Steven Spielberg's Disclosure Day Trailer Breakdown

0:00 Speaker 1: Yeah, m h huh.

0:44 Speaker 2: Or should I say keep your eyes on the skies? Wow,

0:50 Speaker 2: you got the time. We all have some time off

0:54 Speaker 2: for the holiday season. Uh so make sure, you know,

0:58 Speaker 2: get outside and take a look up. Take a look up, baby, while.

1:01 Speaker 3: You got the time. Today, I wanted to do something

1:05 Speaker 3: a little bit.

1:05 Speaker 2: Different, kind of like pulling from my old quote unquote

1:09 Speaker 2: career field in movie reviews and breakdowns with the current

1:14 Speaker 2: UFO film by Steven Spielberg.

1:18 Speaker 3: Together, we'll deep.

1:19 Speaker 2: Dive into this explosive marketing campaign for Steven Spielberg's highly

1:24 Speaker 2: anticipated return to the UFO.

1:27 Speaker 3: Genre Disclosure Day, hitting.

1:29 Speaker 2: Theaters June twelfth, twenty twenty six, out of December twentieth,

1:34 Speaker 2: twenty twenty five, just days after the teaser tailor dropped.

1:40 Speaker 2: The campaign had the Internet posing with theories, symbolism, and

1:45 Speaker 2: real world ties to UAP history from whistleblowers to ancient lore.

1:51 Speaker 2: Let's break it all down. It's kind of heavy, so

1:55 Speaker 2: you know, piece by piece, we'll we'll do that. Make

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2:31 Speaker 4: All right.

2:32 Speaker 2: With that being said, I mean, let's get fucking right

2:36 Speaker 2: into this. Let's take a look at the full marketing

2:39 Speaker 2: campaign for this upcoming film disclosure Day. Then we'll start

2:44 Speaker 2: breaking it down brick by break. Now, first off, there

2:49 Speaker 2: were some billboards that started hitting.

2:53 Speaker 3: I think they started on.

2:54 Speaker 2: December tenth, and it was massive times Square La. Huge

3:00 Speaker 2: billboards appeared and I think in other major cities as well.

3:05 Speaker 2: But it was like a star black background dominated by

3:10 Speaker 2: this optical illusion. It was an intense upside down woman

3:14 Speaker 2: eye with this pale, very very pale skin, long lashes,

3:20 Speaker 2: and a starring or staring I should say not starring,

3:25 Speaker 2: staring reddish brown. Now I leaned more toward it being

3:30 Speaker 2: like a red eye. Other people were saying brown, but

3:35 Speaker 2: I mean it was composited perfectly into the silhouette of

3:38 Speaker 2: a perched northern cardinal that bright red bird that we

3:42 Speaker 2: all know, and then we end up seeing throughout the

3:45 Speaker 2: trailer multiple times. So we flipped this picture mentally one

3:49 Speaker 2: hundred and eighty degrees and the eye became the bird's

3:53 Speaker 2: beak or like eye socket area, and the feathers started

3:57 Speaker 2: to emerge from what looked like the skin. You can

4:00 Speaker 2: even make the case that the eye of or its

4:03 Speaker 2: is showcased in that billboard, again bringing us down that path.

4:08 Speaker 3: Uh.

4:08 Speaker 2: Starting with ancient civilizations symbolism that they used to describe,

4:13 Speaker 2: you know, what they were seeing. They etched it into rocks,

4:16 Speaker 2: into clay tablets, in which today we would call, you know,

4:20 Speaker 2: alien or non human intelligence. Uh, and that could be

4:24 Speaker 2: what our ancestors went to great lengths to warn us about,

4:28 Speaker 2: or at least educate us. Then the subtle urinescent glowing

4:33 Speaker 2: is seen inside the reflection of the eye, almost like

4:36 Speaker 2: a a a lens flare from another world.

4:41 Speaker 3: And I really liked So.

4:43 Speaker 2: This is both the this is the poster that I pulled.

4:48 Speaker 2: This isn't the exact one that was on the billboard. However, However,

4:55 Speaker 2: shit I didn't upload the other ones.

4:57 Speaker 3: I had let me upload the I had from.

5:01 Speaker 2: My photos because it shows the eye of Orus. There

5:07 Speaker 2: she is, ready, here we go. So this is the

5:10 Speaker 2: one that was seen in Times Square. And as you

5:15 Speaker 2: can see on the left side, it's it's got the

5:18 Speaker 2: bird right which I outlined so you can kind of

5:21 Speaker 2: see a little bit more clearly, and then the eye,

5:25 Speaker 2: and the eye is clearly upside down in the picture,

5:28 Speaker 2: so it like invokes you to turn that picture upside down.

5:32 Speaker 2: And when you do turn that picture upside down, you

5:38 Speaker 2: know what you get is something that looks and more

5:43 Speaker 2: resembles that the eye of Oris.

5:46 Speaker 3: So you know, it just it the symbolism is all

5:50 Speaker 3: over the.

5:50 Speaker 2: Place with this one, and I really really enjoyed, you know,

5:55 Speaker 2: everyone's attempts at decrypting what they thought they were seeing.

6:00 Speaker 2: Of course, you know, it's it's a poster. Posters and

6:06 Speaker 2: trailers are often not made by the filmmakers, but it

6:09 Speaker 2: looks like in this case there was you know, at

6:13 Speaker 2: least some communication from Snielberg and the team about what

6:16 Speaker 2: they wanted to convey, which I thought was, you know,

6:20 Speaker 2: evident to some degree.

6:23 Speaker 3: But I don't want to get too involved.

6:25 Speaker 2: In the marketing campaign and get my expectations way up

6:29 Speaker 2: here and then have them crashed because dude, if this

6:35 Speaker 2: changed my microphone again, I'm gonna fucking lose it.

6:38 Speaker 4: It did, It's really starting to drive me crazy. Stream Yard.

6:45 Speaker 4: It just does what it wants. It does what it

6:47 Speaker 4: wants to do, and it's really aggravating. So sorry, that

6:51 Speaker 4: whole intro was in like the shitty iPhone quality, you know,

6:57 Speaker 4: per usual. I got thousands of of equipment here and

7:01 Speaker 4: uh still still can't get get what I want. But yeah,

7:05 Speaker 4: as you can see, all will be disclosed is on

7:08 Speaker 4: the right side. Uh in fragmented glitching texts that arches

7:12 Speaker 4: like a radar suite. Spielberg's name, the date, Uh, no

7:18 Speaker 4: title on that original poster. Uh debut just pure mystery,

7:22 Speaker 4: pure genius, by the way, in a marketing aspect, uh,

7:25 Speaker 4: because it went viral instantly. Uh. In that cardinal let's

7:29 Speaker 4: it's not random in real UFO lore birds, especially owls,

7:36 Speaker 4: but also cardinals, and ironically, cardinal is also a rank

7:42 Speaker 4: given to a high level official in the church often

7:46 Speaker 4: rape I think right before the pope, you know, cardinals

7:50 Speaker 4: so and and then we see the religious tie in

7:55 Speaker 4: in the trailer and more symbolism in the trailer, even

7:59 Speaker 4: the people with their phones. You know there, we'll get

8:03 Speaker 4: to that part when we watched the trailer, but I'll

8:05 Speaker 4: stop it when it gets there. But all these people

8:07 Speaker 4: have their phones out and their flashes are on, and

8:11 Speaker 4: when you see it, you can see the crosses that

8:15 Speaker 4: the lights are making. So there's so much symbolism in

8:19 Speaker 4: each shot. It's almost like each one was picked very,

8:23 Speaker 4: very specifically. But birds are often also associated with screen memories. Now,

8:32 Speaker 4: screen memories, what are they? Well, they're quote unquote psychic implants,

8:36 Speaker 4: hiding the true alien encounter that the person went through.

8:41 Speaker 4: Researchers like Mike Cleland have documented hundreds of cases where

8:47 Speaker 4: abductees recall staring birds moments before they are abducted, or

8:53 Speaker 4: at least the right before they're missing time in some cases,

8:57 Speaker 4: only to uncover later that it was the grays under hypnosis. Also,

9:03 Speaker 4: you know in the trailer and in the lore, animals

9:07 Speaker 4: reacting strangely during UAP events, whether it's cattle, horses, or

9:13 Speaker 4: other livestock. It's something that that we are we often

9:17 Speaker 4: know and see in the UFO community, which you know,

9:22 Speaker 4: I think what Spielberg is doing here, because Spielberg wrote

9:26 Speaker 4: this treatment. He wrote about a fifty to sixty page

9:29 Speaker 4: treatment and then it was expanded upon. It was written

9:36 Speaker 4: by David Kepp. David kept took that street treatment and

9:41 Speaker 4: wrote the actual script, which you know, expanded upon the treatment.

9:46 Speaker 4: John Williams scored this film, which is I think it

9:49 Speaker 4: marks their thirtieth film together Spielberg and John Williams, and

9:53 Speaker 4: John Williams is an amazing, amazing composer. So I'm super

9:58 Speaker 4: excited for not just the visuals and the cinematography and

10:03 Speaker 4: the writing from Spielberg and David Kepp, but I'm also

10:06 Speaker 4: excited for that John Williams score. It's very exciting. I

10:12 Speaker 4: think that we're gonna get a lot of classical tie

10:17 Speaker 4: in from history like UFO history, Roswell, you know, from

10:22 Speaker 4: Roswell reports to modern whistleblower testimony and the inversion. It

10:28 Speaker 4: symbolizes disclosure, you know, kind of flipping our reality. That picture,

10:33 Speaker 4: the marketing picture that they first released. It's flipping our

10:37 Speaker 4: perspective on what we think is human or earthly. Uh

10:42 Speaker 4: might you know, could it be that non human intelligence

10:45 Speaker 4: have been watching us all along? And ties to the

10:49 Speaker 4: ancient astronaut theory too, that you know, red plumage invoking

10:53 Speaker 4: that Catholic cardinal, hinting at religious institutions knowing more about

10:59 Speaker 4: angels orquote unquote angels and demons that were actually uh,

11:04 Speaker 4: you know, non human intelligence and and by definition they

11:07 Speaker 4: are next the character posters. And that was the ones

11:12 Speaker 4: I just I did show on screen. God, I my,

11:19 Speaker 4: I'm gonna pause for a minute because the orientation of

11:22 Speaker 4: my the orientation of my screens is off and it's

11:29 Speaker 4: really making it hard to go from one to the other.

11:32 Speaker 4: You know what, Let's just watch the trailer now. I'll

11:35 Speaker 4: fix when I need to fix, and then I'll I'll

11:37 Speaker 4: come back. Let's watch the trailer once through fully, uh,

11:41 Speaker 4: and then we can start breaking it down a little

11:44 Speaker 4: bit more, you know. Bye? By what it? What it shows?

11:51 Speaker 1: All right?

11:55 Speaker 5: Where are were?

12:00 Speaker 1: Mhm?

12:02 Speaker 6: If you found out we weren't alone, if someone showed you,

12:09 Speaker 6: proved it to you, would that frighten you?

12:16 Speaker 4: Good morning, Kansas City. Let's take another kids today. I

12:21 Speaker 4: love that.

12:22 Speaker 5: Let's Let's today is today's.

12:29 Speaker 4: Today, junior.

12:36 Speaker 5: See, people have a right to know the truth. It

12:52 Speaker 5: belongs to seven billion people.

12:56 Speaker 1: What is it? You don't believe me if I told

12:59 Speaker 1: you so, I'm want to show.

13:01 Speaker 5: You what are you gonna do full disclosure to the

13:09 Speaker 5: whole world. People keep wondering, encountering the unknown.

13:30 Speaker 4: Way the way.

13:33 Speaker 5: They are starved for the truth.

13:38 Speaker 4: Do you think there could be others? Why would he

13:44 Speaker 4: make such a vast universe yet save it only for us?

13:56 Speaker 1: M hm.

14:00 Speaker 4: H oh, so good?

14:08 Speaker 5: If Home alone?

14:08 Speaker 1: Three?

14:09 Speaker 4: Was that?

14:14 Speaker 1: So?

14:17 Speaker 4: I mean right off the bat in the first sentence,

14:20 Speaker 4: we need to really pay attention to h. So I

14:23 Speaker 4: want to bring that back up. I just had to

14:27 Speaker 4: get that. So the first sentence, I think is one

14:30 Speaker 4: of the most important things that we need to listen to, uh,

14:34 Speaker 4: in terms of the tones, the theme, and what the

14:37 Speaker 4: overall message of this film is. It's going to be

14:42 Speaker 4: and it's it's let's I'm gonna bring it back up.

14:47 Speaker 4: So first sentence, listen closely.

14:55 Speaker 6: If you found how we weren't alone? M if someone

15:01 Speaker 6: showed you, proved it to you, would that frighten you?

15:10 Speaker 4: Good morning, Kansas City. So we start off with someone saying,

15:18 Speaker 4: what if we weren't alone? What if SOE proved to you?

15:23 Speaker 4: Would it scare you? And I think this is a

15:27 Speaker 4: core theme and tone setter Spielberg's background. It's almost like

15:32 Speaker 4: his background and his wonder combined with some of his

15:36 Speaker 4: fears about disclosure, and then we start seeing again this

15:43 Speaker 4: spot right here. Then we flash over to Emily Blunt's character,

15:47 Speaker 4: who is a news reporter, and she is in the

15:50 Speaker 4: middle of a news report for a Kansas City Kansas

15:56 Speaker 4: City news channel. Now, I am taking a close look

16:01 Speaker 4: at some of the technology technological devices around because I

16:08 Speaker 4: have a theory that this movie is a follow up

16:12 Speaker 4: to Close Encounters. Now I don't I don't know how

16:18 Speaker 4: the more marketing I see, the less this falls in line.

16:23 Speaker 4: I'm still gonna I'm still gonna go out on a

16:25 Speaker 4: limb and try to, you know, to try to see

16:28 Speaker 4: where it might happen. But I'm thinking it might be

16:31 Speaker 4: like a split type of movie, uh, where you don't

16:34 Speaker 4: find out until the end, but it is a you know,

16:37 Speaker 4: loose sequel to Close Encounters. Now, what form could that take?

16:42 Speaker 4: Could it be that Close Encounters was a different race

16:46 Speaker 4: of ets and you know, they they take they take

16:53 Speaker 4: him at the end and they try to warn us

16:56 Speaker 4: about something that's coming, you know, which is ultimately a

16:59 Speaker 4: disclosure day. Now, I know I'm pulling on threads here,

17:02 Speaker 4: but I've heard it from multiple sources. That were not

17:08 Speaker 4: connected and unconfirmed. Now, could they just be you know,

17:12 Speaker 4: drumming up people like myself to get excited, of course,

17:17 Speaker 4: and never take anything you hear in the film world

17:21 Speaker 4: super serious unless it's from the filmmaker or you know,

17:25 Speaker 4: someone that's deeply involved in the production. So with that

17:30 Speaker 4: being said, I think hybrids are going to be at

17:32 Speaker 4: the center of this film. For what happens next. Let's

17:36 Speaker 4: take a look today. See let's she's clearly like something

17:47 Speaker 4: is happening, right, And I think this will be early

17:51 Speaker 4: on in the film with Emily Blunt's character, and you know,

17:56 Speaker 4: then we'll kind of see it from multiple perspectives. But

17:59 Speaker 4: she clearly starts this broadcast and this is the moment

18:05 Speaker 4: that they start to communicate through her with a eerie,

18:10 Speaker 4: eerie communication type, unlike the Close Encounters where it's five

18:14 Speaker 4: corded you know, music, which most people don't know. But

18:20 Speaker 4: Spielberg's father was a computer engineer and his mother was

18:26 Speaker 4: a musician, so he kind of combined both to develop

18:31 Speaker 4: that language for Close Encounters, the third kind. Unknowingly, I

18:36 Speaker 4: think he did it and didn't find out until an

18:39 Speaker 4: interviewer asked him about that, and he was like, you know,

18:42 Speaker 4: I didn't even think about that until right now, but

18:45 Speaker 4: subliminally I think that's exactly what I was doing. But

18:49 Speaker 4: the communication type we're about to see here with the clicking,

18:52 Speaker 4: reminded me of like the what's that show? God damn it,

19:01 Speaker 4: Pedro Pascal, It's like the zombie show whatever. The Last

19:06 Speaker 4: of Us it was like that, or like signs, it

19:09 Speaker 4: was more communicative like that. So it's like this clicking

19:13 Speaker 4: almost District ninety as well, Today is Today's. So she's

19:21 Speaker 4: clearly then taken over by something ski that phone. Another

19:32 Speaker 4: thing I wanted to point out this phone. Now it

19:37 Speaker 4: is a flip phone, but it looks like some sort

19:39 Speaker 4: of satellite phone and it's able to broadcast video. Now

19:44 Speaker 4: that would kind of I mean, it's almost like a

19:48 Speaker 4: I can't like, there's little things like this that make

19:51 Speaker 4: me want to think. And the farmhouse, like the farmhouse

19:54 Speaker 4: looks pretty close to the farmhouse that's in close encounters.

19:58 Speaker 4: But here again, so this is the whistleblower and Colin

20:04 Speaker 4: firsts character. Later on we see he's part of like

20:07 Speaker 4: the NSA or CIA or DOE, but he's in some

20:11 Speaker 4: sort of command center and we'll get I mean we'll

20:14 Speaker 4: get there. But this is that whistleblower, and this is

20:16 Speaker 4: right before that scene with the crop circle forms around him,

20:21 Speaker 4: and which is brilliant. I mean, we're including Spielberg's including

20:25 Speaker 4: as much as he possibly can, and I love it.

20:30 Speaker 4: You got the whole world watching and listening to this clicking.

20:34 Speaker 4: So I don't know. I think they're going to go

20:38 Speaker 4: into deciphering that for the film. Like one of the

20:43 Speaker 4: angles the government entity is going to be playing is

20:46 Speaker 4: trying to decipher what is being said to hear and

20:49 Speaker 4: what the intent is by this non human intelligence that

20:54 Speaker 4: I think because Spielberg was even quoted in interviews saying,

20:58 Speaker 4: you know what if they're not quote unquote aliens, but

21:01 Speaker 4: they're us in the future, coming back. So I think

21:04 Speaker 4: there's going to be some sort of hybrid program. I

21:07 Speaker 4: think there's going to be that's gonna be at the

21:09 Speaker 4: center of the film. The sound design is going to

21:13 Speaker 4: be crucial, it's going to be at the core of

21:15 Speaker 4: the film. Liking Close Encounters, like I said, using that

21:18 Speaker 4: five chord chime to communicate, but this is that next

21:21 Speaker 4: level or you know, the warning that wasn't understood in

21:27 Speaker 4: Close Encounters that something bad was coming clicking. Aliens have

