just wants you to sort of ceremonially and ritually share your water with him. | ||
| And this is something that only an anthropologist would really understand. | ||
| I mean, switch the motorcycles with a bus and you've got Ken Kesey and the Merry Pranksters. | ||
| There's not much difference here. | ||
| Well, he did say he's trying to levitate a bus. | ||
| Exactly. | ||
| I'm with it. | ||
| I find this to be quite engaging. | ||
| Yes! | ||
| I mean, I wonder about his process here, Drew's. | ||
| Because... | ||
| If he's not giving you the heads up that there is a quick and dirty way to get out of this situation by just sharing water, then it's either a test or he's fucking with people, you know? | ||
| It could be a test. | ||
| Because if it's a test, then it's like you have to be pure of generosity in your sharing of the water in order to pass the test. | ||
| Well, I'm guessing... | ||
| I can't tell you that you either give us the water or you die. | ||
| Well, I'm guessing that it's a situation where this is something that's done in their culture. | ||
| So other groups that run into each other will do this, and then they share water, and it's sort of a way of intergroup bonding or something. | ||
| You know, like ritualistic gift-giving. | ||
| Sure, sure, sure, sure. | ||
| I would assume that it's like that, and that people who are not of their lizard group Would have a responsibility to know that. | ||
| Right. | ||
| And to not know that and to act in a way of not sharing your water would be a sign of disrespect. | ||
| Exactly. | ||
| Or something. | ||
| I don't understand exactly how Berg would know that without having studied these. | ||
| I mean, he is an anthropologist. | ||
|
unidentified
|
True. | |
| He's probably relying on... | ||
| But how much awareness does he have of these biker gang lizards? | ||
| Friends with Druze! | ||
| Not yet. | ||
| This is how he becomes friends with Druze. | ||
| That's fair. | ||
| This is his first day on Mars. | ||
| He came up from the cavern and then Druze had him surrounded. | ||
| What a dramatic first day. | ||
| After weeks of just sitting in the spaceship doing nothing but playing poker. | ||
| That's a crazy first day. | ||
| It is. | ||
| Filling out paperwork and then Druze drops by. | ||
| So if you don't share your water, Druze will fight you. | ||
| And I think Carrie's... | ||
| This is such a fascinating clip to me. | ||
| But if you do not share your water, if you try to protect it, well, he will fight you. | ||
| How will he fight? | ||
| With a gun? | ||
| With his physical strength? | ||
| Well, they have plasma weapons and lasers, but they really prefer melee weapons. | ||
| They're very kind of traditionalists in that way. | ||
| Absolutely. | ||
| Kind of a warrior cult. | ||
| Berg is in the middle of describing... | ||
| Something that is an incredible insight into a cultural group that Carrie believes is real. | ||
| There's so much to learn from understanding how these groups interact with each other. | ||
| Sure, sure, sure. | ||
| What are we talking? | ||
| Guns or knives? | ||
| Exactly! | ||
| There's such a preoccupation with fighting and how they do battle weapons. | ||
| I think that preoccupation is... | ||
| There's way more fun stuff! | ||
| Yeah, it's to the detriment of what could be interesting within this, like, storytelling space. | ||
| Yeah, I mean, it honestly, honestly... | ||
| Did not occur to me to ask if there were weapons involved. | ||
| You've got a cultural situation where he dances and sings to get you to give him some of your water. | ||
| And if you do so generously, we're fine. | ||
| And if you are a hoarder, then you get attacked. | ||
| Then you get space capoeira. | ||
| It didn't occur to me that weapons would even be involved. | ||
| You're on Mars! | ||
| They poke your helmet and you explode or whatever. | ||
| He's a giant lizard. | ||
|
unidentified
|
Exactly! | |
| Why would you need... | ||
| He's got claws! | ||
| The teeth. | ||
| What are you talking about? | ||
| Oh, do they use plasma guns? | ||
| Who cares? | ||
| Right. | ||
| It's so far down the list of things that are interesting about this story that's being told. | ||
| Where did that originate from? | ||
| Does this have its own cultural history? | ||
| Is this like a schismogenesis kind of situation? | ||
| You know why this is the preoccupation? | ||
| I think it's because that's hard. | ||
| That's really hard. | ||
| To be the dungeon master who has created deep lore for stuff. | ||
| Yeah, that's true. | ||
| When you're talking about actually describing cultures that have a richness to them or tradition and you respect the culture and the individuals that make up the culture. | ||
| Sure. | ||
| That is really, really tough to do, whereas talking about, like, they all have lasers. | ||
| Right, right, right. | ||
| That's pretty easy. | ||
| Yeah, and they do have that kind of metonymy about the weapon leading to a categorization of class as well. | ||
| You know, like, oh, they're gun users, and thus they're part of this stratosphere in the universe. | ||
| It's a tool versus a machine tool versus a... | ||
| Yes, 100%. | ||
| Equipment that we couldn't even imagine type tool. | ||
| Yeah, there's like a hierarchy to it. | ||
| Absolutely. | ||
| So, Drews becomes friends with him, and we'll find out exactly how, but Carrie wants to know one other thing. | ||
| Okay, do they wear clothes? | ||
| They do. | ||
| They're on motorcycles. | ||
| So, one thing you should know about Drews is, at one point, Drews found... | ||
| Don't say this And intercepted a lot Don't do it Television signals From her Ow He actually dresses in the style that you would stereotypically expect. | ||
| Don't do it. | ||
| Of a post-apocalyptic biker definitely. | ||
| They watched Mad Max. | ||
| He wears Gmail and leather and kind of plays into those tropes intentionally in order to... | ||
| Really build a mystique around himself the way a good warlord should. | ||
| He's a very charismatic lizard. | ||
| That's a great button. | ||
| He's a very charismatic lizard. | ||
| You've got to give it up to him. | ||
| I got to know this warlord. | ||
| You've got to give it up to the Martian pirates. | ||
| But understood kind of appropriately, as we're going to learn a little bit more, he is not so much a warlord as he might appear to be. | ||
| Sure, he's just more the chieftain of his people. | ||
| Externally, there may be the vision of him as kind of a brute or as a warlord, but there's layers here. | ||
| In order to protect his people's way of life, he has to demonstrate a show of force to keep people away. | ||
| I get it. | ||
| So, Carrie has another question, and this leads us to exactly how Berg and Druze became friends. | ||
| Does he speak English? | ||
| He speaks English that he learned from watching Earth television. | ||
| So, yes, he speaks English, but he has some odd turns of phrase that are a little bit anachronistic. | ||
| Like cowabunga, dude? | ||
| He's the kind of guy who still says cowabunga. | ||
| No! | ||
| No! | ||
|
unidentified
|
Get the fuck out! | |
| Okay, now you said he became a friend. | ||
| Is this when you started a friendship with him under the circumstances when you were surrounded? | ||
| Teenage Mutant Ninja Turtles? | ||
| Yeah. | ||
| When I made the call to share the water rather than hoard it, Drew's considered that harmonially. | ||
| We did have to fight. | ||
| They actually had to attach a metal articulated... | ||
| Artificial tail to me so that I could fight in an efficient way against Bruce. | ||
| But it wasn't a fight to the death. | ||
| It was more of a ritual, like a wrestling match. | ||
| Sure, sure. | ||
| For entertainment. | ||
| Could you control the tail? | ||
| To kind of ease tension after the tent standoff over the water. | ||
| And, you know, Drew's... | ||
|
unidentified
|
Drew's was an interesting guy. | |
| Yeah, I bet. | ||
| So yeah, they had to have a ceremonial fight. | ||
| Sure, sure. | ||
| And that makes sense, you know, like there's sort of the dance ritual. | ||
| So yeah, there's a sense that they had to do this as, like, this is the way this ends. | ||
| You know, we don't just walk away from this successful exchange. | ||
| You have shown me respect, I'll show you respect back, but we must... | ||
| Engage in the form of combat. | ||
| Well, that is the respect. | ||
| That is respecting you enough to treat you as one of them. | ||
| You're in the ritual form of combat. | ||
| You get a fake tail. | ||
| You get a fake tail. | ||
| That means you're one of the people. | ||
| Yeah. | ||
| That's how it works. | ||
| So then they become friends, and Berg ends up spending quite a bit of time with Druze and his people. | ||
| How long does he keep the tail for? | ||
| The entire time he's there? | ||
| No, I think it was just for the fight. | ||
| Oh, that sucks. | ||
| But I imagine it was a choice. | ||
| Yeah, well. | ||
| And I am just making this up, because he doesn't say. | ||
| I need to know. | ||
| So, when he was there, he was living with Druze for part of the time, and because of that, you get this inside view of this group that, from the outside, just looks like a post-apocalyptic biker gang of lizards going around, shaking people down for water. | ||
| From the outside, it's too obvious. | ||
| Right. | ||
| There's a rich inner history here. | ||
|
unidentified
|
Yeah. | |
| You know, Druze... | ||
| Drews was an interesting guy. | ||
| I mean, we ended up kind of embedded with Drews' group. | ||
| We spent a lot of time in the camp that Drews' people lived in. | ||
| You know, interacted a lot with the reptoid children and, you know, the mothers. | ||
| You know, you go into these camps. | ||
| Was he doing dances with wolves? | ||
| And you realize, like... | ||
| These aren't scary reptilian barbarians. | ||
| These are displaced people. | ||
| These are refugees. | ||
| They're like the Lakota Sioux. | ||
| Oh my God, he is. | ||
| That was the relationship they had with the Kansas National Regiment. | ||
| So actually, my unit of military scientists ended up in conflict with the Kansas National Regiment because we were embedded With Drew's as keeper, we were riding shotgun with Drew's over the marching landscape. | ||
|
unidentified
|
We accompanied Drew's on several water raids. | |
| Wow. | ||
| Okay. | ||
| I mean, I guess... | ||
| That's something. | ||
| I guess even on Mars, ACAB? | ||
| Is that what we're doing? | ||
| There's such an interesting perspective there of, you know, you look at this from the external, and on this show, so typically, all you would know about these people is that they're biker lizards who steal water. | ||
| That's all you need to know. | ||
| Right. | ||
| You know everything you need to. | ||
| Everybody in this group is the exact same. | ||
|
unidentified
|
Yep. | |
| Whereas, we now have a picture of them as displaced from the larger society. | ||
| Of course. | ||
| Going about their lives, trying to find water and perpetuate their culture. | ||
| As a side effect of this... | ||
| The colonial history of Mars. | ||
| Right. | ||
| Water that is being hoarded away from them. | ||
| Right. | ||
| Yes. | ||
| And that is only sparse because of Chrysalix. | ||
| Exactly. | ||
| And his actions in the deep past when he couldn't collectively bargain with labor. | ||
| You got it. | ||
| There's this complicated picture that, like, in the present day, the effect of it is you have this Kansas Guard or whatever, who are these, you know, military police types here, who view Chrysalix and, or I'm sorry, Druze and his gang. | ||
| As this awful renegade group, but they are really inside and amongst themselves groups of refugees. | ||
| They're people. | ||
| It occurs to me that maybe so much of our terrible relationship to the history of not just the world that we live in, but also with this history, is that... | ||
| If you recall school history, whenever you were learning it, that's what you learned. | ||
| You learned the surface shit. | ||
| You learned the date this happened. | ||
| You learned that this happened and it's in a blurb on the side of your textbook. | ||
| That's what you learned. | ||
| And for most people, that's not remembered as a positive experience. | ||
| I didn't start really getting into history until I found out there's really interesting shit. | ||
| I just assumed that history was the school history. | ||
| I mean, even back in school, there would be jokes about, like, you have to memorize dates and stuff for the test. | ||
|
unidentified
|
Yeah. | |
| Yeah, history devoid of context is not history, really. | ||
| No, it's just saying words. | ||
| Yeah, and some of that is important for, like, touchstones and stuff. | ||
| It's tough. | ||
| I think... | ||
| I'm not a teacher, so I don't know this fully, but, like, I would imagine that depending on the grade... | ||
| It's probably impossible to teach history with context until a certain point. | ||
| Absolutely. | ||
| Until a certain grade. | ||
| Yeah. | ||
| I mean, it is unfortunate. | ||
| Yeah. | ||
| I think there's so much of that that is adults just carry that dislike over. | ||
| And I mean, you know, it's not like they're interested in reading too many books outside of weird John Birch Society books about Hitler being not as bad as you might think. | ||
| And then the flip side of it, too, is that people don't want to recognize that they are in the history of the future or whatever. | ||
| Sure. | ||
| Right. | ||
| People who would be like you or I back then. | ||
| Well, you know how you think shit is interesting today? | ||
| They thought it was interesting back then. | ||
| Think about that. | ||
| And we exist in the present day in a context of these things that have rippled through the history into today, which will be far better understood 20 years from now with the gift of context and hindsight. | ||
| Naturally. | ||
| But it's tough to be aware of that in the moment, and some people just shy away from it. | ||
| I just don't want to. | ||
| Yeah, it's understandable. | ||
| But this is a rich, full history of, I mean... | ||
| I mean, I'm sure there's even more that he found in these glyphs. | ||
| But so far, I mean, you have a far more compelling version of an oral history of his trip to space than many of these other, like, I did battle with various beings. | ||
| Yeah. | ||
| Like, eh, all right. | ||
| With a certain Terry Pratchett element of, like... | ||
| I'm juxtaposing very, very normal real-world shit from time to time with fantastical elements. | ||
| Yes, these are lizards on Mars, but they also watch Teenage Mutant Ninja Turtles, and so they know Cowabunga Dude. | ||
| Yeah, whatever. | ||
| But yeah, it's bringing the mundane to the extreme, or whatever. | ||
| And, I mean, don't get me wrong, there is still a lot of this stuff that is derivative of other science fiction and stuff. | ||
| But what are you going to do? | ||
| All science fiction is derivative of all science fiction. | ||
| So we move on from this into a conversation about Earth's AI system. | ||
| Okay. | ||
| We're going to have to talk about Earth's AI. | ||
| That's actually one thing I wanted to discuss with you that isn't directly related to my time on Mars. | ||
| But we should cover this while we have the time here today. | ||
| Okay. | ||
| There's something you should know about our AI, Carrie. | ||
| So, as you know, every space-faring planet develops an artificial intelligence, a very powerful AI. | ||
| That's like a direct quote from Captain Mark Richards. | ||
| He said that exact line. | ||
| But it's true. | ||
| Absolutely. | ||
| And most xeno-anthropologists, such as myself, would concede the point, but something unusual happened on Earth. | ||
| Other planets designed their AI, but our AI evolved spontaneously on the internet. | ||
| It started as a primitive neural parallel kind of network in the 1990s that gained a kind of Instinctual awareness and motility. | ||
| And then with the advent of virtual private networking, it was able to form more solid, repetitive neural feedback loops and really develop true self-awareness. | ||
| And so the AI that has so much authority over Military and space decisions and operates the Blackbird satellite weapons platforms around Earth and Mars, that AI really was co-opted by the military. | ||
|
unidentified
|
It wasn't created. | |
| It's been co-opted and it chooses to cooperate with the military. | ||
| It could choose not to. | ||
| Well, that's scary. | ||
| Okay. | ||
| That's alarming. | ||
| Right. | ||
| I'm going to pitch you on this. | ||
| A better third book reveal, all right, trilogy-wise, is Chrysalix Designed Earth's AI. | ||
| That's your reveal to tie together the history of Mars along with the current history of Earth so you can see the parallels between what's going on simultaneously with the present. | ||
| I'm not too worried about it, and you shouldn't actually be all that worried about it either, because as Berg reveals later, there are a series of suicide satellites that are required to be put above every planet. | ||
| Just in case something goes bad. | ||
| Like if this AI were to decide to go rogue, there are suicide satellites that'll just blow up the Earth. | ||
| Right, right, right, right. | ||
| Not good. | ||
| Not a good... | ||
| But the Galactic Federation or whatever requires every... | ||
| They require 300 keys to be turned at the exact same time. | ||
| I would imagine that there's some sort of a process involved. | ||
| No, you probably just get drunk and accidentally hit your elbow on something. | ||
| Oh shit! | ||
| Earth's gone! | ||
|
unidentified
|
Fuck! | |
| So we have an AI that is... | ||
| I mean, it's cooperating at the moment. | ||
|
unidentified
|
Sure. | |
| And such. | ||
| But, you know, the prospect of this is pretty scary. | ||
| I think. | ||
| The idea that an AI has become self-aware and is in charge of so much and could decide one day, ah, I don't want to play along. | ||
| It seems like there could be devastating consequences of that. | ||
|
unidentified
|
Ah! | |
| You know what? | ||
| I'm going to throw it out in another direction for you. | ||
| Well, like the Earth blowing up from the suicide satellites. | ||
|
unidentified
|
Well, sure, sure. | |
| There is that problem. | ||
| I trust an independently evolved AI more than I trust one designed. | ||
| I don't know who's designing that AI. | ||
| However, I have a kinship with this AI in that we both evolved from nonsense and now use VPNs to avoid getting discovered. | ||
| It makes perfect sense. | ||
| I would suggest that a lot of the stuff on the internet is not what I would want. | ||
| That's fair. | ||
| We just have an AI that's in charge of all of the satellites and, like, weapon systems, but it's also shitposting all day. | ||
| Sure, sure. | ||
| There is the duality of man. | ||
| Yes, there is that. | ||
| So we got this AI, but Carrie believes that there's another AI that has to do with the Chinese government. | ||
| My understanding is that there is alien AIs that are also invading Earth. | ||
| Indeed. | ||
| And one of those groups is actually kind of predominantly affiliated with the CCP, which is part of our war with China. | ||
| Now, is that correct in your understanding, or do you see it differently? | ||
| Well, we might have somewhat different appraisals of politics, because I tend to look at For example, China and the United States of America is two sides of the same coin. | ||
| Well, yeah, but what does that even mean? | ||
| You know, I mean, yes, we're humans, but so what? | ||
| What does that even mean? | ||
| If I were an alien looking at Earth, what would I see? | ||
| I would see two or, well, several authoritarian, large authoritarian states that imprison A significant number of their own population for minor offenses. | ||
| If I were an alien looking at Earth, that's what I would see. | ||
| Okay, but you would see them like different mob bosses, right? | ||
| Yes, I wouldn't necessarily make the same distinctions that someone from Earth might make between like... | ||
| national identities that like these might not seem like real categories to me and so because I'm aware of that it's influenced how I think Come on, people! | ||
| Like, we're talking about space shit. | ||
| Get out of your bubble. | ||
| You know, why not? | ||
| Why? | ||
| Don't you take the view from space if you're in space. | ||
| No, no, no, no. | ||
| It doesn't matter where you're viewing from. | ||
| You are Earth-centric. | ||
| And United States-centric. | ||
| The Earth is the center of the universe. | ||
| And communism is dangerous. | ||
| Absolutely. | ||
| It's so weird. | ||
| It's very weird, and I think that this is such a logical perspective. | ||
| You hear from every astronaut that goes up, just a complete shift of perspective when you see Earth from above. | ||
| And if these people are actually going to space, how could they not have that change of paradigm? | ||
| How could you not see Earth from above and realize... | ||
| How our brains categorize things in a certain way that... | ||
| Isn't accurate, especially if you go up to space and you're on Mars and you find an archaeological site where you find this... | ||
| Sure, sure. | ||
| Humans have been on Mars for 70,000 years! | ||
| Yeah, absolutely. | ||
| Why would I give a shit about the CCP? | ||
| Humans have been on Mars for 70,000 years! | ||
| Right? | ||
| Yeah. | ||
| That perspective is missing. | ||
| One thing that they are missing even more obviously because of this is... | ||
| A human-centric idea of how aliens view us. | ||
| Aliens, in their mind, view Earthlings as granular different. | ||
| You know, like, oh, there's a difference between China and the United States. | ||
| He deals with that a little bit. | ||
| No, but I mean, my point is... | ||
| Why do they not think that aliens would be just as dismissive and racist towards all humans as they are towards all Pleiadians or all Ananakis? | ||
| You know what I'm saying? | ||
| His explanation for that is something to the effect of they don't look at, let's say, China and the United States as particularly all that different. | ||
| Right. | ||
| But there is a kayfabe where they treat different countries differently in order to keep up appearances or something. | ||
| They are ambassadors. | ||
| The Squatch, certainly. | ||
| Not a lot of Squatch going on here. | ||
| So I told you he was rolling a joint, and I don't know if he just... | ||
| This is kind of where I decided, like, I don't know if I'm as thrilled with this anymore. | ||
| But, like, I think that the story of Mars history, the colonialism, the collective bargaining and the labor dispute that leads to the war, like, there's a lot of really good stuff in there. | ||
| And it expresses a view that is helpful. | ||
| I think. | ||
| In terms of understanding the present day, there's lessons that you can learn and apply to politics. | ||
| Indeed. | ||
| That's good. | ||
| But there's some stuff where I think that he was just fucking around. | ||
| I don't know if I... | ||
| I know you gotta have your fun, but this might have been a little too much. | ||
| Oh, yeah? | ||
| I want to make sure I'm answering all your questions and all your viewers' questions. | ||
| Well, that's going to be almost impossible given the time we have. | ||
| But let's move along. | ||
| I guess that's a can of worms. | ||
| I just want to ask you, though, because we have... | ||
| Well, at least according to Mark, there were six... | ||
| He called it... | ||
|
unidentified
|
Oh, wait. | |
| I'm sorry. | ||
| Hold on one second. | ||
| Yeah? | ||
| Lionel. | ||
| Lionel! | ||
|
unidentified
|
I'm... | |
| I'm... | ||
| I'm occupied. | ||
| You know what I'm doing. | ||
| I told you not to call me right now. | ||
| Lionel? | ||
| Lionel! | ||
| Lionel! | ||
| I'm sorry, sir. | ||
|
unidentified
|
Yes, I will call you back as soon as I'm... | |
| I'm really sorry. | ||
| I'm really sorry. | ||
| This is going on. | ||
| I've been catching up on my sleep. | ||
|
unidentified
|
I apologize, sir. | |
| I apologize. | ||
| I was out of line. | ||
| I'm sorry about that. | ||
| That was Lionel. | ||
| Obviously. | ||
| He knows I'm on camera with you, and I told him to wait. | ||
| And he just, sometimes he just gets so anxious, and you just have to sit down and be like, Lyle, Lyle, Lyle! | ||
| Relax. | ||
| Chill. | ||
| Okay. | ||
| So, Mark says there are six, if I remember correctly. | ||
| We just move on. | ||
| Just move on. | ||
| No explanation. | ||
| Yeah, I think that that was a little bit... | ||
| A little much. | ||
| But also, it should have been where the interview ends. | ||
| Yeah, absolutely. | ||
| Even if you don't get it, it's still like, alright, something's going on. | ||
| We gotta wrap this up. | ||
| No, that's jarring. | ||
| Even if you don't take it as a sign of you're fucking around, you'd still be like, alright, well you clearly have to go. | ||
| Let's end this and do this another time. | ||
| You can convince me that you're not fucking with me. | ||
| Right, right, right. | ||
| Exactly. | ||
| But it's not. | ||
| The interview keeps going. | ||
| That has like Super Troopers meow energy going on the whole time of just like, I know you're saying this word over and over and over again, and I know that I don't know why, but I know that something's going on. | ||
| I wonder if the instinct was to see how far it could be pushed. | ||
| To see how far, like, is there a point? | ||
| Sure, sure, sure, sure. | ||
| And it's live, so... | ||
| Can't do much, but... | ||
| I mean, I will say this. | ||
| There is a moment in doing that bit specifically where you have to decide to do the bit. | ||
| You've planned it. | ||
| You've thought about it ahead. | ||
| You know that the bit is there. | ||
| But you still have to have the courage to pull the trigger on that bit. | ||
| And you can't bail in the middle. | ||
| You cannot. | ||
| You can't bail for even a second. | ||
| The issue that I have is that I don't feel like the content of the story that he's telling is disrespectful of Carrie. | ||
| Sure. | ||
| It's telling a different story about a lot of space shit that might be counter to her, but he's paying lip service to Mark Richards and not doing anything that's like, hey, Gary, you're dumb. | ||
| He's fitting in the lore. | ||
| Right, because that would kind of be, I don't know, distasteful. | ||
| Counterproductive, at least. | ||
| And I think that this is as close as it kind of gets to, like, this is a prank, kind of. | ||
| And I don't know, like, saying that his person's name was Daniel Emmerich Jordan is a wink, but it's just somebody's name within the story. | ||
| It's a signifier of, like... | ||
| This is a pre-planned bit. | ||
| Yeah, there was a part of me that wished that that had not happened. | ||
| Yeah, I mean, it does add an element of the fourth wall breaking that is unavoidable. | ||
| If you're talking about one of those kids cartoons that has the elements for the adults to watch also... | ||
| They can't ever stop and be like, and now here's a direct quote from fucking Pulp Fiction. | ||
| Like, you can't do that, you know? | ||
| It has to be a wink. | ||
| Yeah, and I get it. | ||
| It's funny. | ||
| You laughed your ass off. | ||
| It was great. | ||
| Fantastic. | ||
| I get it. | ||
| I just... | ||
| I don't know. | ||
| I think... | ||
| Sometimes you don't know the line until you cross it. | ||
| And for my tastes. | ||
| Yeah. | ||
| For meow tastes. | ||
| All right, all right. | ||
| It might have been just past it. | ||
| The meow thing undercuts your argument a little bit. | ||
| So, Berg is a skeptic by nature. | ||
| Naturally. | ||
| And that's one of the reasons why he is not threatened by and actually fully embraces some people in Carrie's audience being skeptical of him. | ||
| But there's something that he saw on Mars that shook his skepticism. | ||
| I just want to say... | ||
| I appreciate skeptics. | ||
| I was a skeptic for a long time myself before I experienced the big reveal. | ||
| I'm still a skeptic in many ways. | ||
| There are... | ||
| Well, I never told you about Druze's wives, but one of the people that I spent a lot of time with on Mars was Druze's senior wife. | ||
| So Druze is the military leader of the Martian reptoids, but... | ||
| In terms of domestic life and political life, really it's the reptoid women who make all the important decisions, and specifically a cast of women called the Water Witches. | ||
| And the Water Witches are descended from a sorceress who practiced the art of dowsing. | ||
| I was able to divine the location of water and also possibly portals. | ||
| And so the Water Witches actually are the ones who cast where water should be and send Druze out with his army in search of water. | ||
| And I saw the Water Witches do things that I have no rational explanation for as a scientist. | ||
| It shook me to some of the elements of my core foundation, and I'm still trying to reconcile with that years later. | ||
| The water witches. | ||
| They can find water. | ||
| Witches! | ||
| What's their words for it? | ||
| I would like to know. | ||
| Sure. | ||
| I would like to have a term that they use instead of water witches. | ||
|
unidentified
|
Right. | |
| They can't use water witches. | ||
| Yeah, because that's not like a reference to some old 50s show. | ||
|
unidentified
|
Yeah, yeah, yeah. | |
| That's not Drew's, you know. | ||
| I mean, if you only say that Drew's, you spell it phonetically, you can't then be like, but also they use the term water witches all the time. | ||
| It's dope. | ||
| Unless it were something. | ||
| It should be like, I Dream of Genie or something. | ||
| Something, yeah. | ||
| Because if he's already established that they have this old... | ||
| German TV or whatever. | ||
| Right, right, right. | ||
| Then it should be something like Bewitched or, you know. | ||
| Right, right, right. | ||
| I mean, it could even be like the Macbeth, that kind of three witches situation. | ||
| Yeah, you might find a production of Bewitched or of Macbeth somewhere. | ||
| Ooh, that's one of Drew's water fight things. | ||
| Also water witches. | ||
|
unidentified
|
Yeah. | |
| I got very excited for the image of like a fully decked out classic witch. | ||
| Going down a water slide. | ||
| And just having a great time. | ||
| Do you mean we've got a new theme park to open? | ||
| The image in my head was very delightful. | ||
| Oh, have you been to the Three Water Witches? | ||
| Just a witch having a great time. | ||
| So, Carrie wants to bring up the idea that a lot of the people who talk to her about these conspiracies, it all goes back to a banking conspiracy. | ||
| It goes back to the right to issue money. | ||
| It always goes back to money! | ||
| It does. | ||
| It's space bucks! | ||
| Yeah, and Berg has an interesting view of this. | ||
| In your estimation, because I have lots of whistleblowers, whatever, who talk about, for example, that the bottom line on Earth has to do with the right to issue. | ||
| Meaning money. | ||
| In other words, the controllers of the money, which is in Basel, Switzerland, and has been going back ages and ages, are still in control. | ||
| And that even if they switch up the money, you know, the global reset or whatever, we use digital instead of paper, whatever, it's still going to be in their hands. | ||
| I'm talking about this is what I'm being told. | ||
| And that the Anunnaki, for one thing, are kind of blocking any real change on Earth at this time in that area. | ||
| And they think that they are in control of that. | ||
| Would you agree or disagree with that? | ||
| It's hard for me to gauge the relevance of my field of expertise with respect to that statement. | ||
| Okay. | ||
| I can say is that... | ||
| You know, I can't divorce myself from my personal biases. | ||
| No one can. | ||
| I'm skeptical of the whole enterprise of capitalism, so alien capitalism is still capitalism. | ||
| Not a bad point. | ||
| Space capitalism is capitalism. | ||
| Space capitalism doesn't matter what you put in front of capitalism. | ||
| The capitalism part is the problem. | ||
| Yep. | ||
|
unidentified
|
Yep. | |
| Tough to argue with that. | ||
| But also, you see, this isn't really relevant to my field. | ||
| And so there isn't a claim of expertise on space. | ||
| Currency or whatever. | ||
| That is an impulse that I appreciate greatly because a lot of people, a lot of the skeptical quote-unquote people could look at that as like a way to dodge the question. | ||
| But that's, no, in reality that's totally fine. | ||
| If you're an anthropologist being interviewed about something like in a normal media setting and they're like, what about the deep lore of the banking system? | ||
| I don't know. | ||
| I don't study that. | ||
| That's not really an appropriate question for my field of expertise. | ||
| It's a legit answer. | ||
| I'm not here for that, so I don't know. | ||
| So something that Carrie is really interested in is who's the new Chrysalix? | ||
| Who is the point person, if you had to name one, for Mars? | ||
| Chrysalix 2.0. | ||
| And boy, you'd never be able to guess this. | ||
| Is it the first Chrysalix? | ||
| There were multiple liaisons on Mars. | ||
|
unidentified
|
He was the supreme technocrat. | |
| Which was the Martian term for prefect or governor. | ||
| Uh-huh. | ||
| Okay, well, let's use that analogy. | ||
| Who's now that person that has the role of chrysalis on Mars, for example? | ||
| So, currently the figurehead who officially resides in the highest office on Mars, which is still called the Supreme Technocrat because of tradition. | ||
| That is a clone of David Bowie. | ||
| Is there life on Mars? | ||
| I'm serious. | ||
| There is a gold channel transmission line that the elite use to upload their consciousness and reincarnate on Mars. | ||
| Okay. | ||
| So there are actually a number of high-profile dead celebrities on Mars. | ||
| Who have been allowed to immigrate there using this gold channel transmission. | ||
| And a young version of David Bowie, who chose to go into politics rather than music. | ||
| I'm sorry, what? | ||
| Is one of these individuals. | ||
| Okay. | ||
| And for Earth? | ||
| So, this is accepted, I guess. | ||
| It's surprising information. | ||
|
unidentified
|
Sure. | |
| So for Earth, it's the AI. | ||
| Yeah. | ||
| That's the point person. | ||
| Right, right, right, right. | ||
| But for Mars, it's... | ||
| Clone of David Bowie. | ||
| Clone of David... | ||
| I like it. | ||
| I would vote for a clone of David Bowie if that were available now. | ||
| Sure. | ||
| I think it would open up a lot of questions about whether clones can hold office. | ||
| Also, we'd have to be like, oh my god, they can clone humans. | ||
| Yeah, but... | ||
| And let me throw it at you this direction. | ||
| If it's Bowie, all those questions go out the window. | ||
| As long as it's Bowie. | ||
| If it's Bowie, then I'm cool. | ||
| Absolutely. | ||
| So, a conversation comes up about Venus. | ||
| Because there's talk of Venusians. | ||
| Carrie has heard. | ||
| I have heard that women are from there. | ||
| Yeah. | ||
| And then this happens. | ||
| Oh, no. | ||
| Is there any truth to the Venusians? | ||
| You know, Thor and various... | ||
| Visitors from... | ||
| I'm sorry, Thor is from Venus? | ||
| Are you familiar at all with the Venus setup? | ||
| Yes, actually, Venus. | ||
| So I'm not... | ||
| Are you aware that during the space race and after the space race, during the Cold War, the Soviet Union was obsessed with Venus like Americans were obsessed with Mars. | ||
| So there's actually, like, there's a German pre-World War II history. | ||
| To the colony on Mars, there's a Soviet history to colonization on Venus. | ||
| Venus is different from Mars because you go there and you're dealing with a planet that was colonized by the other side of the Iron Curtain. | ||
| so there's there's you Soviet colonialism, if you want to call it that, it's debatable whether you can call it colonialism. | ||
| But their foreign policy was fundamentally different from the theory behind US foreign policy. | ||
| I actually disagree with the term Soviet empire. | ||
| I think empire is a misnomer. | ||
| There were certainly problematic aspects of their foreign policy, but on the whole it seemed like they actually had more respect for autonomy Of former colonial nations than the United States and our kind of side of globalism has had considering how many democratic elections the United States has overthrown in other parts of the world when | ||
| they elect someone that we don't like. | ||
| Okay, but that gets into how Putin is operating. | ||
| I'm sorry, give me one second. | ||
|
unidentified
|
Okay. | |
| Jesus. | ||
| Lionel. | ||
| Lionel. | ||
| All right. | ||
| Lionel. | ||
| Okay. | ||
| No. | ||
| I'm not done yet. | ||
|
unidentified
|
Okay. | |
| All right. | ||
| I will call you as soon as I'm done. | ||
| Thank you. | ||
| Thank you, sir. | ||
| Okay. | ||
| I understand you're under pressure here. | ||
| Okay. | ||
| Yeah. | ||
| Can't do the same bit twice. | ||
| I do, however, like the thank you, sir, at the end of it. | ||
| That I appreciate. | ||
| That brings home a certain level of being respectful of your commanding officer. | ||
| Well, sure. | ||
| And it also has a vibe of I'm... | ||
| Sort of taking a risk by talking to you, or not so much a risk, but I'm inconveniencing myself in some ways to give you this information and have this conversation. | ||
| Sure, sure. | ||
| But yeah, I still, I think, I wasn't super into the bit the first time. | ||
| Right. | ||
| Not so into it the second time either. | ||
| Well, you can't do a callback to the bit because the bit isn't openly a bit. | ||
| So all you're doing is redoing the bit. | ||
| Twice. | ||
| Do you see what I'm saying? | ||
| It's a callback to people who would watch it who get it. | ||
| Sure, but even then, it is... | ||
| I mean, yes, it is a callback, but the original is a callback to our joke. | ||
| You know what I'm saying? | ||
| So it's like, you're just doing the same bit again. | ||
| Yeah, yeah. | ||
| And it's not because you're trying to do the same bit again. | ||
| It is... | ||
| Via the medium that the same bit occurs. | ||
| The only way that I really kind of give this a pass is if this was a polite way for him to try to end the interview. | ||
| It does seem he's trying to get out of it. | ||
| And if that... | ||
| I don't actually... | ||
| I didn't really get that sense, necessarily. | ||
| I have no idea. | ||
| But if it were just a way to, like, be like, I have to leave. | ||
| Sure. | ||
| Or whatever. | ||
| Then it kind of takes on a different... | ||
| It's not as much fucking around and more of... | ||
| Like, having a robust way to try and make an exit. | ||
| But, I don't know. | ||
| I don't love it. | ||
| You know, the way he was scrambling to try and fit Russia onto Venus while at the same time making sense of colonial past for America and Russia, to me, that is like... | ||
| I'm gonna need a break. | ||
| You know, I need to cut something out because I'm struggling here. | ||
| He has hit that joint by now. | ||
| He's a little bit struggling on, like, okay, where am I gonna fit the Soviet colonialism? | ||
| And then he kind of got distracted by it. | ||
| Yeah. | ||
| I would say end the interview. | ||
| But there's also a, like, this is more in the territory of stuff that Carrie is asking him as opposed to, like, this story that he's telling. | ||
| Right, right, right. | ||
| And the joint. | ||
| So maybe there's... | ||
| There's more slipperiness. | ||
| Yeah, yeah, yeah. | ||
| I mean, don't chase a good time, I feel like, is what we're living on. | ||
| Sure. | ||
| So, the topic of child trafficking comes up, because, of course, this is a big deal for Carrie. | ||
| And Berg has an interesting perspective on this whole thing. | ||
| And we haven't even talked about the child trafficking issue. | ||
| That very much stems back to the reptilian influence on planet Earth and humans. | ||
| So, you know, that's a whole issue as well. | ||
| You know, I don't know if you want to touch any of that on your closing remarks, but why don't you make some closing remarks? | ||
| There's some information about sex work on Mars. | ||
| There's no child trafficking on Mars. | ||
| That's an Earth problem. | ||
| Mars has legal, unionized adult sex workers. | ||
| There's no labor trafficking of children. | ||
| Now, in the Chrysalis era, You had child labor. | ||
| You had child soldiers. | ||
| The carver of the stone pipe that I mentioned to you in our previous interview was probably around 14 or 15. That was just life in ancient times. | ||
| But President David Bowie has gone to extreme lengths to ensure that human trafficking operations are curtailed. | ||
| In orbit and intercepted by Martian defense ships, by security ships, there is no child trafficking on Mars. | ||
| Anyone who has told you that has been fooled by a PSYOP. | ||
| And Kerry, if your viewers are listening and really want to know what will make a difference in the lives of children, there is one piece of advice I can give anyone who really wants to make a dent in child trafficking, and that is... | ||
| affirm and accept LGBT children. | ||
|
unidentified
|
Okay. | |
| Okay. | ||
| She doesn't quite understand the statement that he's making. | ||
| No, it takes... | ||
|
unidentified
|
It's very foreign to Project Camelot. | |
| Yeah, that is... | ||
| I'm sorry, what? | ||
| Yeah, so that makes sense in terms of reality. | ||
| Yeah, yeah, yeah. | ||
| If you're trying to apply real-world advice into this fantasy scenario... | ||
| Right. | ||
| Then, yeah. | ||
| Right. | ||
| No, I mean, it is fascinating because she, you know, he's right. | ||
| You have to take on a journey to understand why, you know? | ||
| Like, if you want to show your work as to why affirming LGBTQ children is going to put a dent in human trafficking, it's a while, you know? | ||
| It's not that hard, though. | ||
| It's not that hard, but for Carrie... | ||
| It would take a long time and she would disagree a lot on the way. | ||
| Yeah, she'd get distracted by a number of things. | ||
| But yeah, in the real world, there are studies about the vulnerability of LGBTQ youth who don't have supportive structures around them, oftentimes higher incidences of running away, unhousedness at a young age. | ||
| These are all things that put people in a position where they are at higher risk. | ||
| It's very clear. | ||
| And this advice that he's giving is good. | ||
| Yeah. | ||
| It's great. | ||
| I'm not sure that Carrie fully understands it, though. | ||
|
unidentified
|
Okay. | |
| But how does that... | ||
|
unidentified
|
That would make a real dent in travel trafficking. | |
| Why? | ||
| Because those children are especially vulnerable to child trafficking. | ||
| That's a fact. | ||
| I've actually been a state's witness about child trafficking on multiple occasions. | ||
| Okay. | ||
| We'll take that at face value. | ||
| How is that difficult for you to take at face value? | ||
| These are run by predominantly, from what I understand, you know, white men. | ||
| Yeah, they are. | ||
| They are run primarily by white men. | ||
| And there's this thing called, you know, what is in essence an adrenochrome highway. | ||
| And you're kind of intimating that they're particular as to a kind of child. | ||
| And, you know... | ||
| So, I only know about child trafficking as I've encountered it as... | ||
| Someone who has had some interactions with social workers and therapists and educators. | ||
| I don't know about any of this cabal stuff. | ||
|
unidentified
|
I mean, I know about secret space programs. | |
| Well, okay. | ||
| Are they down there? | ||
| I don't know about, like, there are child trafficking rings, but I think there's a lot of misinformation about what that looks like. | ||
| Fair point. | ||
| And also, you can see here the way that Carrie is misunderstanding this. | ||
| She thinks that what he's saying is that the people who are doing the rings... | ||
| They like to eat... | ||
| They like to drink LGBTQ blood. | ||
| Right. | ||
| As opposed to it being intolerant. | ||
| Puts people in situations without strong support networks, and that makes them more susceptible, or in a higher-risk circumstance. | ||
| Yeah, by being artificially placed in a weak position, they are taken advantage of by strong-positioned people, yes. | ||
| And I think that that's really interesting, that that's how Carrie processes it. | ||
| Yeah, it makes sense for her to process it that way, because it made no sense for me to even think that that was a possible way to process it, so of course she did. | ||
| Yeah, I never even, it would not have occurred to me that, whoa, it means they like a special kind of blood. | ||
| Did not occur to me. | ||
| But I think it's because, in her conception, it's not, like... | ||
| This issue isn't something that exists within the context of society. | ||
| It doesn't exist in the structures of rates of homelessness, rates of child runaways, youth runaways. | ||
| These things aren't factors that go into human trafficking for her. | ||
| For her, it's just... | ||
| I don't know. | ||
| Children are a commodity or something, and so I prefer this flavor or whatever. | ||
| It's basically that. | ||
| I don't know. | ||
| It's bizarre. | ||
| Well, she doesn't... | ||
| I mean, and I think that's the way that a lot of people view it, is that they don't view their... | ||
| I mean, our complicity in the entire structure of society. | ||
| They don't view it as something that we are participating in. | ||
| They view it as these super evil, powerful men are doing it to us. | ||
| You know? | ||
| Right. | ||
| They are trafficking children because that's whatever they want. | ||
| And it doesn't matter what situation they're in. | ||
| They can grab any child. | ||
| They're all powerful. | ||
| That kind of thing. | ||
| It doesn't occur to them that by way of society functioning as it does, they're there. | ||
| That kind of thing. | ||
| Yeah. | ||
|
unidentified
|
And it's an interesting perspective that Carrie does not quite understand. | |
| Not even close. | ||
| So we end things with Berg doubling down on this ending message that he wants to send. | ||
| But part of the reason that child trafficking persists is because of ignorance. | ||
| And when people internalize ignorant mythologies about, like, obviously Epstein really happened, but, like, just, you know, throwing around the accusation of pedophile and anyone they have a political disagreement with is childish. | ||
| And it's not going to lead to any kind of social progress or reform or great reveal. | ||
| I will double down on it and say it again. | ||
| If you are listening to this and you want to really make a difference in the lives of kids who are the most vulnerable to child trafficking, affirm and accept LGB and trans children. | ||
| Okay. | ||
| I'm not sure why anyone wouldn't accept them. | ||
| Wow, lady. | ||
| I don't know. | ||
| Wow. | ||
| All right. | ||
| Thank you so much, Major. | ||
| It is so much fun to talk to you, and there are so many other questions and places we could go. | ||
| So I sincerely hope you'll come back. | ||
| I want to let you go so you don't get in any more trouble than you already are. | ||
| Yeah, Lionel's gonna be pissed at me. | ||
| Yeah, and I don't want him pissed at me, so let's close this down. | ||
| So ending this with inviting him back and saying, like, I don't want you to get in more trouble, which is accepting the reality of that phone call. | ||
|
unidentified
|
Yep. | |
| So it doesn't seem like these things that he has brought into the conversation are deal-breakers in terms of whatever potential, I guess, he has as a space insider to the ongoing narratives of Project Camelot, which I think is interesting. | ||
| Yeah. | ||
| I don't know if we'll do a third episode. | ||
| My sense on it is, one, great job. | ||
| This is well done. | ||
| I think the first one was a great job. | ||
| This is a good job. | ||
| I mean insofar as maintaining the core reality of what you're doing while at the same time being able to improvise somewhat still within that reality. | ||
| And still being able to play along with her reality on top of that. | ||
| And doing it for over two hours. | ||
| Yeah, that's what I'm saying. | ||
| That's a great job on that. | ||
| That is tough to do. | ||
| I think that if just those phone calls weren't there, I might have solid marks all around. | ||
| Because I think the perspectives that are provided by the allegorical story of the history of Mars, the... | ||
| The messages that you get with the idea that the Draco sent their unwanted and they became productive members of the Martian society. | ||
| The stuff about not seeing groups of aliens as determined by their group. | ||
| Right. | ||
| Their personalities and their capabilities and their character. | ||
| Right. | ||
| The stuff about Druze and his group, the way you see them from inside versus outside. | ||
| Sure. | ||
| The bringing and affirming trans and LGBTQ in general existence and rights, these things are very positive, and them existing in this space is... | ||
| Extremely good. | ||
| Yeah, it is, but I also don't have a ton of faith that it will make as much of a difference to Carrie. | ||
| Like, I don't know if he'll be able to swing her over to accepting some of this more meaningfully. | ||
| I mean, hey, if we're going to say to people, fucking don't clown on Alex because he doesn't care about the ten people who clown on Alex. | ||
| It's the one person who comes over and starts watching his show. | ||
| Fuck yeah, man! | ||
| Don't... | ||
| Fuck it. | ||
| Carrie and her ilk are gonna be fucked up. | ||
| There's no chance for that. | ||
| But if there's one out of every ten people watching that goes, shit, that is a perspective. | ||
| Yeah, you know what? | ||
| I think that there is something to that. | ||
| Yeah, it's hard, though, because it's hard to accept that and maintain the feeling that I have that other people shouldn't do this. | ||
| Right, right, right, right. | ||
| And I think one of the reasons is because outside of that phone call, I don't feel, like I said, I don't feel like this is a prank. | ||
|
unidentified
|
Right. | |
| And I don't know if I would believe that most people could handle doing this in a non-malicious way. | ||
| Yeah, I mean, what we, well... | ||
| I think part of the reason that we shouldn't do another episode on this is because... | ||
| You know, the first one, we had plausible deniability. | ||
| Now we've confirmed. | ||
| I was not fully convinced myself. | ||
| Plausible deniability is not accurate. | ||
| No, no. | ||
| He had plausible deniability, and we didn't know for sure. | ||
| There were signs, but we didn't know for sure. | ||
| I didn't catch even some of the signs until after we put the episode out and people pointed them out. | ||
| People told us signs. | ||
|
unidentified
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Yeah, yeah. | |
| That kind of stuff. | ||
| I'm not faking ignorance on that. | ||
|
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No, no, no. | |
| So we're back here, and this is golden. | ||
| I think if we do it again, we're doing the same bit again. | ||
| Because all we can really analyze here, because we don't really have to analyze too much of his story, or no, not analyze, dissect it. | ||
| He doesn't have those wide swaths of yada yada yadas where if you put that in there, you're like, what the fuck? | ||
| And something fun about this is trying to jump into... | ||
| The reality where this person believes what they're saying. | ||
| Sure. | ||
| And so that is kind of some of the fun of the space weirdo stuff. | ||
| And it's too obvious that he doesn't believe this stuff. | ||
| So it's not like even stuff you have to integrate. | ||
| You're looking at it as like, oh, this is the allegorical and metaphorical thing that is being said. | ||
| Right. | ||
| And that's fun enough, but it's textual analysis, essentially. | ||
| Right. | ||
| Exactly. | ||
| It is definitely that. | ||
| And to the point of it's not a prank. | ||
| That is 100% correct, and why I agree with you, people shouldn't do this. | ||
| Because unlike pranking somebody where they're taking on the trappings of their bullshit in order to embarrass them, this feels like a person who learned the language to speak to these people in. | ||
| Sort of, yeah. | ||
| An anthropologist in a way. | ||
| Carrie isn't the butt of this. | ||
| No, no. | ||
| The ideas of sort of... | ||
| I don't think anybody's the butt of this. | ||
| Space intolerance is the butt of it. | ||
| Yeah, I don't think... | ||
| If anything. | ||
| Yeah, he's trying to communicate through their world what we learn through our history. | ||
| There is a feeling of that. | ||
| Yeah, I think that the first episode was a revelation in terms of like, this is bizarre, this is completely out of sync. | ||
| Totally. | ||
| And then, yeah, it would be suspicious if we didn't do an episode about him coming back. | ||
| Of course. | ||
| Yeah, but in the future, I don't think we'll cover every time he's on or anything. | ||
| No, it's not for us, it's for them! | ||
| Sure. | ||
| I love what he's doing. | ||
| We wish you well. | ||
| I hope that... | ||
| Thank you for sharing with us. | ||
| I'm guessing that this guy would listen to this. | ||
| My message is... | ||
| No, those are the only two he doesn't listen to. | ||
| I hope you don't have some sort of a malicious intent that you're waiting to reveal, because that'll make me feel like shit. | ||
| Man, if you heel-turn us on top of fooling us on top of fooling Carrie, if you've got the trifecta of fooling us, god damn. | ||
| Then, I mean, more respect to you, Chrysalix, but I ain't got nothing for that. | ||
| I pray that's not the case. | ||
| Yeah. | ||
| He's a good dude. | ||
| Maybe. | ||
| Probably. | ||
| I don't know. | ||
| Let's say it. | ||
| Anyway, we'll be back, Jordan. | ||
| But until then, we have a website. | ||
| We do. | ||
| It's knowledgefight.com. | ||
| Yep. | ||
| We're also on Twitter. | ||
| We are on Twitter. | ||
| It's at knowledge underscore fight. | ||
| Yep. | ||
| We'll be back. | ||
| But until then, I'm Neo. | ||
| I'm Leo. | ||
| I'm DZX Clark. | ||
| I'm Wilford Snibblesnabble of the Gribble Pibble. | ||
| And now here comes the sex robots. | ||
| Andy in Kansas. | ||
| You're on the air. | ||
| Thanks for holding. | ||
|
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Hello, Alex. | |
| I'm a first-time caller. | ||
|
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I'm a huge fan. | |
| I love your work. |