Interviewer Dave (2:34)

It's like we all know what's going.

Tom Althouse (2:36)

Down, but no one's saying what happened to the home of the Braves and everybody's just walking around heading the clouds.

Interviewer Dave (2:47)

And won't awaken to a dead in the grave.

Tom Althouse (2:49)

Finally too late we need to be.

Interviewer Dave (2:51)

Ready to raise up. Welcome to the end of day Everybody is slaves only some are away. Welcome back, ladies and gentlemen, to another episode of Nephilim Death Squad. I am David Lee Corbo, AKA the Raven that is Top lobster, the father of disinformation.

Interviewer Dan (3:10)

What's up?

Interviewer Dave (3:10)

Before we get into today's episode, a little reminder. Sometime around the 30 minute mark, we're going to go live exclusively to patreon.com forward/nephilim death Squad. You'll be able to continue enjoying this episode, engaging in the live chat, gaining early access to episodes as well as an ad free viewing and listening experience awaits you over there on Patreon.

Interviewer Dan (3:29)

We're actually, I'm actually considering just doing the live shows for the Patreon members only. It makes things a lot simpler. Yeah, we value their opinions a little bit more.

Interviewer Dave (3:39)

That's true. Yeah, I, I've really grown to enjoy the Patreon members. Also early access to tickets to Bohemian Grove when those drop. And they will drop. We're talking about it right now looking like maybe February, March and discount codes off of merchandise from toplops it.com. let's pick a shirt. Which shirt are we gonna do? Oh, let's do the moon map. Can we do the moon map? I love the moon shirt. I have the moon map shirt myself and, and it's one of my favorite shirts. You can go on over to Toplopsa.com and pick yourself up a moon map shirt. And if you're a Patreon member, you get a little discount code off that merch.

Interviewer Dan (4:11)

Let's get into the show. This is an exciting episode.

Interviewer Dave (4:13)

Yeah, this is a unique one. We're joined today by Tom Althouse, who's the original creator of the Matrix. Before we even get into the details of of that situation, every knows the Matrix comes up quite often on not only this show, but any conspiracy show. Let's first tell everybody, Tom, where they can find your work. I know we have your website pulled up here, tomalthouse.com, right.

Tom Althouse (4:35)

That's basically@tomalthouse.com is where you can go to find it. And so that was done for me by a young woman who decided to take it on her own to create it and made it simple for me to be able to remember and follow for how people guide to It. So there it is.

Interviewer Dave (4:51)

God bless those people. People that come along and tell you how to do a thing that you don't know how to do. That's.

Tom Althouse (4:56)

Yeah.

Interviewer Dan (4:56)

And I mean, it's a great looking web page as well.

Interviewer Dave (4:58)

It is, it is.

Interviewer Dan (4:59)

You lucked out.

Interviewer Dave (5:00)

So, yeah. This the story of the Matrix. I just want to lay the groundwork a little bit. I mean, it is a kind of must see for anybody that is in the. I hate to use this terminology, but I guess it's what it is now, the truther community. And it is much more than a film presented a concept. Turns out it's a bit of an old concept to people about the nature of reality. However, it was presented to us by. By two individual. What is it? The Wachowski brothers.

Tom Althouse (5:37)

Sisters.

Interviewer Dave (5:38)

The Wachowskis. Now this is back in 2001 and they. Is it 2001? Might be 1999.

Tom Althouse (5:48)

1999.

Interviewer Dave (5:49)

Yeah, 1999. Wow. Geez. And. And since then they have gone on to receive their flowers on every potential occasion whenever it comes up. It changed the. Certainly changed the nature of action films in a really dramatic way. But they didn't make it. They didn't come up with it. It wasn't theirs.

Interviewer Dan (6:09)

I wouldn't even say. I mean, it changed everything.

Interviewer Dave (6:11)

It did change everything.

Interviewer Dan (6:12)

That film or the story of that film is like a. It's a big turning point in the. The world of the United States. Like we get a lot of things. 911 changes the. The entire, you know, the premise of America, what it's about. But I feel like that's prefaced by the release of this film.

Interviewer Dave (6:28)

It's kind of weird in that way. Yeah, it is. But it wasn't until rather recently, I mean, you know, the film's release is 1999, that I became aware in. In the past few years that it wasn't theirs and that they stole it. Is that the right word? I don't know. Why don't you.

Tom Althouse (6:46)

That's the right word. Yeah, that's the right word.

Interviewer Dave (6:47)

Is the right word. Okay, so. So, Tom, why don't you tell us. Let's start from the beginning. This is your story. You wrote it.

Tom Althouse (6:56)

Yeah. If you want to start from the beginning there. Let's first of all show the proof. Now what's interesting is there's a movement right now to try to shut down the proof. That was really the main thrust of the strategy of the film companies, along with the FBI, was to make sure that evidence was never on record and would never be acknowledged. And so this right here is the original copyrighted screenplay. You can see the down here on the date. It's the 1998 version. So there's the 1998 version. The timeline is quite telling. And Library of Congress and this gold seal shows that this is authentic from Library of Congress. And the PAU number right here is what you can look up in the Library of Congress page. So there's no way around it. Now look at the title, the Immortals. This is the title Warner Brothers claims along with hbo. Tom Hanks was actually in the copyright entry you can find in 1998. Ordered and commissioned to write this work. In a three page entry, ordered and commissioned to write the Immortals. In fact, Warner Brothers has a letter to Sophia Stewart, who is claiming to be the mother of the Matrix, who was brought on by Warner Brothers to be a first claimant. Throw people off. All part of the strategy. And she, they said to her, you can claim the Matrix title, not the work, you can claim the title because we're claiming the Immortals title. So really the work is the Immortals. And what the Wachowskis did was they took the letters and switched it around. When they were finally given the green light to take it, they called it the Science project. When they're given it, they take the letters and switch them around and you've got the Matrix coming out of that. Just add an X. So that was their trying to be clever, which is a big thing in Hollywood. So that's a long answer, but. So what you've got is all these things will tie together in tight Easter eggs. And it's like that can't be refuted. But what they're doing now to try to spin it currently is to say, well, look, Tom Althouse bought this from the copyright office. Nice spin. Because, yeah, you have to purchase your own copy from the copyright office to prove it's yours. And the gold seal makes it irrefutable along with the PAU number that you see there. But what they're going to do is spin it and say he bought his own script. He bought the script. No, you bought the copy. What proves when it's needed to prove, you purchase your copy from the copyright office, which is from 1998. So the spin is just fascinating where they try to turn it into some kind of game of shutting it down. So what we have is irrefutable proof. So why would it say online you lost in court? Because they supplied all their attorneys to represent me, who were classmates of their attorneys, made sure, again, no evidence goes in, shuts down all your due process, all your discovery. We have Montape saying they're not going to honor any discovery because their attorneys are representing both sides. And even if we win, they won't let us file it. So that's why, yeah, we didn't stand a chance in heaven or hell, but we have all the evidence still. And here's the catch before we move on what happened just recently. Three days before Easter. Get this. The CIA, which actually is in the story of the original Matrix. Smith in the original story is in the backstory. An upper echelon CIA department head Neo works for him. We have the backstory all fleshed out. The Wachowskis took it all and lifted individual like a visual storyboard, 600 page visual storyboard which is what they did with Oblivion and Elysium. Just visual storyboards to lift the work. They're lazy and in left out that connection. Right. So what you have is the CIA as I'm told by Michael Jaco, now who's a ex CIA correspondent or host and also Navy Seals is these things I'm going to show you right now ended up in my home three days before Easter. Look at the date on that. This is draft one of the Matrix story. March 21, 1993. Look at it all. It's very worked over, isn't it? And look at the corner up here. Up to date as of January 1994. That's ending right out of December 1993. All this even how to do the things like I'm on notes on how to clip it, which is now on here. So all this is here restored to my home by the CIA three days before Easter this year. So this is very fascinating. That's not the only copy.

Interviewer Dan (11:19)

Now how did they get this?

Tom Althouse (11:21)

Did they.

Interviewer Dan (11:21)

Did you.

Tom Althouse (11:22)

Through the attorneys. Through the attorneys of Warner Brothers. The supplied attorney they supplied me was. Had a suspended license. His name is Tony Rankin. He's classmates from the University of Berkeley with a lead attorney from Warner Brothers, Linda Burrows. So what you have is a series of attorneys, all classmates, alumni, so they're loyal to each other from the University of Berkeley Law School that come together to handle me, make sure my case is thrown while they put Sophia Stewart in place to claim to the public as a first claimant that she wrote it. So what you have is a whole strategy employed. And so these things were taken by the attorney who supposedly was representing me. Took them from my home at my own dining table. And when he said he had to take a call and I had to leave the room well, all these were taken. Now, what's interesting is the CIA can get a hold of them and have them restored. They have a film department. Michael Jaco says. So this one right here, what Warner Brothers was doing is getting ready all drafts, getting rid of all drafts that are pre 96. This is important. You saw the 1998, you know, copyright on this one. Any drafts from 96, which I just showed you, that was 1993, the earlier one, were taken because the Wachowskis never were given the green light to claim a title until 1996. And that's when they came up with the Matrix title offer letters. Before that, they didn't choose the candidates that was going to be the ones to be given the, quote, science project. So from 93 to 96, it's left open. And you see that in the copyright trail, Tom Hanks is tapped. Wendy Wasserstein, a Jewish playwright, is tapped in copyright entries by HBO and Warner Brothers and in the copyright office. This is very cerebral, but I know you guys can handle this. So what you have is all this combating and vying and jousting for power on who's going to get to have the stolen work from 93 to 96. So when they finally give it to the Wachowskis in 96 and greenlight them, they have to get rid of all the pre 96 and any witnesses that it was done in 93. Now, stay with me. So what you have here is the original draft, 93 draft that I worked with Greg Mazer, and it actually has the notes still in here. They even gave me the note page where he wrote me back and said. And has an affidavit, too, about how this whole thing was a complete script, 128 pages in 1993. And then you've got something really fascinating here. A screenplay which is dated from 1995, another draft returned by. These are all in a stack on my bed three days before Easter. This means the CIA wants us to win now. They want to be known as the good guys now. So what they're doing is restoring the work so we can finally win October 19th. You can see that up there. This cover page is missing. Notice the COVID page on these other entries that were restored. The COVID page is missing because I already had the COVID page. Tony Rankin, the attorney that was supplied by Warner Brothers, ripped the COVID page off of this and stuffed it down my child's art box in 2012, when he's over for dinner and took our poor man's patent and pulled the Full script out, which is now right here. Returned also in the stack from the patent, the poor man's patent, which is an envelope you mailed to yourself to prove you get it on a certain date, timestamp by the post office. So that's restored. So the reason you don't have a cover page on this important copy from 95 is because Mr. Rankin ripped it off and shoved it down my child's art box. So, you know, because he wanted this proof of this date on here removed and taken to Warner Brothers offices in California. So right now we've got all this restored, which begs the questions, why was this done? You know, why are you returning to the artist? Do you think time's run out. This is very, very key because what you have is not only the intellectual property involved here, but the tech involved. The neural link jack's the neck. And remember I said how the Wachowskis finally got the rights to take it in 96 when Joel Silver auditioned him with a bound. They said, okay, you can direct. They actually had an article in 95 that said we failed as writers in Hollywood. We had to pack our bags and leave. The only way we'll make it is if we're given a project to direct the science project. It wasn't theirs, like I said. So then what they did was when they were given green light in 96, they announced, we want to do jacks for real. Listen to this. We want to do Jackson Neck for real. They're saying now that you gave us a story. We're not just happy with having a story. We want to have the tech. We want to claim neural link, which I called neuro enhancer all through the immortals. So what they did was they slapped him down and said, you can't have neural enhancer. What we're going to do is we're going to pick a candidate for the tech and we'll control the tech through a in house candidate. And we'll control the story with you guys in house. So they gave it to Elon Musk and groomed him by having him in Iron Man 2. Grooming him, showing him an Iron Man 2. Then they showed him in Sheldon. Watch Sheldon, where he's shown stealing his own work. Sheldon's young rocket tech. He shows him stealing it in the clip.

Interviewer Dan (16:19)

The sitcom you're talking about.

Tom Althouse (16:20)

Yeah, yeah, he's in it. You can look it up. Look up Elon Musk in Young Sheldon. And so they're shaming him. So there's. Before they give Elon the neural link which they took from our work. They're going to go ahead and groom him and say we're establishing Elon Musk was with us. Elon Musk was not allowed to claim it until we already had claimed it and destroyed the author and the inventor. So we're destroying the author and now we're going to give it to him. So let's stop there for a second.

Interviewer Dan (16:50)

Yeah.

Tom Althouse (16:50)

Because this is mind blowing.

Interviewer Dan (16:53)

I have questions. Yes, please do.

Tom Althouse (16:55)

Fire away. Yeah, all this can be verified online.

Interviewer Dan (16:58)

Number one, Tom Hanks. What does he. So he. He originally has the script that's stolen from you.

Tom Althouse (17:08)

Yeah, well, Warner Brothers. Yeah. Through Joel Silver and Warner Brothers. Yeah, I pitched it in full. If you look up online, Bonaventura, Lorenzo D. Bonaventura of Warner Brothers. The exact Warner Brothers still claims in Wikipedia that he discovered and shepherded the Matrix story because I pitched it to him in full in June 93, we have the submitting attorney James Boyd in Norfolk in his affidavit saying in supplying all the materials, original script and everything, that he sent it in 6-25-93, per Bonaventura's directions. So what you have is proof of direct access. Joel Silver gets it from Bonaventura and then enters it into the story department without the Wachowskis in 94, and then brings them in in 95 and 96. So what you have is the tech and the story being worth a fortune. Warner bro. And that's what Bonaventura told me during the pitch session. This is revolutionary. So go forward with your question. Okay.

Interviewer Dan (18:04)

Yeah. So that. I just think it's interesting. It seems like Hanks was a candidate and then they went away from him. They went with these brothers or sisters people. Because this guy Tom Hanks plays a weird role he does in. In whatever kind of global affairs are going on. So he's one of these guys that is a player, but I guess they're like, not this role. We need you for the. For the kids.

Interviewer Dave (18:26)

Yeah, we need you for the kids.

Interviewer Dan (18:30)

Okay. So that happens there. Another question, when you're. When you approach these, like the WB executives, is there any. Is there any like. What's the word? Like, ignorance on your part on how to approach these guys at the time? Like.

Tom Althouse (18:50)

Did they.

Interviewer Dan (18:51)

Did they take advantage of you or did you have your stuff buttoned up and it kind of dealing with 100?

Tom Althouse (18:55)

No one's ever asked that question before. And that's a brilliant question because, yes, they totally take advantage of you by being the authority for you on what you need to do and giving your marching orders and everything. Submit it through a attorneys and I'll push it through. Bonaventura says, because we've got to follow the certain protocols. Warner Bros. Doesn't take unsolicited work. I'll make sure it gets through. And yes, they take advantage of your naivety completely and by assuring you, swaging you, that they're going to take care of everything, everything will be done for you. Trust them. So it's a brilliant question. Absolutely. 100%, yes. And I followed along. I was excited. You're drunk on the idea that, okay, they're making this. This is huge. You're going to celebrate. They got you, they got you misdirected because you're not looking at the safeties.

Interviewer Dave (19:40)

This is something that we see within both industries. Hollywood, every music industry, even in the.

Interviewer Dan (19:44)

Podcast industry, like you, you come with some, like, certain idea. This is at a very minor level, but I'm, I'm keenly aware of the people who are like, good, now put it here and then we'll take it. You know, like, we'll take it from here. We got it. You're the guy, you know, that kind of shit. Yeah, yeah, it's just. But this is just common practice. So another question was this. How many, how many playwrights or stories have you written up until this point where you're. Because obviously this movie is kind of like this play that you're, you're writing or the script is kind of a stroke of genius. So where do you have experience with this? Or like, where does it come from?

Tom Althouse (20:21)

Great question. I was at Pat Robertson's film school, the televangelist. And so when I was aware of what his plans were along with Cabal, when I realized what was going on, he confided in me because he was grooming me to be the face of the Christian Coalition, to be that person that'll front for him to make sure he has a continued power. And so he confided in certain things and the ideas were chilling and I didn't go along with it. So I lost everything. And that's why I whispered through art in this 128 page thing. So basically, first of all, yes, there was other works I have done in school and things like that, but this one was driven by a need to whisper through art, I would say, to let people know what's coming. So this is a different animal. The Matrix boy really was a documentary, if you will. It was something to let people know, future generations, especially that this was all going to happen. What the plans were, including Operation Blue Light. So that's why you have the identical figures facing off at the end. Everything's there. Which, incidentally, the Wachowskis argued on set. You can see this online. The Wachowskis argued on set with the entire crew, apparently. And team that they're going to keep the exact ending. Exact ending of what they did. They kept the exact ending of this. Now, remember when I said they were getting rid of all the evidence of 93 pre. 93. Pre. 96. I'm sorry. Well, George Michael dies, 2016, on Christmas. I believe in 2016, when our case is fully thrown by their attorneys that are planted, including the guy with a suspended license, they throw it all, block it all, and then they have George Michael murdered. Now, George Michael was the best witness to this work until the CIA restored all these original drafts.

Interviewer Dan (22:01)

George Michael from Wham. We're talking George Michael.

Tom Althouse (22:04)

Yes, George. Watch the. Let me show you a page at the end of this thing and I'll make it illustrated. It's going to be mind blowing, but yeah, watch this.

Interviewer Dan (22:11)

Greatest song ever made. The Christmas song from a whammy.

Tom Althouse (22:14)

Look at this. Praying for Time by George Michael. Final credits. This is the 1998 version, which was done in 93. So that means that George Michael read the script in 1993 to vet it and to greenlight it, that I could submit it through the attorneys Boyd and Boy of Norfolk in 1993 to Warner Brothers. I let him read the script. George Michael. Then when he gives the permission, he's what he. His quote basically was to me, go ahead and send it in. We'll see where it goes. Fair enough. Left it open. And so that's why it says here, Praying for Time, which is the best ending credits for the Matrix. Think of it. The wounded skies above what happened over here is over here. God has no children, he's not keeping score, that kind of thing. All that's in there, basically badly paraphrased by me. But Praying for Time means that George Michael read the full script, is the best witness that the work was done in 1993. So they tie up all their loose ends and eliminate him on Christmas in 2016, saying his heart gave out. In Hollywood, if your heart gives out in any show, that means you were murdered. Look at black sales and everything else.

Interviewer Dan (23:25)

This is great. I did not expect to learn today that George Michael died because of the Matrix.

Tom Althouse (23:30)

He died a hero. He's a hero. He's a hero. He's the One that stood by and said, yeah, go ahead tomorrow. And he would have been the best witness. The reason he's killed is he would have stood up and verified all this. So they had to get rid of him.

Interviewer Dave (23:42)

This, this story, Tom, did they change anything? Did they take any creative liberties that, that you disagreed with? Did they alter the story in any way?

Interviewer Dan (23:50)

How you feel about what's his name, Keanu Reeves? We. I love Keanu Reeves.

Interviewer Dave (23:55)

Keanu is an interesting character, especially given his reputation going forward, he becomes like the most lovable character in the Best Dude. I mean, let's stick with this. Did they. And if they did, what did they change? And how did it alter the fundamental message of what you were trying to get across?

Tom Althouse (24:12)

It's a brilliant question. Let's take a look at it. I need to send you some of the clips too, so you can have them as companions with our interview. Because when you're going to see is the architect. First of all, some of the changes. They chop shopped everything by telling Warner Brothers that they were going to lift everything they thought was cool into a visual storyboard. Then they would get on set, make it up as they go along, reconstructing everything. That's why you need to re engineer it, reverse engineer to understand all this. Make it up on set with a visual storyboard and this script right here in hand. This in hand, visual storyboard the other. And they thought that takes small minds to think this. That you can create this on set. That's why it's not tied together. It's completely incongruent. Is because they lifted everything they thought was cool and then shop shopped it. Like taking a Porsche, chopping it up in a garage and then trying to put it together in a different way with different parts. So here's an example. The liquid mirrors in the original story are at the train station scene. Liquid mirrors you can pass through if you take the red pill. If you haven't, you cannot. That's your barrier from entering the Matrix is you can go through the mirrors, the security mirrors, and there's crowds waiting to get their kids through. That's what the train station is. They simplified the budget, first of all, and made it a single family, made it a wealthy family. It's supposed to be haggard people who have a last hope and chance shred of hope that if they put their children into the program by getting somebody who's a red pill to take them, that maybe their children have a better lives than the hell they're living outside the program now. They got that part right. Yet they take the liquid mirrors and put it in Morpheus's smoking room. Also, they reverse the red pill blue pill. The red pill is based on the blood of the children in the original story to make an immortal program Matrix program. And so what happens is the red pill is the bad pill. The red pill shows up in the original story during the interrogation scene. It's the only pill that is offered or actually demanded the Neo take in the interrogation. They got that right. So they're chopping it as they're copying it because they're not that smart. So what happens is you're talking about guys that failed at everything. Dropped out of school, failed at painting contracts, everything. Their mom said all they do is play video games. So these guys are groupies stealing work. The worst candidates to take the work and re render it. Now, so the red pill ends up with Morpheus and theirs holding a blue pill like Alice in Wonderland. Let's look at that. Alice in Wonderland is there because they're making up as they go along. They told the suits they'll draw off of other work in order to fill in the gaps. Sort of like the DNA and Jurassic park dinosaurs. So what you got is we're making up as we go along. Hey, it'd be cool to have the Alice in Wonderland imagery throughout it stuck with it stuck in their head. So we have drink me, eat me instead of the original way, which is you only are offered the red pill. Smith's not allowed to take Neo out. Smith does. Neo does not have Superman powers. I'll explain in a second why he's told you take the red pill or you and your family are going to die. So you have to take the red pill, which is the blood of the children, which is based on for a mortal program. So he does. He does, for the sake of his family. And then later, when he's cut from the program, he's offered the blue pill in Underground by Morpheus in the original work. See, that's to allow him to get back into the program when he's been cut from it by the Architect. So what you have is. It's ruined. Where now they're saying red pill, blue pill, and to slap the population's face of humanity. They reverse the meanings.

Interviewer Dave (27:51)

That's really interesting, Tom, because right now, if you look at the conspiracy, truth or community, the red pill has become synonymous with seeking the truth. Also that element of the rabbit, you know, chasing the white rabbit. Which you said was injected. Yeah, via Alice in Wonderland. It's got to Be weird for you, sitting here looking at the. The ripple effect that's been caused by this film within, you know, the communities that are trying to find the truth. And the two staples that pop up over and over again are the red pill, which is an inversion according to your original works, And. And then this injection of Alice in Wonderland, which is prominent in following the White Rabbit.

Tom Althouse (28:31)

Really? Yeah. Well, let's go. Yeah, go ahead. Sorry.

Interviewer Dave (28:35)

Where do you get.

Interviewer Dan (28:36)

So where do you get this idea? Where do you originally draw the idea of. Because now we're talking about adrenochrome, in a way.

Tom Althouse (28:42)

Yeah.

Interviewer Dan (28:42)

And you're also like the idea of this. Of the mirror. That is a really esoteric thing. Like, you know, doorways, mirrors, when we're talking about portals, in a way. Where do you draw from when you. When you originally create that? That's a great.

Tom Althouse (28:58)

Yeah, that's such a brilliant question. The mirrors come from introspection that anybody who has empathy needs to look into themselves. The blue pill comes from the author's eye. It's the blue. You'll see what the author saw to warn you about what's being planned for a One World Order, using a longevity program. The red pill, to get all the different world leaders and their families to acquiesce and come together to agree to a One World Order, you got to have a sell point. And it is the longevity program which is now happening in our time. Liquid mirrors. Again, like you just said, liquid mirrors as a portal is what is at the train station. So they take it out and put it in the smoking room as if it's just an entertainment thing for Neo to put his hand through in front of Morpheus. You don't need the blue pill at that scene. Only the red pill will suffice. If he's not going to enter the program, you don't need a blue pill. I mean, what is he going to do? So what you have is back to the train station scene. They drew from Alice in Wonderland. They also drew from Ghost, because what they did was they mixed in ghost with a train man. From Ghost Train man doesn't belong in the original. Doesn't at all. And keep in mind that people that are trying to naysay what we have here, all this evidence, which Warner Brothers said they knew it would surface at some point, that they can't stop it, but they can profit off as long as they can. Well, other people try to say, this author has no idea what the Matrix means. Are you serious? I know what the Matrix means completely. It's basically ABCs. What they did with it is so juvenile and so disconnected. But you put it back. I'm the author. I know exactly how it ties together and the complexities when they're restored, when people see the way it's supposed to be, there's layers. I wrote it in layers. That was to make it revolutionary. And that's why Bonaventura said it was revolutionary. Because you go back to that first pitch session in 95 where the execs at Warner Brothers in this article is being put written record that they said to the Wachowskis and Joel Silver, who's present because Wachowskis didn't understand the work either, saying, we know we have something cool, but we don't understand it. Can you explain it to us? Wachowskis couldn't they get off, according to the article. And Larry's screaming the other room. You can't do that. Because they were thinking of not having them. Because they couldn't explain it. Joel Silver steps in at the meeting as record as he said, you know, it's robots in the program. Think of this, robots in the program. No, he got it wrong. If you look at the original work, it's robot like agents in the program. Robot like means the stakes are higher. Robot like. If a lazy man had read a little more detailed, robot like means that there's a room of monitors which doesn't belong to the Architect. The room of monitors belongs to Smith. The room of monitors is so we can monitor every single agent with a. With vital signs shown. If they show feelings, they're terminated. If they're robots, we don't have to worry about that. But if they're actually robot like agents, which they put in oblivion later with Tom Cruise, then figures everything then, yeah, that's a real struggle. Now we can put ourselves in the shoes of the agents and realize they're going through hell. CIA appreciated that. See? So that's what you see is you see a precursor scene foreshadowing what will happen to anyone who disconnects from the neural link, which was actually called the neural enhancer. And so what happens is if you disconnect, you're terminated from that room of monitors, not the Architect's room. What they did to answer the question how they changed it. And yes, it's infuriating, they took the Architect, put him in the room of monitors and gave him the silver pen, which is essential in the story, which represents our creativity. Freedom of choice. It was given to Neo. Neo has the silver pen in the original work and it's destroyed by an agent. It's symbolic. So they give it to the Architect. And what does the Architect do in the work? They're going to mock you. He uses it as a channel changer. Go back to the Matrix, look at the Architect's original scene with the room monitors and watch the first clip. They put it right in your face, close up like this and go, click. They're slapping your face. The Wachowskis never understood the word. So we all were the only ones with a full copyright on the work. But we, we still may not get justice in my lifetime because we've got a battery of attorneys and, and FBI also working on it too. I've been shut away by SWAT teams six times because he thinks he wrote the Matrix. I'm the only one with the copyright. So. Yeah, and I have all the original drafts. We got their attorneys on tape saying we have no original drafts. So it's a mute point to ask for any discovery. And the reason I have that tape is the guy with a suspended license who represented me, that was Warner Brothers classmate working for them, taped it and gave me the wrong tape recorder back. And we got him on tape saying they have no working drafts. Yeah, we can win in court easily when it's a fair venue. Go ahead.

Interviewer Dave (33:37)

I want to get into this idea of the timing, you know, for the significance of right now. Elon Musk, neural link, all these different things. The CIA. But before we do, we're at the 30 minute mark. We're gonna go live, guys, exclusively to patreon.com if you're watch watching now and you want to continue watching, head on over to patreon.com forward/nephilim death Squad. Otherwise, give it about a week and this episode will release in its entirety. So, but before we, we get into that, I want to kind of ask you about these, these elements that have become lionized within the Matrix. And those are elements of, of Gnosticism. So this idea that of the demiurge, let's say if you watch the Matrix film now, I hadn't watched it in quite some time. And then, you know, it's one of those things that kind of. It's the gift that keeps on giving. If you have fresh eyes and you go back to it, you might catch something new or an element that you didn't see before. And what I'm seeing is an alignment with this sort of Gnosticism, this idea of ancient AI, the idea of being in a prison planet and that the God of this realm is the demiurge. And. And then I think I want to say that it's even the Matrix film that has allowed Gnostics to begin to speculate about the nature of AI and incorporate ideas of ancient AI, so that the demiurge, the God of this prison realm that we inhabit, is actually synonymous with this idea of ancient artificial intelligence. And of course, once you have that lens, you see that element within the robotic, you know, imprisoners and, and things of that nature. It was that something that was in your original script. Do you see that in, in the Matrix currently? Or do you think that this is one of those things where, as a theory arises, you can kind of look back to another work and, and, and see it in that work where it didn't really exist before.

Tom Althouse (35:38)

You just hit something so important. First of all, the layers, like I said about the layers and excuse the cats are having a good time. The layers really. So, like, that's what I was doing, was trying to make it so that it would immerse audiences by leaving a lot of the backstories out and things, but it would allow you to incorporate any element of your belief system into it that it becomes your own, that you can make it your own. So it becomes a framework for you to insert your personal life that it becomes yours. It was also supposed to be a springboard in that thinking, in that way of methodology, to make it so that people would be inspired to create their own work off of it. My intention was to open up the copyright for every man, woman and children child so they can do their own versions of it. And I could enjoy that too. To encourage creativity, lift the ceiling on what's possible. And to do that, you've got to make it so it's a service to humanity. You're making a gift to humanity and it infuriates me. They ripped it off because I felt it was perfect when I pitched it and gave it, because it just had just the right balance of enough backstory out which was. Could be explained and covered, where I could let others fill their own personal experiences in, if that makes any sense, to create it, to make it their story. That way people would turn to each other and go, what do you think it means? What do you think it means? You also hit it on the head that yes, it was meant to be. So you'd watch it again, watch it again, be very complex with layers, that you watch it again and get something out of it each time and maybe even take you down a road where you refer to think your own Orientation. One of the purposes in that was that me, as the author, was thinking, I celebrate your faith, not your religion, therefore your journey in your faith. That spark of faith which I believe is attached to creativity. So in faith, I will celebrate every step of your life, no matter what you believe or what turn you take. And in the end, I'm right there with you because I celebrate your ability to. For faith, not your religion. So therefore this piece was to illustrate that. That your change of thinking with this piece and saying, I think it means this. I would say, you're right. Then you come back later and say, well, I think it means this, you're right. Well, I think it means this, you're right. And that's how we bring our styles together. We cannot throw the puzzle pieces off the table. So there's a lot of depth in it. And that's why I'm just furious that they gave it to monkeys, not to insult monkeys.

Interviewer Dave (38:02)

Did you. Did you plan for the original script to incorporate that moment where Neo's license reads 9 11?

Tom Althouse (38:10)

Ah, great question. Not the license reading 9 11. But get this, I love you asked that it was a false flag warning. When I was at Pat Robertson's group and with the FBI giving that what they gave me that one card that said, please extend every courtesy to Tom Althouse from the sheriff's department. It was the FBI that did that. I was at a dinner with John Bob Walsh or whatever and FBI heads. So when I was at Robertson's group, the FBI was in my circle also giving me protection. Doesn't it say something? But what's interesting is that 911 was actually in the original work, a false flag, which was a detonation of a hospital. So what they did in Dark Knight, the Christopher Nolan, I think it was, was a big theft, big thief in this thing. They did the hospital and did all the angles of the hospital blowing up. Because that was the original 911 that I was warning about as I took it and I put it forward as a hospital because it says in there, we've got to give these people something to worry about. The population needs to be distracted by something they can worry about. So we're going to stage a false flag in order to galvanize them. And that's what I was warning through the art. So the, yes, the 911 element is definitely in there. And it's one of the reasons they wanted to launder the script.

Interviewer Dan (39:29)

That's that this is the part that perplexes me because it's an important movie in so many different ways. And they, they initially see your script and they go like, I just wonder when they decided this guy has tapped into something that maybe we've been trying to say for a while, or maybe he's. He's channeled a vehicle that we need to push all of this stuff forward.

Interviewer Dave (39:54)

And.

Interviewer Dan (39:54)

And now you're like, screw this guy. