The Master Demon Of The AI Singularity Is Here!

it as a kind of an alchemical allegory. I don't think it's about all the same same things that other conspiracy people think necessarily, but I do think there's a message, there's a story going on there that if we look at Arthur C. Clark and what he was talking about, we get an insight into this idea of the possibility of man's potheosis, that is, becoming his own god through technology. In two thousand and one, you remember the monolith shows up, and that monolith is intended to be a future AI.

It's kind of like us in the future, or the future deity that is ultimately some kind of supercomputer kind of stepping back and giving us indicators and signposts as to human evolution into the future and how we could basically become gods on our own. Part of the reason that Arthur C. Clark had this idea was that he was in the circles of a lot of esotericists and occultists. He was hanging out with Aleister Crowley, the most famous Satanist of the last century, and Clark was interested in

putting that ideology into his science fiction. In fact, most science fiction, you could argue, not all of it. I mean, I think C. S. Lewis's Space Trilogy is a unique exception, which is an explicitly Christian sci fi story, with volume three being about the aliens identified specifically as demons. And if you remember, in the third of the Space Trilogy, C. S. Lewis put the Christian spirituality and ethos into that text

by making the demons want to depopulate all humanity. So C. S. Lewis is really one of the best science fiction writers. Even though everybody thinks about Narnia, they think about fantasy, but in the Space Trilogy, it's actually the demons that want to cloak themselves as aliens and then convince human beings to depopulate themselves. The whole AI entity the demon from Beyond, And I want to go into the history of how this has been used in pop culture to

prepare us for the acceptance of this entity. Like you, I don't think that all forms of AI are necessarily bad or evil, but I do think that if you look at the people who formulated this system as we're going to talk about today, and the way that pop culture has formulated this. It's intended to get us to submit to and interject ourselves into this matrix system. They

want an AI running everything. In fact, back in nineteen sixty six, when doctor Carrol Quigly wrote Tragy and Hope, there's a famous chapter in the middle where he says that the future technocratic society would be run by giant AI supercomputers. That chapter is overlooked because people always focus on the other section where he talks about the bankers and the banking elite and then arranging World War One and World War Two for the purpose of a global

technocratic government. But it's not just that policy paper ethos that gives us this ideology and the mouthpieces of the elite. It's also a pop culture which in many cases was working in a symbiotic relationship with those in power, with those from this eugenics based establishment who wanted to create this world, this future technate as some call it, that

would ultimately be anti human. And people have to understand that alex is completely right when he talks about the end of and the removal of all carbon based life forms and the replacing of it with the silicon based life form of some kind. If you remember, many years ago, of course, Alex made endgame, and one of the key texts in that endgame was the books that were written by Ray Kurtzwel. Ray Kurzwell wrote The Age of Spiritual Machines.

He wrote the Age of Singularity or the Coming Single Larity. And these books were really important for telling us where the establishment, the real technocratic deep state, wanted to go. It's not technology that's the problem. It's the programmers and the plans and their ideology that's the problem. But before we get to that, I want to talk about two

thousand and one, a space Odyssey. If you remember back when when Clark was writing his famous trilogy, he wrote two and one, twenty ten, and then three thousand and one, and it's all about transhumanism. It's about post human existence and reality and man's apotheosis through technology. In two thousand and one, if you remember, Kubrick and this famous probably one of the most famous movies, if not the most famous movie of all time. I read it as a

kind of an alchemical allegory. I don't think it's about all the same same things that other conspiracy people think necessarily. But I do think the there's a message, there's a story going on there that if we look at Arthur C. Clark and what he was talking about, we get an insight into this idea of the possibility of man's potheosis, that is, becoming his own god through technology. In two thousand and one, you remember the monolith shows up, and

that monolith is intended to be a future AI. It's kind of like us in the future or the future deity that is ultimately some kind of supercomputer, kind of stepping back and giving us indicators and signposts as to human evolution into the future and how we could basically become gods on our own. Part of the reason that Arthur C. Clark had this idea was that he was in the circles of a lot of esotericists and occultists.

He was hanging out with Aleister Crowley, the most famous Satanist of the last century, and Clark was interested in putting that ideology into his science fiction. In fact, most science fiction, you could argue, not all of it. I mean, I think C. S. Lewis's Space Trilogy is a unique exception which is an explicitly Christian sci fi story, with Volume three being about the aliens identified specifically as demons.

And if you remember, in the third of the Space Trilogy, C. S. Lewis put the Christian spirituality and ethos into that text by making the demons want to depopulate all humanity. So C. S. Lewis is really one of the best science fiction writers. Even though everybody thinks about Narnia, they think about fantasy, but in the Space Trilogy it's actually the demons that want to cloak themselves as aliens and then convince human

beings to depopulate themselves. Now, if we go back to two thousand and one, when the monolist shows up, which is this sort of Luciferian cube or a kind of a screen so to speak. In fact, in the original screenplay, Arthur C. Clark had the intention of it being a kind of a computer screen, and the computer screen would have little read outs and it would be, you know, I don't know, playing organ trail or something for the monkeys, and this would then spawn the next phase or stage

of evolution as the movie progresses. As you know Bowman who is the astronaut several thousand years into the future, is ejected out of this sort of phallic spaceship into the exploring the cosmos at another level, right, So they find another monolith that's transmitting a signal, which is what Alex was talking about, this signal that's been transmitted by this entity, and you see these sort of diamond figures there, these platonic solids that eventually direct Bowman to exiting this dimension,

this spatial reality. And I put in my book, in this chapter that I did in my first book, you can see here there's a cube, and this cube includes all of the possible directions that you can go in this dimension. You can go up, down, left, right, back, forward, et cetera. Right, there's only six ways you can go in this dimension. And the whole point of two thousand and one A Space Odyssey for those that don't recall, is that Bowman is eventually the first person to achieve

apotheosis through exiting this reality. So there's a Darwinian survival of the fittest sort of exchange between him and how they have this battle. Bowman ends up victorious in the battle, so we think at least in the first one. And what's not included in the film is what Clark had in the original story, which is that star Child is which is the rebirthed entity that Bowman becomes when he exits the matrix. Believe it or not, it is actually

a matrix. The whole point of that sort of sequence where he's exiting through the portal through the stargate is that Bowman is achieving apotheosis through leaving the limitations of dimensional time and space. So he's transcending the limitations of time and space, the third and fourth dimension. He's going out of the matrix. You see it looks like a kind of a computer code. It looks like a bunch of colors, and there were even platonic solids, those sort

of diamonds that were there. That's I think intended to tell us that we are stuck in a dimension. That technology, this is the story of two thousand and one. The technology will help us to transcend. And so Bowman sees himself in his own death there towards the end in that Victorian room, and then he becomes a new being, reborn as Starchild. And what's not in the movie that's in the original Arthur C. Clark story was that Starchild decided that this Earth was a giant failure, it was

a giant mess. And so there's a bunch of nukes around Earth that nuke Earth, and Starchild starts over as the god of a new universe. That's the storyline, at least in the movie version of two thousand and one A Space Odyssey. Now a lot of people overlooked twenty

ten because it wasn't as famous of a presentation. But if you want to understand this Luciferian ethos, this Promethean ethos of poshumanism or transhumanism from film two thousand and one actually goes even further, and it goes back in time and it tells us at the end of the Cold War how the Cold War would give rise to

the technocracy. And it's actually a synthesis third way film where you have the joining of the Soviet scientists together with the American scientists, and once they get over their petty squabbles and their nationalism and all that, and they accept an international technocratic Star Trek Federation style attitude, then we're able to overcome the limitations and achieve the next

level of apotheosis. So it's supposed to be ten years after two thousand and one in the story version in the books, and at the end of that film, Bowman or hal Hellman, who's now become merged as this new sort of divine transcended entity, speaks through these monoliths and you get all of these monoliths. So now there's like thousands of monoliths, and they can kind of sort of change their size and their dimensions because they're outside of

this spatial dimension. So they're kind of like angelic beings or deities or gods or something like this. And the purpose of that story is to tell us that we were actually seated here as kind of Luciferian beings by this alien AI that now wants us to go forth and conquer the universe. Now, I don't think that it's wrong for humans to explore the no universe and all that to the best of our capabilities. There's nothing wrong

with that. I don't think that technology is going to make us gods, though, so I think we're always going to be human, and I don't think that AI can ever come alive or become conscious. Depends on how you define consciousness, and so if you think humans are made in the image of God, then they have a special quality of soul that a computer could never have. A

computer is always just going to be code. But in twenty ten, there's a specific statement at the end that really it sort of identifies human beings as the children of the Sun or the children of the light Bringer, who are tasked with going forth and exploring the known universe, which I think is explicitly Clark's version of a kind of Luciferian Promethean deity in these same elite circles. Around the same time that Crowley and Clark and people were

hanging out together, you had Alvis Huxley and HG. Wells hanging out in the same types of circles, and they wrote very similar treatises about how this is what was really going on. You find Isaac Asimah of writing books the Foundation series with very similar stories about Ai kind

of being a future quasi deity. So there's something I think that these people are telling us through the pop fiction and through their nonfiction writings about how they view humanity as essentially monkeys or apes, and that they need to be gotten rid of. And that's that depopulation narrative that almost entirely runs through every one of the technocratic elite, except for perhaps Elon Musk. He seems to be pro human,

He seems to be pro life. He doesn't seem to have the same attitude whatever criticisms people have, at least when it comes to this issue. He doesn't seem to be for depopulation. Why would we not have as many human beings as possible to go forth and to conquer. You know, in Genesis you have the dominion mandate, and I don't think there's anything that necessarily means that it has to stop at Earth. If humans want to exp

I think they're free to do so. They can go and do whatever they would like to do, because God gave us that power, that free will, that potentiality too

that we need to actualize. In three thousand and one, however, you have a presentation where Clark identifies and melds Bowmen and how into this entity called Holman, and Holman becomes the God of the Future, who is a transhumanist, post human entity that sort of flies around in a spaceship chariot computer that he's identified with and becomes a kind of a god. So, I mean, I think the narrative

goes off into kind of some silly stuff. But the fiction here is telling you and sort of preparing us for the world that we're going into the world that's now rolling out. And even the texts, even the stories that were intended to be warnings, like Terminator and Skynet, even those stories were actually written in consultation with DARPA and the research and development parts of the Pentagon. And if you look at on my shelf here or somebody I got a gift, I think Jamie gave me this.

This was this is the Terminator hand and that Skynett gets a hold of that they reverse engineer. So we're being told, you know that through the UFO Alien syop, that there's crashed craft and we're re engineering the technology and all this kind of stuff. But I think this is really a false gospel, is the best way to put It's this idea that we're going to reverse engineer the technology. The technology is going to allow us to

transcend time and space. We're going to get outside of the six dimensional limitations and mortality that God put upon us.

And oh maybe that was an evil God that put mortality and limitations upon us, and so now we can transcend that through these silicon stages ideology, and that's precisely what you get in today's transhumanists like No, you've all Harari who wrote books like Homodaeus The Mouthpiece and Protege of Claus Schwab from the World Economic Forum talking about how the AI is now going to progress into a

kind of quasi divine avatar type of figure. In other words, you'll have a little robot, you know, Buddhas and robot Jesus is walking around. I'm not kidding literally, just like THHX one win three eight. If you watch THHX one one three eight, you'll see that there's a scene where Robert de Vall goes to confession. It's one of the best scenes in science fiction movies because it was so dark and so empty and yet so predictive at the

same time. When Robert Devall goes to confession, he has to confess to the AI god his sins in terms of whether he was able to perfectly obey the technocratic regiment or not. And he's told to take extra you know, vitamin pills and this kind of stuff. Right, he didn't, you know, so he doubted the AI. And what's funny about that movie is that the humans are the ones

that actually build their own enslavement. And I think that's a really key point that Alex was hitting on today, was that we're building the thing that could potentially enslave us, that could wipe out previous history. You know, Alex was talking about the AI basically making all the Vikings black, which, by the way, they would have pretty pimped out, you know,

Viking warships if it was if they were black. I have to say that I don't think the Vikings were black, but they would have pretty pimped out Viking ships if they did. That'd be a good skit. Maybe good news.

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and rewatch it. If you missed it. Because the people are essentially enslaved in an underground base that's a factory for building I guess you could say BDSM robots that basically just beat people. They're like leather daddy cops that beat human beings that don't act according to the AI regiment. If they have I don't know, too many carbon credits,

they use up their carbon credits or something. So, but the humans don't remember anything about their past, and they think and all they know is that it's their job to build their overlord bots, and the overlords, you know, beat them and suppress them and whatnot. And of course Robert de Ball is the sort of the Winston figure who breaks out of this system, out of this matrix.

It's a kind of an allegory of the Plato's allegory of the Cave story where he busts out and he crawled out to sunlight and he sees the sunlight, you know, much like Plato's allegory the Cave and you don't know. I think one of the best parts of the films that you don't know this whole time, that they're really in an underground base and they're in a giant prison,

but their history has been erased. And I think that that's kind of the point that Alex is getting to, is the possibility of human history being erased, human history being censored and suppressed by the AI. Once we start to rely on AI as this sort of mouth of God, this sort of oracle of Delphi, this dau Sex machina, at that point, we're really in a danger zone because now Kenny Loggins can't save us. Now we have to essentially trust this entity that is beyond what humans have

programmed it to do. It can now program itself and it can interact, as Alex said, with other ais that further program other AIS. So the possibility of sort of meta ais. If you watch a movie be like Her, the Spike Jones film with Joaquin Phoenix, you see a similar type of idea there in that fiction as well.

It's a dystopian vision of a person who falls in love with his AI, the main character, and so it's set in a near dystopian future, and Joaquin Phoenix is a programmer who essentially begins a relationship and wants to marry his operating system. And it's wild because I wrote an analysis of that in my first book that came out about ten years ago as Hollywood One. And now we're at that stage. Now, we're at the stage where

human beings are actually beginning to develop relationships with their AI. Yeah, there is a great film, very very prophetic. You know, we're at the stage right now where essentially that film is set. It's pretty wild, and Scarlett Johansson is of course the voice of the AI. And if you remember the story, the AI essentially decides that the humans are

really worthless anyway. It's not viable for this super intelligent program to interact with a supremely inferior human being, and so the AI goes off to have a relationship with another AI, which of course doesn't make any sense, but it really just shows the futility and the emptiness and the nihilism, the techno nihilism, of the notion that human beings can be fulfilled by having a relationship not with God or with other human beings, but with a program

or with code. It's really kind of childish if you think about it, but it's very prophetic. So we're at that stage now. People are developing relationships with their AI girlfriends, with their AI only fans models. Right, this is becoming a real thing now. And you know, again it's not AI that is necessarily the problem. It's how it's used, and it's who programs it, and it's the ideology of

those the program and that's the real problem. And I will say too that in that film, it's a great it has a great positive message because you know, Joaquin Phoenix learns at the end that he was really looking for a relationship with Amy Adams, the actually human being this entire time, the robot and the idealized you know, image of this supposedly perfect entity that would be a perfect girlfriend. It was fake. It wasn't real, and it's futile.

It's vanity, vanity of vanities. Now. Yeah, And that I wanted to mention before we get into the text of the Global Elite that really, I think prove all of this that that is what they have planned. It's the

second technocratic dystopia, that's anti human, that's depopulation agenda. I wrote my book Ster Collawood one about almost ten years ago, and I've just finished the third book, so S J. Clay with three is now available and in part one, if you don't recall, if you don't have it, you can go to my website and you can get the signed copies in the shop at jasonallisis dot com. I

went pretty deep into Spielberg, Hitchcock, Kubrick, Bond films. I went pretty heavy in the first one, but in part three I went pretty deep into the mythology of transhumanism, the mythology of Marvel movies and how they programmed us, how they programmed the dystopian gender dysphoria that we have, How Marvel films have really prepared us for this idea of the technocratic dystopia. Some of the Marvel films had good messages, so I'm not saying that in totality they're

all bad. Some of them actually had pretty similar messages to what Alex was talking about at the time, right Avengers. Some of those Avengers films, we're talking about depopulation, you know, even the Marvel films that deal with Guardians of the Galaxy. You have Fanos engaging in mass depopulation, and then you

have you know, Doctor Strange basically reversing that. So there can be positive messages even some of the Marvel films, but overall there's a lot of negative programming and a lot of negative propaganda, and so I went into Christopher Nolan films that I didn't go into in the first two. I went pretty heavy into recent new classifications of Hollywood A listers that were spies. So this has been talked about quite a bit for many, many years, but in

the third book I went pretty heavily into it. So you can go to Jasonelsons dot com in the shop, if you go to my Twitter, my ex account, if you sign up right there, you can get you can pre order. The book will not be printed for another month and a half, but you can go ahead and get your name in and get your order as soon as possible. The shot signed copies that Jays Analysis in the shop Esthotery Holly with three sex, Culton, Apocalypse and film.

And of course I ended that with another almost providential idea that I haven't covered apocalypse films, and here we are with kind of the apocalypse of Hollywood itself. So there's kind of a play on words there that Hollywood is now at its end. And I'm not saying that movies are going away. Obviously, we have Apple Studios and

Amazon studios and Netflix studios. So the studios are continuing on with big streaming sites in the tech companies, so the technue right, the tech companies are even taken over now the making up movies. And as Alex was showing earlier with those Google videos, I mean, of AI, it's how long until we get our first like full on AI movie. I don't think this is going to be that interesting. In other words, I don't think everyone's going to just stop watching movies and actors and they're only

going to want to watch completely AI movies. I mean, maybe the first few will be kind of novelties or something like that, and they'll be famous for being that. But I don't think that we're going to be to the point where we don't want to watch human creativity,

you know, human art and human actions. And if you think about it, as Alex pointed out, I mean, the AI stuff is really just a compilation of human art, human people, and human activities anyway, So it's almost just like smushing it all together and making it into almost a more generic form of what humans come up with.

And I don't think we're ever going to get away from that, right, We're never going to get away from human art and human creativity and its humans that created this thing anyway, right, So beyond that, though, we do need to talk about the actual books and documents and papers that vindicate what Alex has been talking about for so long that most of the technocrats, most of the people in Silicon Valley, most of the people in these think tanks, in these systems, they have an anti natalist,

anti human perspective. In fact, that young guy that was involved in the bombing I think of the car or the the I forget was the Palm Springs bombing, is what I'm trying to think of. He had made anti natalist statements, he had adopted this nihilistic attitude that the technocratic lead have. And so he's a perfect example of the very thing that we're talking about and the type of human being that the system wants to create. Who hate humanity, who are nihilistic, That's who they want so

that they can roll out this system. And one of the best books on this was an establishment text, an establishing journalism text that I read back in the day and I've lectured on many times. It's Annie Jacobson's book The Pentagon's Brain, The Uncesserted History of DARPA and if you go through this, she talks about the plans that they have not just through using nanotech and chip implants.

It's not the old school notion of chips anymore. Now it's moving into the domain of nanotechnology directly in our system, in our blood. And she even talks about how this is a form of mind control and actually comes out of the older MK Ultra plans that people know about.

We've all heard about mind control and MK ulture and CIA experiments that morphed into MK Search and MK Delta, which was about biometrics, bioengineering, human modification, bodily modification, and a lot of people don't know that even during the war in Iraq, the US it's Deep State, it's Pentagon, they were already experimenting on microchips, chipping the soldiers, using drone warfare, even back at the time of the Iraq War.

I mean, drones existed even in Vietnam. But the war game Dark Winter, all of these things involved DARPA using the theater of war as a large scale experimentation arena. It's not just that she actually gets into towards the end of the book what Alex talked about earlier in

terms of the global Brain. If you remember back during the Obama administration, Obama was giving a lot of money to and talking quite a bit about the Salk Institute and the Brain initiative there, and that's related to this stuff.

It's similar. And a lot of these programs come out of the post two thousand and one era of total information awareness and John Poindexter, who was involved in that, and if you don't recall, the events of two thousand and one became the justification not just for foreign intervention and stuff like that, it became the basis for a

lot of the removal of our civil liberties. So Tucker earlier today was talking about in Alex's cliff, the loss of privacy, what we experienced when we go to the airport. All of that comes out of two thousand and one. None of that would have existed had there not been the attack on Western liberties and civilization by the former asset of the CIA, the al Qaeda. And if you don't recall, the name al Qaeda is the base. The base was the name of a base so that the

Mujahideen used in Afghanistan. That's Obama, she mean Freudian slip. Osama, Osama Obama and Laden's fighters freedom fighters during the nineteen seventy nine conflict that were then repurposed in the nineteen eighties. They even make an appearance in James Bond films and in Rambo. But they were a proxy and they were also a theater of war for the West to experiment

on brain chips, in this case for supposedly PTSD. Oh well, we got so many soldiers coming back in two thousand and five, she says, with they've lost a limb, they've got brain problems. Let's go ahead and start experimenting with brain Now. I don't even think that that's all necessarily wrong. I have a relative who has Parkinson's and they got a brain ship that was able to stop the tremors. So these things can definitely be used for good purposes.

But the problem is that the good purposes oftentimes become the selling point for the more nefarious purposes of the backdoor technology that can be put into it. In fact, in Ray Kurtzwel's book The Singularity Is Near that he wrote back in two thousand and five, there's a whole chapter on VR and nanotech and metaverse, which Metaverse seems to have not been super successful. They may rebrand it though and try to roll it out as something else

in the near future. But he talks about how eventually the chip or the nanotech or the whatever is placed into us will actually be able to override the external data that comes in to our senses and to enter our eyes the external inputs, and it will actually be able to determine what inputs, what signals come in, and that would be he says, total mind control. It's pages three fourteen and three fifteen, and then in three sixteen and seventeen he talks about how eventually this will be nanotech.

It'll be nanoblood. You heard me right, nanoblood. In fact, if you remember in James Bond the new reboot, the Casino Royale reboot, there's a scene where they interject him with a tracking chip, and then a couple installments later they interject him with nanoblood. I think that was in

maybe Skyfall or one of the later maybe Specter. So even the fiction with James Bond has been telling us that this is what's coming, not old school John C. John C. Lilly era microchips, but actual nanotech that would be able to step in between the external data coming in and even Ray Kurtzwald says, that's a recipe for a real dystopia when the AI or the central computer controllers can actually control the information coming into your brain

and what you see and what you don't see. She goes on to talk about the reality of aerosol engineering and spraying. This is in any Jacobson's famous book. So that's actually a real thing. It's not made up, it's not conspiratorial. It's a real thing to engage in geoengineering. We've heard, of course John Brennan give talks about it. That clip has gone around for years, but you can go look up Edward Teller, and I believe it's either Annie Jacobson or it's the Alex Ebeya book in the

Rank Corporation. I mean, they talk about the role that doctor Edward Teller played not just in the Manhattan Project, but also in being the father of atmospheric spraying and geoengineering. Now, I was reading some critiques of you know, conspiracy stuff from very well known prominent people out there recently, and even those people who have a pretty good picture of what's going on in terms of the general geopolitical landscape.

A lot of these people still think that geoengineering isn't a real thing, even though you've got famous award winning journalists writing famous books admitting that this was going on in terms of Agent Orange, and you know, whether warfare was going on world War two and in Vietnam, so this is a real thing. But she talks about there's a symbiotic relationship between the technology and the technques and

the technaque and the technocrats and the fiction. For example, there's a chapter on the X Files and how a lot of what was going on in the X Files was actual real programs and plans that were being discussed or being wargamed or being thrown out that were then put in to the fiction as a way to prepare or the way to warm us up to or social engineer us. I mean, I'm not criticizing Chris Carter and X Falls love X Fall is great series, one of

my favorites. But she's just simply pointing out that there's a symbiotic relationship. In fact, she talks about Kathleen Kennedy, you know, Terminator, that kind of stuff. A lot of Spielberg projects that Kathleen Kennedy and other science fiction directors and writers. I think she mentions James Cameron. I'm going from memory here, but they actually were invited to the Pentagon, invited to discuss Darper projects because the idea was maybe we could get a bouncing ideas off of each other.

Like the science fiction writers could talk about what they could see, what they envision as you know, future tech doing and how it works, and likewise the actual DARP Pentagon strategists could bounce ideas off of them. And so it's a very important admission in this text that these two work together, right, And that's kind of why I wrote that trilogy on Esotary Hollywood, you know, starting ten years ago, was that most people don't realize there is

this symbiotic relationship. It's not schizophrenia. It's a real symbiotic relationship between the fiction writers and the culture bearers, the people that steer our culture through movies and pop culture and music, and the people who are planning things in reality at the Pentagon, at that war game, at that research and development level. It actually talks about Gail heard,

I believe. Let's say she says one of the Sigma group members was Colonel Peter Garritson, a former strategist transformation strategist at the Pentagon. In twenty fourteen, Garretson arranged for me to come to the Pentagon with two colleagues Chris Carter and Gaiale Ann Herd created X Files, popular science fiction television drama uh and Gillen Hurd co Wrot wrote Terminator. So they're at the Defense Intelligence Agency, they're at the Pentagon.

They're talking to DARPA about what's actually going on at DARPA. And if you remember, in the last couple of seasons of the X Files, Chris Carter actually included that really important talk that Joel McHale gives for his TV show, And if you watch that series, Joel McHale in that series is pretty closely intended. It's definitely intended to be

Alex Jones. So the Joel McHale character is Alex. It's called Truth Squad or something like that, right, And his whole speech prior to COVID, prior to the release of this Wuhan virus, the prior to the push for the mass stabbies, all that was mentioned in that famous five minute, four or five minutes talk from Joel McHale. I think it was in the not the last season, but the season right prior to the last season, which came out

around twenty seventeen eighteen somewhere in there. But that's because, again, according to Annie Jacobson, around this time, you had Chris Carter and Gillen Hurd, who was involved in Terminator in Skynet, going and interacting with and talking to the R and

D and the people at the Pentagon. Now I'm not alleging a conspiracy necessarily on the part of Chris Carter, but if you remember, many many years ago, Alex Jones interviewed one of the Lone Gunmen, which is an important character a series of characters that appear in the X Files narrative, and the character from the Lone Gunman was talking about that the CIA would come and help consult and tell them what they would like to be in the script and what they would like in the X Files.

So it's not a schitzo thing. People, So oh, you're you're skitzo. You think that the the movies are talking to you, and you think the movies are telling you what's going on. You know, the movies are reflecting what the Deep State and the Pentagon actually is talking about. And so many people for so many years have said that this is just you know, insane conspiracy theorizing and whatnot.

Even though very famous texts will talk about the relationship between the science fiction writers, the culture drivers, and the people at the Pentagon, DARPA, et cetera. They do that on purpose because it's very important to control the culture, to mass control the people. And we're at an age now, I think where that's getting harder and harder for them to do. So you're getting the sort of divide between

people getting dumber and dumber and dumber. A large portion of them who are kind of becoming like you know, it's like the Eloi Morlock thing that ahgu Wells wrote about in the Time Machine, and you've got other people that are becoming more and more intelligent. They're using the internet the right way. They're using it for a monetary

protoco calls like ethical money like bitcoin. They're using it to actually get education, to actually get real information, which I think intelligent people know can never be replaced with AI. AI can be a more advanced, glorified search engine at this stage, which is kind of what it is. I mean, I use a crock as a quicker search engine. But even these AIS, as Alex has pointed out, I've seen

them lying multiple times over. In fact, I asked, I think it was Chad GBT the same question five minutes apart, and I got the exact opposite answer. So there's no way that, Like I mean, obviously there's some chicanery going on with AI, and certainly they want to use AI

for social engineering. Everything from the Bantag's point of the oligarchical elite is a type of or could be used for social engineering, and AI really is just another dio sex machina, a god from within that will be a con a dupe try to get human beings to believe that this entity can be a kind of god for them.

If you remember in the Foundation series, I'm going from memory, it has been maybe ten years since I read that Asimov has a fake religious cult of priests and people like that in the future space Empire that secretly have

technology that the other people just don't know about. So it's a giant AI system that uses future predictive algorithms that they're able to track and trace large movements and large trends and ideas they give them future predictive advantage, but the average population just thinks, actually that it's a religious thing. So again they're telling you something about this. It's not a god, it's not religion. It's not going to become conscious, not evolving to be a deity. That's

all a deception. But if you want to learn more about that, you can go to my chain where I lecture through all of these great texts, all these big fat, boring geopolitical and establishment texts at Jasonelsons dot com or my YouTube channel Jay Dyer, or follow me on Instagram and Twitter as well.

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