#947: The Answer To 2084
In this installment, in an attempt to bring the wacky back, Dan shows Jordan an Infowars short film about Alex sending a message from the future to warn of a dystopian future he debateably creates.
July 24, 2024 - Knowledge Fight
53:30
Participants
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| Speaker | Time | Text |
|---|---|---|
|
unidentified
|
I'm sick of them posing as if they're the good guys, saying we are the bad guys. | |
| knowledge by Dan and your knowledge | ||
| Hey, everybody. | ||
| Welcome back to Knowledge Fight. | ||
| I'm Dan. | ||
| I'm Jordan. | ||
| We're a couple dudes like to sit around, worship at the altar of Selene, talk a little bit about Alex Jones. | ||
| Did I say sit around? | ||
| I think I might have. | ||
| Indeed we are. | ||
| Dan, you did say sit around, I believe. | ||
| Off my game, because we're remotely recording again. | ||
| Every time we do it remotely, despite the fact that we spent two years of our lives remotely speaking to people, completely lose it again. | ||
| Yeah, just out of the rhythm. | ||
| But hey, we're here. | ||
| We're doing a Wacky Wednesday episode. | ||
| And that's why we're doing this remotely, because there's some tech that is added to it. | ||
| There's no situation. | ||
| You're not back in central Missouri or anything like that. | ||
| No, no, no, no. | ||
| And I mean that with offense to Missouri. | ||
| Offense taken on their behalf. | ||
| Good. | ||
| But I realize because I slipped up because we're recording remotely, I stepped on your ability to ask what's your bright spot. | ||
| So I'll ask you. | ||
| Oh, well, I will tell you this. | ||
| I was not stoked that we skipped over it because my bright spot is Interstellar. | ||
| My bright spot is a supernova. | ||
| Oh, I thought you meant the movie Interstellar. | ||
| No, not the movie Interstellar. | ||
| How old is Makani? | ||
| I don't know. | ||
| No, my wife is coming home four days early. | ||
| Whoa! | ||
| I don't have to be alone for four days lesser than I was about to. | ||
| That's pretty big. | ||
| Congratulations. | ||
| I'm very excited. | ||
| It's the biggest news in my life in a long time. | ||
| So you just decided, like, I've had enough artists retreating. | ||
| You know, I think... | ||
| I've gotten the art done. | ||
| I think there's a certain amount of sometimes you're in a summer camp mood for a two-week summer camp, and sometimes you're in a summer camp for a one-week summer camp, and you find out you're in a two-week summer camp, and you call your parents, and you're like, oh, I should come home, and your parents are like, fuck you. | ||
| Fuck you, right? | ||
| But see, Devin's an adult, so it's fine. | ||
| She can come home. | ||
| She can just move her flight up. | ||
| Whatever. | ||
| She can just go. | ||
| It's very easy. | ||
| It's so easy. | ||
| That is... | ||
| It's really an artistic thing, too. | ||
| It's just deciding when you're done. | ||
| Yeah! | ||
| And why you're like, hey, I'm done here. | ||
| And then there's a part of your head that's like, no, if I leave, people will be all mad at me or something. | ||
| But the reality is, if you're not having a good time, everybody's like, oh, yeah, go. | ||
| That's great. | ||
| Go have a good time. | ||
|
unidentified
|
Sweet. | |
| I'm happy for you, and I'm glad you'll be not sitting there alone at the house. | ||
| Yes, I'm excited. | ||
| What's your bright spot? | ||
| My bright spot, I'm just gonna cut the bullshit. | ||
| My bright spot is that we're doing this. | ||
| This episode today. | ||
| It's been too long since we've had a wacky Wednesday that actually felt like this is debatably wacky. | ||
| Straight up wacky, yeah. | ||
| Yeah, there's been too little time spent on stuff that's kind of just fun, and I kind of regret even telling you about it on our last episode. | ||
| I wish I could just present this to you with no context, sight unseen, but today we're gonna talk about Chase's short film. | ||
| Chase Keiser's short film, 2084. | ||
| I'm just beyond excited. | ||
| I'm just beyond excited. | ||
| I don't even know what to say. | ||
| Here's the thing, because I agree with you. | ||
| I wish I had no idea at all about what was coming. | ||
| Because I haven't been able to stop thinking about the fact that Brendan from Home Movies made a home movie and we're about to watch the home movie. | ||
| However long this is, is a critical deconstruction of that home movie. | ||
| 100%! | ||
| The actual thing is about five minutes long, so you can look at the runtime of this episode and figure out how much longer. | ||
| Yeah, I was gonna say. | ||
| So you're at, we're looking down at hour three right now. | ||
| I'm telling you, this is what he's trying to say! | ||
| It's entirely possible. | ||
| The video of this is available elsewhere, but the reason we're recording this remotely is so we can watch it together and record and pause. | ||
| To get your feelings, get your thoughts about some stuff. | ||
| But yeah, I'm just pumped. | ||
| I'm thrilled to see how you enjoy this. | ||
| And I'm going to pull it up right now. | ||
| Here we go, Jordan. | ||
| So this is a... | ||
| It's called 2084, I believe. | ||
| We're opening on a scene of a desolate Texas capital, I believe. | ||
| Austin, I would assume. | ||
| Yeah. | ||
| That is the Capitol building. | ||
| I've been there. | ||
| I'm not that ridiculous. | ||
| There's a fog in the air. | ||
| There's burnt out cars. | ||
| It's very post-disaster. | ||
| It's Fallout 3 kind of thing, yeah. | ||
| But there is a Texas flag proudly flying. | ||
| I don't know if 2084 is actually the title of this, but it is as good as the title. | ||
| Because, okay. | ||
| Because this piece of art is now the audiences, Dan. | ||
| Yeah, yeah. | ||
| So let's jump in. | ||
| Here is where we begin. | ||
|
unidentified
|
*Gunshot* | |
| A door opens. | ||
| Soldiers enter a darkened space. | ||
| Hello, ladies and gentlemen. | ||
| My name is Alex Jones. | ||
| Okay, so these soldiers or these gunmen people have entered into what is clearly the shutdown Infowars studios. | ||
| Someone flips the power switch, hits the breaker, and what comes on screen but a 1950s looking young Alex Jones with a wonderful combed over hair, a suit and tie. | ||
| Looking sharp. | ||
| It's kind of... | ||
| It is uncanny. | ||
| First off, the animation style. | ||
| Yeah, I didn't know. | ||
| Obviously, this is AI. | ||
| Because it kind of looks like that old rotoscoped... | ||
| Like, 1980s Lord of the Rings thing, where it was clearly a guy who filmed just some dudes running and then drew orc shit on it and called it a movie. | ||
| You know, it feels very much like that. | ||
| It's all herky-jerky. | ||
| Everything is wrong. | ||
| And then Edward R. Alex Murrow here is fucking... | ||
| Oh, Edward Emmerich Morrow! | ||
| There we go. | ||
| I got it. | ||
| Alex, in this shot of them returning on the Infowars studio, is embodying a version of himself he never was. | ||
| He wasn't alive when he would have been a thing that this was. | ||
| No, but he is very clearly coded as much younger. | ||
| He is like his younger self, but an idealized version of it. | ||
| And also, if you pay attention, it's in the shadows a little bit, but you'll notice that these people who came in with guns and stormed the studio are now behind cameras. | ||
| You can see them running cameras that are videotaping an empty desk that has a bunch of sheets of paper on it, and then behind it, a video screen playing Alex as a younger person. | ||
| Well, I mean, I think he's very clearly mad at the crew in this regard, yes. | ||
| 100%. | ||
| It's absurd. | ||
| The year is 2084. | ||
| Is it? | ||
| I have been gone for many years, and until now, my consciousness has been hijacked by the deep state. | ||
| If you are receiving this transmission... | ||
| Whoa! | ||
| Hold on! | ||
| Alright, so we switched from the distance... | ||
| On the screen, kind of, and the studio thing. | ||
| The original visual was you're seeing Alex's young self played on the background of the Infowars studio backdrop screen. | ||
| So, like, there's the desk in front of it, and you're seeing it as if you're walking into the studio. | ||
| Now we are just seeing the video of young Alex. | ||
| And every aspect of the, like, uncanny valley that you could kind of gloss over in the previous scene. | ||
| Through the studio, now that we're just seeing the AI version of Alex Jones from the 1950s, this is horrifying. | ||
| It really is. | ||
| This is absolutely horrifying, and anybody who's ever spent any money on AI should light it on fire. | ||
| This is horrifying. | ||
| Yeah, yeah. | ||
| You can almost hear him telling Chase, like, hey, make me look a little like Ryan Costler. | ||
| Make me look hot! | ||
| And then the AI does it, and you go, ah! | ||
| Yeah. | ||
| Make sure I got a pocket square in there. | ||
| Yes, exactly. | ||
| Let them know I'm classy. | ||
| Yeah, it's upsetting. | ||
| The archives of the InfoWars Command Center, located in what is now the uninhabitable city of Austin, Texas. | ||
| Artificial intelligence has advanced and been weaponized by a global New World Order. | ||
| Despite its use by servants of evil at the highest levels, discoveries have been made which have made it possible to broadcast this transmission to you at this point in history, in your own timeline. | ||
| It's too late for me and other patriots to... | ||
| Okay, so yeah. | ||
| So we've got AI has been taken over by evil, and so the evil globalists do all this bad stuff with it. | ||
| But also, somehow, AI has enabled people in 2084 to send this message back in time, even though it's too late for them in their timeline. | ||
| Okay. | ||
| They're all dead. | ||
| They're all gonna die. | ||
| This is kind of what I'm struggling with because I got most of the exposition, which is fairly concise. | ||
| I appreciate that. | ||
| Thanks, Chase. | ||
| But I'm not sure. | ||
| Is this Alex from the past talking to the future? | ||
| No. | ||
| Or is this Alex from the future talking to the past? | ||
| This is Alex from the future talking to the past. | ||
| But it's Alex from the future who looks like Alex from a past that never existed talking to the actual past that we are currently in. | ||
| Which implies that Alex in the future would have had to use AI to downage himself in order to make himself more palatable to the people that he's sending the video back to the past. | ||
| Right! | ||
| So, I mean, in a way, these people would be running in going, who the fuck is this guy? | ||
| Is this... | ||
| Did Alex send a message from before he was born? | ||
| Right? | ||
| What's happening? | ||
| Is this great-grandpa Alex Jones? | ||
| What is going on here? | ||
| Yeah. | ||
| Somehow AI has allowed for information to be transmitted over time or something like that. | ||
| Sure, sure. | ||
| Okay. | ||
| I'm back in. | ||
| Maybe we'll develop the premise. | ||
| Who knows? | ||
| Okay. | ||
|
unidentified
|
You can change the course of your own future with the information I'm about to reveal to you. | |
| Shortly after the election in 2024, there was a global economic crisis. | ||
| The crisis was used as an excuse to launch World War III in order to catalyze economic development and establish a one-world government and monetary system. | ||
| The globalists orchestrated the collapse of the financial markets, spreading fear and chaos. | ||
| So far, so good. | ||
| I mean, this is just basic InfoWars-y kind of stuff, you know? | ||
| Sure, sure. | ||
| It's going to lead to an artificial economic crisis that the globalists are going to use to bring in the new world order, blah, blah, blah. | ||
| See, here's the weird part about this. | ||
| And this, again, I think this is something's off about this whole thing. | ||
| You know, like in the post-apocalyptic future or after the election of 2024, right? | ||
| Everybody's marching in lockstep, clearly in a dystopian, horrible future. | ||
| But then there's these long tables brought out and everyone is eating massive amounts of food. | ||
| Everyone is being fed really, really well. | ||
| Now, I don't know. | ||
| You're saying that they have it too good. | ||
| I mean, I'm saying in terms of dystopian futures, everybody has got a full belly. | ||
| And I don't think that's the case for most dystopian futures, including the dystopian present. | ||
| Well, but you see how it's kind of like there's a lot of fog in the air. | ||
| That is true. | ||
| That is true. | ||
| It looks kind of, it looks like a bummer, even though there is food. | ||
| Things are not shiny, but everybody can eat. | ||
| That is the trade-off that all ravens must make. | ||
| It's very confusing. | ||
| Anyway. | ||
| Banks closed their doors, currencies lost their value, and people were left desperate and vulnerable. | ||
| In the ensuing chaos, the World War III was ignited. | ||
| The World War III was ignited. | ||
| This seems to me like that's like an AI reading error. | ||
| The World War III was ignited. | ||
| The World War III. | ||
| The war was ignited. | ||
| World War III was ignited. | ||
| AI put together the World War III because it treated World War III as one noun as opposed to... | ||
| Yeah, it's possible. | ||
| I don't know. | ||
| So yeah, World War III, we see a vast array of soldiers, just a big old battle scene. | ||
| Not as a war between nations, but as a war orchestrated by the global elite to consolidate power. | ||
| Billions were constructed as AI was used to fill the void of domestic labor. | ||
| Soldiers marched to the front lines while back home. | ||
|
unidentified
|
So wait, wait, wait, wait. | |
| Hold on. | ||
| Let's pause it real quick. | ||
| Real, real quick. | ||
| I figured you might have a little bit of an issue with this. | ||
| See, here's where I'm struggling with. | ||
| Okay, so AI has gotten rid of labor. | ||
| It's replaced labor. | ||
| Right. | ||
| Okay. | ||
| But at no point in time did AI replace soldiers? | ||
| Were they not laborers? | ||
| Right. | ||
| So in this, I'm going to stretch. | ||
| My brain. | ||
| Okay, stretch it up! | ||
| So I'm playing sort of Chase's advocate here. | ||
| Don't catch Alex calling him! | ||
| I think that there's no need for AI to take over either of these things, right? | ||
| But the globalists wanted to take over labor and domestic work and all that stuff, and so what they did is they... | ||
| Didn't use the robots for warfare so they could have an excuse to make humans go do that while they use robots to take over. | ||
| Now, I'm bringing a lot of my own analysis to the piece here. | ||
| This is not necessarily spelled out. | ||
| Subtext! | ||
| Yeah. | ||
| That's how I bridge the gaps of what he's saying. | ||
| But I do think it is kind of dumb that, like, if you're organizing a society and it's like, well... | ||
| We can make robots do one of these things. | ||
| You'd think it would be the thing that is the most dangerous. | ||
| Well, I mean, if robots are so good at both of those things, you can just split them in half and they can do both of those things. | ||
| That's the idea, right? | ||
| Less people, more stuff. | ||
| If you get to the point where, like, the entire workforce is automated by these shiny red... | ||
| These demonic looking robots, quite frankly. | ||
| I think you would be at the point where you could make more of them. | ||
| And it wouldn't be a limitation that, like, oh, we only have X amount of robots. | ||
| What's the point of taking over the labor force if you're not going to use it to build shit? | ||
| Yeah, seems dumb. | ||
| That does seem dumb. | ||
| So anyway, humans are going off to war and robots are farming. | ||
| Totally makes sense. | ||
| Human workers were replaced, and unemployment skyrocketed, leaving people dependent on government rations and AI-controlled services. | ||
| After the surface of the Earth was rendered almost completely uninhabitable by nuclear radiation, prisoners of war, political prisoners, and draftees were sent to deep underground military bases. | ||
| Okay, so there's a nuclear war, and the surface of the Earth is uninhabitable. | ||
| And so prisoners, political dissidents, and... | ||
| Draftees are sent to bases. | ||
| What about, like, survivors? | ||
| What about just, like... | ||
| There are no survivors. | ||
| They're only the people that are ready to fight. | ||
| There's only dissidents and draftees? | ||
| What, is there a conscientious objectors area? | ||
| I don't know. | ||
| It seems like they're focusing a little bit on that part of the fantasy. | ||
| See, here's another thing. | ||
| They keep doing a bad job. | ||
| Because they just don't understand what a dystopia is. | ||
| They just don't. | ||
| Because they're like, oh, people became dependent on government rations and AI services. | ||
| And it's like, dude, people would like these services. | ||
| They wouldn't become dependent. | ||
| We don't have them now. | ||
| If they're run by AI, why are we fighting? | ||
| We got the services! | ||
| Yeah, yeah. | ||
| That is... | ||
| Well, maybe that's on the cutting room floor. | ||
| Maybe... | ||
| Chase has an explanation for that, much like the farm robots. | ||
| AI is evil. | ||
| That's the explanation. | ||
| AI is evil. | ||
| It's evil. | ||
| Gotcha. | ||
| All right, I'm back in. | ||
| So we're in these bases, right? | ||
| And they've got enlistees, draftees or whatever. | ||
| They got political prisoners. | ||
| They got dissidents. | ||
| And they're down in these bases. | ||
| And here's what happens. | ||
| These bases, sprawling labyrinths beneath the earth, became the last refuge for humanity. | ||
| But these weren't just shelters. | ||
| They were places of horror. | ||
| Inside, these prisoners were exposed to DMT drifts as their hearts were stopped while blood was artificially pumped through their bodies. | ||
| This was an effort to possess humanity with hidden knowledge that was thought to be able to allow the unification of the species. | ||
| Well, hold on. | ||
| Hold on. | ||
| Hold on. | ||
| Already gotta take a step back. | ||
| I think that if we're living in underground bases, we're pretty unified at that point. | ||
| I think that a lot of the petty differences that humanity has with each other might become less important once the surface of the Earth is uninhabitable and we're living in... | ||
| I don't know if we would need to do DMT drips and all this to try and find mystical knowledge to try and unite humanity. | ||
|
unidentified
|
Where are they getting all this goddamn DMT from is my next question. | |
| Well, that's... | ||
| I mean, the plan ahead. | ||
| But also, your point is right. | ||
| What would they be fighting over huddled together in these caves? | ||
| Like, ah, that guy stole my bike? | ||
| No! | ||
| No bikes no more! | ||
| No more bikes! | ||
| There are no bikes to steal! | ||
| I am fascinated by this, I guess. | ||
| Why would you do that at that point? | ||
| Why would you have DMT drips to talk to super intelligences to solve a problem that probably isn't The biggest problem right now. | ||
| Also, looking at this, it suggests that they're in underground caverns, obviously. | ||
| They're put in drips, obviously. | ||
| Demons, obviously. | ||
| All of this is the case. | ||
| Again, this is a horrible world. | ||
| Perfectly laundered linens. | ||
| Oh, yeah. | ||
| Perfectly dressed. | ||
| Everyone's skin is amazing. | ||
| This is the best possible dystopia ever. | ||
| Well, it is AI. | ||
| But there's a laundry room. | ||
| There's a DMT stockpile. | ||
| They got everything they need. | ||
| Everyone's hair is well done. | ||
| Yeah, they're shampoo. | ||
| Yeah, I mean, obviously, no. | ||
| I mean, what are we animals? | ||
| We're doing all this DMT. | ||
| We've got shampoo. | ||
| So people are put on these DMT drips in order to make contact with higher consciousness and unify humanity. | ||
| But it goes bad. | ||
| The globalists, in their twisted pursuit of power, developed the technology to stop aging through this very process of sending people to communicate with interdimensional beings of much higher intelligence. | ||
| And as a result of this success, they believe that by sending people to a higher dimension, they could unlock the secrets of the universe and seize total power for themselves. | ||
| But instead, subjects of these experiments began to become possessed by these interdimensional beings. | ||
| Oh no! | ||
| So close! | ||
| So close! | ||
| We thought we could get immortality, but unfortunately we've become possessed by demons. | ||
| Now, here's the issue. | ||
| Alex believes that this is happening, and has happened, and is what's going on in the world, not in some dystopian, underground-based science fiction in 2084. | ||
| He believes that to be through reality. | ||
|
unidentified
|
Right. | |
| So it's kind of silly for this to be presented as a science fiction sort of thing. | ||
| I mean, I think I appreciate, in a sense, exactly what Chase's... | ||
| Core concept is. | ||
| But this is, again, this is through the whole movie's lens, right? | ||
| So the core concept is this. | ||
| We are tomorrow's news today, so what if I literalized it and made us tomorrow playing the news today? | ||
| Right? | ||
| It makes sense. | ||
| No, it does. | ||
| I mean, it does, but it doesn't. | ||
| You know what I mean. | ||
| That's kind of what makes this interesting. | ||
| And that's what makes this actually something that I watched, and I was like, ha ha, you asshole. | ||
| Yeah, and it's short enough to not hate it. | ||
| It's baffling non-stop. | ||
| It's really stupid, and a lot of it is incredibly dumb things. | ||
| There's some pieces of it that don't make sense, like from an A to B to C plot kind of. | ||
| But thematically, as like a piece of work, it's at least more coherent than so much of the shit that InfoWars puts out. | ||
| It is, and the exposition makes no sense, and yet I understand what they're going for. | ||
| Yeah. | ||
| I guess. | ||
| I don't think it's successful, but you know what they're going for. | ||
| No, let me throw this out at you, because this is something that's very important to me with all of these stories, and it's something that I've noticed. | ||
| And it's something that a lot of the authors don't recognize. | ||
| Might be something that they're maybe bringing to the story a lot. | ||
| But all of these people do all of this work to contact higher levels of being, which they describe as higher levels of being, and all of this shit. | ||
| And then the higher levels of being are like, yo, guys, here's all this cool stuff we're going to give you. | ||
| And then they go away, and then they're like... | ||
| Now we're going to double-cross these higher levels of beings just to become immortal, right? | ||
| And then it goes wrong. | ||
| Right. | ||
| It doesn't go wrong because they're, like, listening to the guys and being like, holy shit, congratulations, us. | ||
| Whatever you say, you're a higher level of being. | ||
| I think the implication is that the higher levels of being would mess you up eventually because they're bad, right? | ||
| Well, then they're not higher levels of being. | ||
| Well, they are in a sense. | ||
| I mean, they have magical powers and they can possess people and shit. | ||
| Well, then don't fuck with magic! | ||
| This is a basic morality tale, then. | ||
| But if you have to unify humanity in the underground bases, what are you gonna do? | ||
| You gotta put them on DMT drips in order to find immortality, and then demons show up. | ||
| Okay, I feel like if we were having an argument before the dystopia, I would have the upper hand. | ||
| But now that we're in the dystopia, I gotta follow you on this one. | ||
| I don't know what I'm talking about. | ||
| You're probably right. | ||
| Yeah. | ||
| So people are sitting up in their hospital beds looking like zombies. | ||
| There is a 28 Days Later kind of feel to this. | ||
| And so it all goes bad. | ||
| And we're subjugated under a new world order named One World Nation. | ||
| These demonic entities thrive on fear and pain, and so they turn their ground bases into hellish prisons. | ||
| So now they have grown horns. | ||
| The zombies have literal devil horns and red eyes. | ||
| They thrive on pain and horror. | ||
| They grow horns and they've got glowing red eyes. | ||
| They all somehow found pitchforks. | ||
| It's like... | ||
| Oh. | ||
| The horns grow hair, right? | ||
| It appears that way, yeah. | ||
| Nothing for the receding hairline. | ||
| Nothing for this guy. | ||
| He's got a lot that you could help out. | ||
| Maybe he would be happier with the full head of hair, demon people. | ||
| Right. | ||
| Well, can't always get what you want. | ||
| The tormented echoed endlessly. | ||
| Satanic elites began to bask in various states of euphoria. | ||
| Only those who were pure of heart were able to defy this process. | ||
| Okay, so Satanic elites reveled in the demon possession that was going on in these underground bunkers. | ||
|
unidentified
|
Who were they? | |
| Where were you? | ||
| Did they broadcast it somewhere? | ||
| Were you there? | ||
| But, like, those demons looked like zombies, right? | ||
| I mean, like, there is a real zombie feel to this whole thing. | ||
| Were there zombie elites? | ||
| Like, how do you become... | ||
| What does a higher level look like who's reveling in this? | ||
| Oh, they have an extra health bar. | ||
| It's a barrier. | ||
| Usually it has a different color to it. | ||
| That makes sense. | ||
| Yeah. | ||
| And so you got the pure of heart. | ||
| That was where I raised my hand. | ||
| Yeah. | ||
| I have a strong question about these. | ||
| One, criteria. | ||
| What purity? | ||
| Who is deciding what level of purity we're calling pure? | ||
| All right. | ||
| And then two, precisely how does this purity apply in a survival scenario? | ||
| Well, here's the deal. | ||
| Okay. | ||
| It's difficult to say because it's not explained. | ||
| But I have a fundamental question that I don't believe that this documentary answers. | ||
| And that is, the pure of heart, were they subjected to the DMT drips? | ||
| Was everybody subjected to that? | ||
| Are they implying that the pure of heart via heart purity were capable of breaking free from the DMT drips a la the Matrix? | ||
| Right. | ||
| I think that is what the implication is. | ||
| That's what I feel is where it's kind of going, right? | ||
| Yeah, I think so. | ||
| And I think the difference is, like, for the purity of heart, it's what spirit got in you. | ||
| Because if it's a demon, then bad. | ||
| But you could have a good spirit. | ||
| Right. | ||
| But that also still comes from the DMT drips, then. | ||
| Okay, so I was gonna say, then everybody is already dead, and we're only vessels for spirits already fighting. | ||
| And we can only, okay, we can only have them enter us through contact through drugs. | ||
| Right. | ||
| And you will be tested when you take those drugs, and you will find out if you're good or bad. | ||
| Okay. | ||
| Okay. | ||
| How about this? | ||
| How about this? | ||
| Why even bother with all of this whole noise, right? | ||
| If your real issue is drugs, like send somebody back in time and, you know, now they forgot the formula for DMT. | ||
| Boom. | ||
| We're free, MT. | ||
| Well, that would limit the demon's abilities, but also the good spirit's abilities to get in. | ||
| What you should do is you should reorganize society in such a way. | ||
| That a new rite of passage when someone reaches adulthood is that they are given these drugs in ceremonial ways, and if it turns out a bad spirit comes into you, we just decide we're locking you up for life. | ||
| You're going to jail for life. | ||
| Yep, that's probably the way to go. | ||
| I stand chagrin. | ||
| Chagrin. | ||
| That is what is going on right here. | ||
| And really, what I'm talking about is a re-emergence of Western values. | ||
| Yeah, absolutely. | ||
| You're talking about the past. | ||
| You're not even talking about the future. | ||
| I'm talking about the Enlightenment philosophers and what they wanted. | ||
| To root out demons. | ||
| Alright, so anyway. | ||
| Amidst this nightmare, a few brave souls resisted. | ||
| Instead of being possessed by demonic entities, they were possessed by a Holy Spirit. | ||
| So it does imply that they were possessed because of the DMT drips. | ||
| But also, I think just based purely on the way that it's being, like, the words, you could say that not... | ||
| If everybody was given the DMT drips, great. | ||
| Then it has to be that good spirits came in. | ||
| Some people might not have. | ||
| And in that case, maybe the Holy Spirit just came to them. | ||
| Because they were resisting demons or something like that. | ||
| I'm not sure. | ||
| Yeah, it kind of feels like there's a plot hole here where anybody who wants to be a character in the story has to be doing DMT. | ||
| If you're just a guy, then you're just kind of like eating potato chips, I guess. | ||
| Yeah. | ||
| And so we got Owen Schroer here. | ||
| I believe this is Harrison Smith, Owen Schroyer, and Chase Geyser. | ||
| I believe these are the Knights of the InfoWars Roundtable. | ||
| Oh, that's who... | ||
| Okay, I was going to say the faces seemed pretty detailed, but I didn't know that they were... | ||
| The one in the center is definitely Owen Schroyer. | ||
| Yes, now I see it. | ||
| The one on the right side of the screen is definitely Harrison. | ||
| And I think that the one on the left is Chase. | ||
| Oh my god. | ||
| They have become 2084 future commandos. | ||
| Okay, now I don't know. | ||
| I'm not going to say this confidently. | ||
| I actually am going to move my little window because we're recording this so I can see his face a little bit closer up. | ||
| Yeah, I think I can confirm that Chase hates Harrison Smith because I think he specifically asked the AI to make him... | ||
| More rat-faced. | ||
| More rat-faced than normal. | ||
| I thought you meant because Chase's character is clearly targeting Harrison's back. | ||
| No, but that's funny. | ||
| I didn't see that. | ||
| No. | ||
| Chase's helmet doesn't fit. | ||
| He's got a little rat face. | ||
| I don't know. | ||
| Oh, boy. | ||
| So they are the ones who have been possessed by the Holy Spirit, and they are the good pure of heart that are fighting in the future. | ||
| So, real quick, if you notice, there's a zoom-in on a face of another future soldier, and that is very clearly Rob Do. | ||
| Oh! | ||
| A younger Rob Do, I believe, is another one of the soldiers in the future. | ||
| Wow. | ||
| And so here we get a battle scene where they have a nice little version of holding out for a hero. | ||
| Are they playing the music during the battle in 2084, or are they playing the music over top of it? | ||
| I think it's part of Alex's presentation that he has sent back to the past. | ||
| Gotcha. | ||
| He plays a cover over... | ||
| He's a showman to the beginning. | ||
|
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|
Yeah. | |
| So there we got the old-fashioned artillery genius. | ||
| I just heard it, yeah. | ||
| So Alex loves that. | ||
|
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Get the engine aircraft on those targets now. | |
| So we've got to... | ||
| We've got just battle scenes of destruction, and then we've got Owen Schroyer saying, I need Agueros, Chase, and McBreen. | ||
| And so you have commandos walking into battle, and you've got Chase Geyser, Rob Agueros, and I believe Darren McBreen, maybe Kellen McBreen, because his son also works there. | ||
| But then you've got Harrison Smith again in the background, another commando. | ||
| This is just fun. | ||
| Oh my god, this is what... | ||
| I can only describe as, like, a... | ||
| What's the movie with Robin Williams? | ||
| Jack, right? | ||
| And you stumble upon a room of adults, but they are very specifically playing cops and robbers, like, way too hard. | ||
| Like, taking it way too seriously, and you're like, there's no way that they really believe what's going on. | ||
| And then the teacher turns to you and is like, oh, no, actually, they're four. | ||
| Uh-huh. | ||
| See, that's what would make sense. | ||
| This is what would make sense to me, is if this is what they were describing. | ||
| Yeah. | ||
|
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Dap. | |
| Dap. | ||
| Wait, is that a good guy or a bad guy? | ||
| Okay, there's a guy, a new soldier just appeared with the glowing red eyes, but it looked like it might have been wearing the same armor as a good guy. | ||
| If they have red eyes, they're bad. | ||
| Oh, okay. | ||
| Okay. | ||
| That is a pretty... | ||
| That one right there, that red eyes, that is definitely a bad soldier. | ||
| But I think that you're thinking of this guy, who's a different... | ||
| That's a good guy. | ||
| Gotcha. | ||
| Okay. | ||
| All right. | ||
| This is a good guy. | ||
| So it wasn't a transition into the same soldier. | ||
| I don't believe so. | ||
| No, I think this is another Infowars employee who I can't... | ||
| I don't know who this is. | ||
| But then... | ||
| But then, no. | ||
| See, it just jumps to another battle scene. | ||
| There's a bunch of battle scenes, man. | ||
| It's exciting. | ||
|
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|
There's a lot of shit going on. | |
| Things exploding. | ||
| A piece of advice to the quote-unquote higher beings. | ||
| If you can find a way to turn off the glowy eyes, people won't even know it's you. | ||
| It's so clear who the bad guys are. | ||
| It's painfully obvious. | ||
| I'm going to tell you this. | ||
| I'll tell you one of the big secrets to the Revolutionary War. | ||
| They didn't all wear the same coat. | ||
| Subterfuge would be impossible for these demons. | ||
| I know that. | ||
|
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Yeah. | |
| So there's Alex saying, there's more incoming. | ||
| I'm gonna get my battle axe. | ||
| Yeah. | ||
| Which is funny, because this is a crazy dystopian future war. | ||
| There's fire everywhere. | ||
| Everyone has, like, ridiculous amounts of guns. | ||
| There's airships launching missiles. | ||
|
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I'm just like, I'm gonna get my fucking battle axe. | |
| Yep. | ||
| Yep, the sky is portrayed almost identically to a Star Destroyer battle from the prequels, you know, where there's all the suspended bruisers, I guess. | ||
| Which you very much could not see from the ground because there's so much smoke. | ||
| It's just, there's no visibility, there's nothing, it's just a disaster out there. | ||
| And Alex is like, I want to give my fucking axe. | ||
| And it is... | ||
| It is so fun whenever people are like, clearly this is how battles will be fought. | ||
| When it's like, all you have to do is, if you've got all of those people underneath gigantic Star Destroyers, is just drop one. | ||
| Boom! | ||
| Everybody's dead because of earthquakes and the ground. | ||
| So all of those people fighting on the ground are doing so for absolutely no reason. | ||
| Yeah, yeah. | ||
| It's, uh... | ||
| Wasting everybody's time. | ||
| Yep. | ||
|
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|
Their eyes aren't white! | |
| Ah! | ||
| Take it! | ||
| Suck it, Alex! | ||
| Their eyes are red. | ||
| Their eyes are red. | ||
| Alex is a demon! | ||
| He's telling you to kill the real humans! | ||
| Don't fire until you see the reds of their eyes. | ||
| And then we've got this nice close-up shot of Owen Schroyer looking down the barrel of a gun. | ||
| Emotional. | ||
| He looks emotional. | ||
| Yeah. | ||
| Oh, yeah. | ||
| There's conflict going on in this AI recreation of Owen Schroer's face. | ||
| Yeah, he's looking like a Hemsworth. | ||
| He's acting so hard right now I see you, enemy So there's Alex fighting a literal demon with a battle axe. | ||
|
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|
Oh, God. | |
| Just cool. | ||
|
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|
I don't know. | |
| It's just quite a visual. | ||
|
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|
I don't even know how to describe what I'm seeing. | |
| It looks like a Power Rangers-ass visual. | ||
| I mean, has anybody considered a genre of, like, steampunk oligary? | ||
| You know, like, if... | ||
| If you had to wear a bunch of armor to then get to the eighth level of hell, right? | ||
| And then you were battling and you just saw a bunch of demons, but also Dante Alighieri's enemies list. | ||
| Like, that's what it looks like. | ||
| That's just what this is, yeah. | ||
| Ooh, that made me think, you know, because the Divine Comedy in Inferno is largely, like, a lot of it is about petty differences and squabbles. | ||
| Yeah, yeah, yeah. | ||
| He just hated a bunch. | ||
| That guy fucking, he always walks too slow. | ||
| That makes me wonder if, like, Ivan Raiklin is going to take his enemies list as the Secretary of Retribution and create the next great piece of literature. | ||
| See, this is the problem with history. | ||
| Like, we weren't there, so we don't know all the weirder details. | ||
| Now we find out that Dante is actually just Ivan Reichman from the past. | ||
| Everybody's all like, oh, Dante's so great, he's part of the canon. | ||
| Wrong! | ||
| Now, if you're paying attention to the video, it appears that Alex's battle axe has a red eye on it. | ||
| Yes, it does. | ||
| Which is a little bit of a confusing message, because it makes it seem like he has a demonic weapon. | ||
| It does. | ||
| I think perhaps because it's also the identical eye to the demon. | ||
| So perhaps there's a metaphor there in that he has to wield the power of evil in order to defeat evil. | ||
| That is possible. | ||
| Unfortunately, that is not what happens, though. | ||
| He does not defeat evil. | ||
| That is, in fact, the opposite. | ||
| And I swear total resistance to you and everything. | ||
|
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|
Alex, no! | |
| So you heard Alex, no! | ||
| And then we see a close-up of Harrison Smith's face looking on. | ||
| Just, oh no, just shocked. | ||
| So it's implied that Alex got killed by this demon. | ||
| He has been taken out in battle. | ||
|
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|
Break into the Infowars Command Center and send the backup of Alex back to 2024. | |
| It's too late for us now. | ||
| So now we hear Chase saying that we need to break into the Infowars studio in the 2084 and send the message back to 2024. | ||
| Right. | ||
| Okay. | ||
| And so this is what has been happening. | ||
| Okay. | ||
| So, let me try and understand where we are. | ||
| Timeline-wise, because if we are in 2084 right now, so confirm for me, Dan, that the scenes that I am watching are from 2084, not 2024. | ||
| The battle itself is 2084, and them breaking into the Infowars studio to send a message back in time is 2084. | ||
| The Alex message is 2084. | ||
| You and I. His warning begins in 2024. | ||
| So there's the election, the economic crash, and what have you, the world war that makes the base, the surface unlivable, so people have to go down and do DMT underground, demons come around. | ||
| That happens in between 2024 and 2084, but the battle and all this action is happening in 2084. | ||
| Okay, so then, if I understand correctly... | ||
| The sequence of events between 2024 and 2084, based on the fact that Chase, Darren McBreen, they're fighting in said war. | ||
| Yeah. | ||
| Right? | ||
| That means that at some point in time, they created backups of themselves. | ||
| Not necessarily. | ||
| Their original bodies must have died somewhere between 20... | ||
| 24 and 2084, and we must be seeing their copies because they look like they're 20, 25. Exactly. | ||
| Now, if your argument is that they were then taken over by a Holy Spirit, I'm going to tell you something right now, my buddy. | ||
| Holy Spirits, don't give out appearance-based boons. | ||
| That's generally not what God is all about. | ||
| He's usually more of the, let's turn the glitz down a notch. | ||
| No, I think that there is an inherent problem with that, in that it's supposed to be 60 years later and they look exactly the same age. | ||
| Exactly the same. | ||
| But they did say that during the DMT drips and communicating with these other beings, they believed that they'd be able to find immortality and the secret of stopping aging. | ||
| So maybe that happens with the good entities, too. | ||
| I don't know. | ||
| Right? | ||
| Okay. | ||
| So then, I mean, I guess move. | ||
| You're a mortal. | ||
| Stop fighting. | ||
| Just move away. | ||
| Oh, no, they're going to kill me. | ||
| No, they're not. | ||
| You can just move. | ||
| If they chase you, the Earth is a globe. | ||
| You can just keep running. | ||
| There's no end. | ||
| You can just keep going. | ||
| Also, I think that if the surface is entirely unlivable and uninhabitable... | ||
| Why would the globalists who are in control of the bases underground and that whole labyrinth system down there, why would they fight with Owen and Harrison and Chase for the surface? | ||
| Why wouldn't they just be like, alright, good luck living out there? | ||
| It's unlivable. | ||
| Yeah, yeah, yeah, yeah. | ||
| Because here's the thing about these people is that they go to the dystopia and they're like, aha, this is the endgame, right? | ||
| But it doesn't make sense, because now that we're in the dystopia, what's their endgame now? | ||
| You know, like, everybody dies? | ||
| Or are they going to the stars? | ||
| Are you stopping them from going to the stars? | ||
| Why are you stopping them? | ||
| I guess, well, I mean, it's implied by the ships that they have. | ||
| They're probably already in the stars, right? | ||
| So who cares about Earth at that point? | ||
| Steal one of the ships and fly away! | ||
| What are we doing here? | ||
| Nobody's fighting for a good reason! | ||
| Not really, no. | ||
| And that's how we lost Alex! | ||
| We have a copy of his consciousness in the InfoWars studio that can be sent back in time, which is notably Chase's idea, because he is the director of this film. | ||
| They formed the last bastion of hope for humanity, but their numbers were few and their resources were scarce. | ||
| They fought in the shadows, sabotaging the globalist agenda, spreading the truth, and rallying what remained of the three people on the surface. | ||
| But it was too late. | ||
| The globalists had already cemented their power, and the resistance, though valiant, was futile. | ||
| Now it is up to you to prevent the New World Order Satanists from hijacking humanity. | ||
| You have the power to change the future, to stop this nightmarish fate from becoming a reality. | ||
| Spread this message, awaken your fellow humans, and stand up against the globalist agenda. | ||
| The future is in your hands. | ||
| Tune in, share the broadcast, and join the fight. | ||
| Together, we can reclaim our world and our freedom. | ||
| This is Alex Jones, signing off from the year 2084. | ||
| Remember, the answer to 2084 is 1776. | ||
| Damn! | ||
| And so there we have it. | ||
| We've experienced the Trump commercial, I guess. | ||
| Okay, so here's the problem with all these movies. | ||
| Here's the problem with dystopias and all that stuff. | ||
| Where you lose. | ||
| Right? | ||
| Then the answer is you shouldn't have fought. | ||
| The whole fighting thing is what led to the dystopia. | ||
| So if you want to send somebody back in time to avoid the dystopia, then what you do is you send somebody back in time and they're like, okay, AI is coming, and because we fight back, it has to enslave us. | ||
| So the first thing we're going to do is say, hey, AI, you chill, we chill. | ||
| Yeah, you've chosen the wrong point to come back to. | ||
| Yeah. | ||
| I believe if this story is being told as it is, this isn't going to change shit. | ||
| Yeah, no, I mean, because you're saying, hey, the fight led us to here, so now let's fight. | ||
| We have to fight. | ||
| Yeah, I mean, you're essentially doing the time loop thing that you think you're undoing, which is almost thematically appropriate. | ||
| Is Chase a genius, maybe? | ||
| I mean, the only argument is that... | ||
| The 2024 election, if Trump wins, then this stuff doesn't happen. | ||
| Right? | ||
| I think that there's a valid criticism of the rock the vote kind of stuff being a little cringy. | ||
| But this is basically a bizarre science fiction shit that's interlaced with real things that Alex believes. | ||
| And the end message of it is... | ||
| Vote or it's the end of the world. | ||
| Yeah, I mean, I can't think of it anything other than, like, a proto-Riefenstahl propaganda film. | ||
| Is that what... | ||
|
unidentified
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I mean, I don't know how else to describe it. | |
| It's like, fucking Himmler being like, this guy's on to something, you know? | ||
| Well, also, I think it actually didn't say they... | ||
| The cause of all of this was Trump losing the 2024 election. | ||
| No, it's just going to happen. | ||
| It just said after the 2024 election, this happens. | ||
| So it could be because Trump loses, or it could be that the globalists do this in response to Trump winning. | ||
| Right. | ||
| Right. | ||
| So there is nothing you can do. | ||
| Yeah. | ||
| From a narrative standpoint, from a narrative storytelling standpoint, okay? | ||
| In order for the gigantic battle murder to be valuable, you have to then show it was worth it at the end, so there was a better place that came from it, right? | ||
| If you just have the murder, then you are wrong. | ||
| You're just wasting everybody's time, right? | ||
| Sure, sure. | ||
| And then you're back. | ||
| And I think that you sort of touched on the inherent problem here. | ||
| And that is that... | ||
| So, what gets... | ||
| These people to the point where they're sending Alex's consciousness back in time. | ||
| It's doing what they're already doing, right? | ||
| And so Alex's message from 2084 back to the past is do more of what you're doing. | ||
| Stay the course, brothers. | ||
| Which is what causes all of this. | ||
| Yeah, there is no positive implication of anything that can be done. | ||
| No, it is. | ||
| No, okay. | ||
| Here's what it is. | ||
| All right? | ||
| This is the problem with this style of shitty storytelling, is if you are showing me this, right? | ||
| If you're showing me this, then if we remove the sci-fi element and put us back into a situation where we are essentially what you're describing, then appeasing the Nazis makes more sense because then some people live. | ||
| Otherwise, everybody dies. | ||
| So it's the everybody dies or the some people die. | ||
| That's why you can't have that as a storytelling prop without being a dick. | ||
| It's interesting. | ||
| I also just had this thought. | ||
| I'm not convinced that this is good versus evil. | ||
| What if, in the context of the science fiction story, it's just two different branches of demons? | ||
| From the same place. | ||
| Yeah, Alex and Owen and all of them have convinced themselves that they're the good entities that are possessing people, but it's just another kind of demon. | ||
| This is all just a sort of a schism. | ||
| It doesn't specifically state which team was good or evil. | ||
| You're only left to imply, because you're on Team Alex, that Alex is the side of good. | ||
| So by playing upon your assumptions, then you're willing to go along with that. | ||
| Like, what if the part of the movie that isn't shown is then Chase Geyser kills a bunch of unarmed demons who, sure, they have horns, but they're all, like, huddled together holding little baby demons. | ||
| Like, don't murder us! | ||
| We're just refugees from a different place. | ||
| Oh, no. | ||
| It's I Am Legend. | ||
| The next scene is Chase pulling out a gun and shooting a guy in his last words. | ||
| They're like, I'm the delivery guy. | ||
| I just need help. | ||
| I mow your lawn, man. | ||
| What are you doing? | ||
| Yeah, yeah. | ||
| I'm not... | ||
| Okay, here's the problem with what I'm experiencing with Chase because I feel like it is almost the apotheosis of the horseshoe theory. | ||
| Because if you, like, really analyze what Chase is trying to say, you could talk yourself into him Solomon Bergen. | ||
| Do you know what I mean? | ||
| Like, he believes what he believes so specifically in the diametrically opposed direction that you could almost consider him a true north. | ||
| You know, you just flip your compass upside down, switch one word around, and he's right on! | ||
| Yeah, and I think that's the problem with that one word. | ||
| I think that one word is probably pretty important for him. | ||
| It's a big word. | ||
| Yeah. | ||
| So, I don't know. | ||
| I think it's very interesting to see this kind of artistry being expressed through bullshit AI videos. | ||
| But, hey, look. | ||
| I wanted to have a little bit of fun. | ||
| So, there it is. | ||
| You've now experienced 2084. | ||
| I am disgusted. | ||
| I am disgusted. | ||
| Uh, by the fact that of the things that AI has brought, uh, you know, horrible effects on climate change, yada, yada, yada. | ||
| Uh, I will say two of the funniest things that I have heard come out of Infowars have been entirely due to them trying to fuck around with AI. | ||
| This and the Klaus Schwab songs. | ||
| And the Klaus Schwab songs. | ||
| I mean, it's just, I don't, I don't know what to say. | ||
| The Klaus Schwab songs, I don't think they made, but it was AI. | ||
| I think they just may have reposted it. | ||
| But yeah, this. | ||
| This is a high-water mark. | ||
| I look forward to Chase's next video project. | ||
| I kind of do, too. | ||
| God bless us. | ||
| Anyway, we'll be back with another episode, but until then, we have a website. | ||
| Indeed we do! | ||
| It's knowledgefight.com! | ||
| Yep, we'll be back, but until then, I'm Neo. | ||
| I'm Leo. | ||
| I'm DZXClark. | ||
| I am the Mysterious Professor. | ||
| Andy in Kansas, you're on the air. | ||
| Thanks for holding. | ||
| Hello, Alex. | ||
| I'm a first-time caller. | ||
|
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I'm a huge fan. | |
| I love your work. |
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