21:33 Speaker 4: been used in like I said, Signs by m Night,

21:35 Speaker 4: Hiamlan and as well as many other worldly tales and

21:39 Speaker 4: TV shows, So I think decipher this language but everyone,

21:44 Speaker 4: And here we get the religious part, the religious entrance,

21:50 Speaker 4: and we'll get into this a little bit further. That

21:54 Speaker 4: woman right there, her, she clearly has a worldview that

22:00 Speaker 4: is allowed, that maybe doesn't follow exactly what the church

22:05 Speaker 4: narrative is. And she's been around the block. She's an

22:09 Speaker 4: older woman, she says later on in the trailer, this

22:13 Speaker 4: whole out of the whole cosmos, you think that it

22:17 Speaker 4: was all made for us. So she's clearly going to

22:21 Speaker 4: be a driving force character for the film from the

22:24 Speaker 4: religious side and the religious aspects of and I think

22:28 Speaker 4: we're going to see it from multiple aspects. From the

22:31 Speaker 4: whistleblower that clearly ran away from Colin Firth and is

22:36 Speaker 4: trying to One thing he does say is he says

22:39 Speaker 4: seven billion people. We crossed that line in like twenty

22:44 Speaker 4: twenty two, way before this film began writing. So I

22:47 Speaker 4: think what they're trying to infer when he says billion

22:51 Speaker 4: people are owed, the truth is that because there's eight

22:56 Speaker 4: billion now and when this movie was written, So I

22:59 Speaker 4: think what they're trying to say is one billion or

23:04 Speaker 4: hybrids or have some sort of genetic anomaly. So that

23:08 Speaker 4: would mean one in eight people have had contact without

23:12 Speaker 4: knowing it. And I think the symbolism is all over

23:16 Speaker 4: the marketing and the trailer people, so people, this is

23:31 Speaker 4: the whistleblower talking and I think his name is Dan

23:34 Speaker 4: I think I got that I got it from. So

23:39 Speaker 4: there's a when Colin Firth is the office, so there

23:42 Speaker 4: is at least twelve people that they are watching that

23:47 Speaker 4: either are I just don't know yet, there's not enough information.

23:52 Speaker 4: But there's another shot of Dan in on the side

23:56 Speaker 4: of the screen, and then North if you look closely,

24:01 Speaker 4: North Korean rebels sees Pongdong nuke. So global tensions are

24:07 Speaker 4: another thing that is going to be in this film.

24:12 Speaker 4: So kind of like Arrival where the Chinese went off

24:16 Speaker 4: and they were like fuck this, fuck this, like it

24:20 Speaker 4: interpreting interpreting language differently, right, It's it's a very like

24:25 Speaker 4: the word for tool also being weapon, right, Like a

24:33 Speaker 4: miscommunication like that will set someone down a completely different

24:37 Speaker 4: path to Okay, they're they're here to hurt us, when no,

24:42 Speaker 4: they were trying to give us a tool to ensure

24:46 Speaker 4: our in arrival. At least in twenty sixteen arrival, they

24:49 Speaker 4: were trying to give us a tool, and the Chinese

24:53 Speaker 4: misinterpreted that word as weapon, so they started arming themselves

24:59 Speaker 4: to white. And I think something similar is going to

25:04 Speaker 4: be happening in this film. By that, I mean, by

25:07 Speaker 4: that they don't I mean, and it seems to be

25:09 Speaker 4: that same news channel, that that Kansas City news channel.

25:15 Speaker 4: So again, North Korean rebels sees Pongdong nuke. So governments

25:20 Speaker 4: are going to fail to some degree, Global tensions are

25:25 Speaker 4: going to be rising. Disclosure it's going it's going to

25:30 Speaker 4: be so shocking and ontologically big that you know, people

25:38 Speaker 4: are just going to be looking for answers. They're going

25:40 Speaker 4: to be scared. And you can see again some symbolism

25:44 Speaker 4: in the shot that I'm we see on screen right now,

25:47 Speaker 4: where everyone's camera flashes are in the shape of a cross.

25:51 Speaker 4: So I think it's going to be that intersection between

25:55 Speaker 4: the again that the government, the the global global implication,

26:06 Speaker 4: the global tensions rising, the whistleblower perspective, the average civilian perspective,

26:14 Speaker 4: and then you know, so on and so forth. So

26:17 Speaker 4: I think we might see this film from multiple angles

26:21 Speaker 4: and how disclosure affects multiple sectors, and you know that

26:26 Speaker 4: it'll flash back and forth throughout the main main characters

26:33 Speaker 4: it belongs. So this is the whistleblower. I think his

26:36 Speaker 4: name is Dan, and he's talking to that little girl

26:40 Speaker 4: about how the world deserves the.

26:42 Speaker 5: Truth to seven billion people.

26:46 Speaker 4: Why seven billion? Seven billion's very odd because we crossed

26:51 Speaker 4: eight billion in like twenty twenty two, again far before

26:54 Speaker 4: this film began its treatment. So I think that that

26:59 Speaker 4: line right there means something. So if one billion out

27:03 Speaker 4: of the seven billion are just human, and one billion

27:09 Speaker 4: have this other genetic anomaly that is maybe like alien

27:13 Speaker 4: hybrid or a future human like the you know whatever,

27:17 Speaker 4: we become the grays. If that's the angle that's being taken,

27:22 Speaker 4: you know, those one billion people, they're compromised to a degree.

27:28 Speaker 4: So it's the other seven billion people that need to

27:30 Speaker 4: know the truth. This one billion they already know. So

27:34 Speaker 4: and maybe that's what's happening to Emily Blunt's character and

27:38 Speaker 4: others that we see match cut with Colin Firth's character.

27:43 Speaker 4: Right after that is in some sort of NSA command bunker.

27:50 Speaker 4: You see a lot of stuff again on the screen here,

27:53 Speaker 4: and they're clearly watching everything you think some self up

27:57 Speaker 4: to like some machine, and then it's matched. His actions

28:01 Speaker 4: are matched with another unknown characters. So again I think

28:05 Speaker 4: the government is well informed on what's going on, and

28:09 Speaker 4: they've even utilized some of the technology. Maybe there's a

28:12 Speaker 4: deal in place for abductions and genetic experimentation by this

28:17 Speaker 4: non human intelligence through the years, and you know, secret

28:23 Speaker 4: technology advancement like the real world UFO lore.

28:29 Speaker 5: Which I told you, so's show you.

28:36 Speaker 4: What are you going to do? Right here? So he's

28:37 Speaker 4: hooking himself up to some sort of machine that allows

28:40 Speaker 4: him full disclosure the world, and his pupils do this

28:47 Speaker 4: kind of it's a cool match cut because his pupils

28:50 Speaker 4: get small and then it match cuts with the others

28:53 Speaker 4: getting larger. So all what ay and his actions are

29:04 Speaker 4: his motor function actions are controlling seemingly this woman dope

29:13 Speaker 4: dope shot by the way, I got it, I gotta

29:15 Speaker 4: throw it out dope shot. So again this is where

29:20 Speaker 4: that this is the guy that has the satellite phone

29:22 Speaker 4: in that earlier shot, and he's watching Emily Blunt's character

29:27 Speaker 4: fucking freak out or whatever start clicking and then he's

29:31 Speaker 4: standing there knowing what the government knows. He's a government whistleblower,

29:35 Speaker 4: military whistleblower, and he's out in this cornfield and a

29:39 Speaker 4: crop circle starts forming around him, which I think the

29:43 Speaker 4: way that the way that Spielberg. Now, Spielberg had pulled

29:50 Speaker 4: real case stuff, case work, case and detail from the

29:55 Speaker 4: Project Blue Book files on Close Encounters, and he had

29:59 Speaker 4: Jallen Nick as a consultant on that film. On this

30:03 Speaker 4: film he has David Grush. So I really like the

30:10 Speaker 4: detail here where they crops are kind of folding onto

30:14 Speaker 4: each other and laying down. It's almost like it's being

30:18 Speaker 4: imprinted from above by some sort of like directed energy,

30:23 Speaker 4: and the stocks are are form, you know, laying over

30:27 Speaker 4: each other, not breaking, but just simply laying down. It's

30:32 Speaker 4: a really really close close attention to detail.

30:37 Speaker 1: Wondering he is out encountering the unknown.

30:48 Speaker 5: There.

30:49 Speaker 4: He's gonna call him Firth and then Nsay clearly have

30:53 Speaker 4: some sort of dark Knight machine where they're able to

30:55 Speaker 4: watch every single thing that's happening, which is very, very creepy,

31:01 Speaker 4: but I think it's something that we all just kind

31:04 Speaker 4: of understand that's probably reality. So could this be again

31:10 Speaker 4: some sort of symbolism right about corruption and government corruption,

31:17 Speaker 4: government being involved with the non human intelligence and keeping

31:21 Speaker 4: it from the public. I think that is what the

31:23 Speaker 4: whistleblower intends to show the seven billion people starved for

31:29 Speaker 4: the truth. This is really the only action sequence that

31:34 Speaker 4: we get in the trailer.

31:38 Speaker 6: Do you think there.

31:39 Speaker 4: Could be others?

31:43 Speaker 5: Why would he make such?

31:45 Speaker 4: And again here we get the animals. And this is

31:49 Speaker 4: something that's been in the lure for a long, long

31:51 Speaker 4: long time, is that animals. See it's almost like we

31:55 Speaker 4: need to start learning how to share the earth with

31:58 Speaker 4: all life, and that you know, the animals are because

32:05 Speaker 4: I think there's the main thing is like a buck.

32:08 Speaker 4: It's a buck, it's a cardinal. In this shot that

32:11 Speaker 4: we get a maybe like a fox, a little fox,

32:15 Speaker 4: and then they're walking with the little girl up to

32:18 Speaker 4: this you know, fantasy fantasy looking, fable looking, you know,

32:25 Speaker 4: just out of a straight out of a fucking cartoon

32:28 Speaker 4: or a fairy tale house. And I think these are

32:33 Speaker 4: right here. This is the keys to everything. The keys are,

32:39 Speaker 4: the keys to disclosure are in the future generation or

32:45 Speaker 4: the keys to unlocking the next stage of humanity are

32:49 Speaker 4: in the future. The children, the what it's all been

32:55 Speaker 4: leading up to what the abduction programs were, what they

32:59 Speaker 4: were doing, What was the non human intelligence's quote unquote goal,

33:06 Speaker 4: what was their end game? I think it's her right there,

33:11 Speaker 4: right there, in that little bed right there. Uh and

33:15 Speaker 4: and you know, we'll see where it goes, but I

33:17 Speaker 4: think she's going to be a very important person a

33:22 Speaker 4: vast universe. Here's a cardinal again, lands on the buck again,

33:29 Speaker 4: symbolizing you know, a bird, a very delicate uh you know,

33:35 Speaker 4: small landing on a buck a large right. Again, It's

33:41 Speaker 4: this it's this idea of uh, synchronicity, and it's this

33:49 Speaker 4: idea of coabtation. And you know that we this earth

33:54 Speaker 4: is not just humans, it's all of ours for us.

34:10 Speaker 4: And again you hear that clicking again. Yeah, I mean

34:22 Speaker 4: I I literally can't wait. I can't wait for this film.

34:26 Speaker 4: It's it looks so so good. And again I think

34:29 Speaker 4: the core themes are going to be future humans, uh,

34:32 Speaker 4: sub element of global tension, a hybrid program, government whistleblowers,

34:38 Speaker 4: a long standing cover up. Uh and and and just

34:42 Speaker 4: you know, themes that touch on real things. Uh. You know,

34:47 Speaker 4: Steven Spielberg is no no stranger, you know in an

34:52 Speaker 4: interview with I think Colbert uh he said, I think

34:55 Speaker 4: it's mathematically impossible that we are the only intelligent species

34:59 Speaker 4: and cosmos. I do not believe that we're alone in

35:03 Speaker 4: the universe. And I think that there is something going

35:06 Speaker 4: on that needs extraordinary due diligence. And I think this

35:12 Speaker 4: is Spielberg's way. I think Spielberg's A lot of people

35:14 Speaker 4: are like throwing conspiracies on this movie already saying that

35:20 Speaker 4: you know he's got I mean, of course, he worked

35:25 Speaker 4: with jillen Heinich on Close Encounters. He works a grush

35:29 Speaker 4: on this film. He definitely knows some shit. I just

35:32 Speaker 4: I don't think he's got any access by the government

35:39 Speaker 4: to disclose actual reality. But I do think that Hollywood

35:46 Speaker 4: plays a part in shaping societal consensus. And I think

35:54 Speaker 4: it's very evident from things like Project Mockingbird that that's

35:58 Speaker 4: absolutely the case that you know, our government is infiltrated,

36:06 Speaker 4: infiltrated all the media and Hollywood and all these sectors,

36:10 Speaker 4: and they are shaping reality for the average person. And

36:14 Speaker 4: what does that mean? What is that? Where does that end?

36:19 Speaker 4: What's the line in the sand? How can you classify reality?

36:23 Speaker 4: So I think at some point, you know, the whistleblower

36:29 Speaker 4: Dan I think is his name in this film, He's

36:32 Speaker 4: going to expose some sort of truth that he knows

36:35 Speaker 4: from working on the inside. So I think this is

36:37 Speaker 4: again pulling from the real world lure. So you know

36:42 Speaker 4: government whistleblowers, quote unquote whistleblowers. I think this guy's an

36:47 Speaker 4: actual whistleblower because they are coming at him in full force.

36:51 Speaker 4: Anytime you see a blacked out car chasing and running

36:55 Speaker 4: someone down, they are looking for that guy Dan, who

37:00 Speaker 4: is in the middle of the crop circle. And I

37:03 Speaker 4: think so. I definitely think Colin Firth is going to

37:06 Speaker 4: be the the bad guy if he will, but he's

37:11 Speaker 4: going to be the human bad guy now arbitrarily or arguably.

37:17 Speaker 4: The non human intelligence might feel like the bad guy

37:21 Speaker 4: at first, but I think the more this film goes

37:24 Speaker 4: on and on will realize that the problem isn't the

37:28 Speaker 4: non human intelligence, it's the deep state, and it's the

37:34 Speaker 4: people that are pulling the strings from behind the scenes

37:37 Speaker 4: and not showing what the true reality is That we

37:42 Speaker 4: aren't alone in the universe. We never have been. So

37:48 Speaker 4: I don't want to get I have another episode to record.

37:52 Speaker 4: I definitely wanted to break this down as much as

37:55 Speaker 4: much as I could, but I want let me know

37:58 Speaker 4: what you guys think in the in the comments, and

38:02 Speaker 4: you know, are you are you excited about this film?

38:05 Speaker 4: This is the first I think summer blockbuster for Spielberg

38:10 Speaker 4: since or of the World's maybe I don't know, twenty

38:17 Speaker 4: twenty three. I don't know when the last time he

38:22 Speaker 4: had a summer blockbuster come out. Well, anyway, yeah, so

38:28 Speaker 4: I'm all I know is I'm I'm geared up. I

38:32 Speaker 4: am I'm geared up to do this and not to

38:34 Speaker 4: see this film. And I really do think that it's

38:37 Speaker 4: going to be a loose follow up to Close Encounters

38:41 Speaker 4: to some degree. I don't know how or what or

38:45 Speaker 4: what context that will come yet, but I do think

38:48 Speaker 4: that there there is some sort of tie in. So again,

38:53 Speaker 4: I do like the church element, the religious element, the

38:59 Speaker 4: whistleblower element, meant, the abductee element, the societal element, and

39:06 Speaker 4: I think the marketing is very meta, and I think

39:10 Speaker 4: that is genie because you know it just when you

39:15 Speaker 4: do something like that and people are able to feel

39:19 Speaker 4: right like what they're watching on screen, even though it's

39:23 Speaker 4: a script in science fiction film, that there are they

39:27 Speaker 4: are pulling from real world law or history and using

39:33 Speaker 4: that to weave the story and drive the narrative forward.

39:36 Speaker 4: And I think some of the best films, some of

39:39 Speaker 4: the best fiction films, have taken real world events and

39:43 Speaker 4: used them as markers or you know, driving forces in

39:51 Speaker 4: their films. For instance, Transformers Dark Side of the Moon.

39:56 Speaker 4: I loved how they use that conspiracy to kind of

40:00 Speaker 4: weave that Transformer's tie in with it, and why the

40:07 Speaker 4: astronauts you know, went to a private channel, And I

40:10 Speaker 4: really like those kind of things. So I think Spielberg

40:13 Speaker 4: is really gonna take the cake here, and I think

40:17 Speaker 4: I think we're in for a real, real treat with

40:21 Speaker 4: Disclosure Day overall, from what I am seeing from the

40:24 Speaker 4: billboards and the trailer. Granted, trailers are typically cut by

40:28 Speaker 4: separate entities than the filmmakers themselves, and they're not always

40:32 Speaker 4: dead on with representation of the final product, for example

40:36 Speaker 4: twenty sixteen's Suicide Squad by David Air. But that aside,

40:41 Speaker 4: the tone I think is going to be more more

40:44 Speaker 4: of the world's terror than ET's childlike warmth. I think

40:49 Speaker 4: there's going to be a very large emphasis on animal omens,

40:52 Speaker 4: tying straight to abduction, reports, hybrid theories, and even the

40:57 Speaker 4: future human idea. Again, I talked about how Spielberg himself

41:01 Speaker 4: has floated this in interviews with various publications. Entities that

41:06 Speaker 4: walk among us because they are us. So it's a

41:10 Speaker 4: mix of real world scenarios and examples being included government

41:16 Speaker 4: military whistleblowers like David Grush claiming non human biologics, Alizondo

41:21 Speaker 4: on crash retrievals. They're all mirrored here this film, much

41:26 Speaker 4: like Close Encounters, like I said, had that government official

41:30 Speaker 4: working as a consultant to bring that authenticity and integrity

41:34 Speaker 4: to the film. Sorry again, And I think its target

41:42 Speaker 4: is meta and it's purposeful. It's teasing fragments of truth

41:47 Speaker 4: like real disclosure leaks, and Spielberg is no stranger to

41:51 Speaker 4: this world, you know, for all the movies I just listed.

41:56 Speaker 4: It's really a synthesis. It's timely, it's emotional. It's kind

42:01 Speaker 4: of terrifying too. Cast A you know, are calling it

42:06 Speaker 4: beautiful in reference to our humanity and to expect wonder

42:11 Speaker 4: among an admid The Chaos Disclosure Day is going to

42:16 Speaker 4: land in theaters on June twelfth, twenty twenty six, in imax.

42:20 Speaker 4: So is this soft disclosure through cinema or is it

42:25 Speaker 4: just the ultimate Spielberg event.

42:28 Speaker 5: I don't know.

42:29 Speaker 4: All will be disclosed. All right, everyone, I'm Ty Roberts

42:34 Speaker 4: and that's it for TDP. This has been a little

42:37 Speaker 4: breakdown of the marketing campaign for Steven Spielberg's newest film

42:41 Speaker 4: and first summer blockbuster in many years. If you like

42:44 Speaker 4: this type of content, smash that like button like you're

42:50 Speaker 4: abducting a farmer. Share the show with your friends, your family,

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43:00 Speaker 4: clearance to early and ad free episodes like this, and

43:04 Speaker 4: once you've finished watching, hopefully hopefully you well you know,

43:11 Speaker 4: become a part of the community. That's what I want

43:13 Speaker 4: all the link subscription of this episode. So stay humble,

43:17 Speaker 4: stay kind, stay jelant. Let me know what do you think?

43:22 Speaker 4: What do you think is Spielberg's new film? Is it

43:24 Speaker 4: going to be more in line with e T and

43:26 Speaker 4: helpful contact or is it something more insidious like War

43:30 Speaker 4: of the Worlds? All right, keep your eyes open. The

43:33 Speaker 4: truth is coming and it's coming soon. Dy and together,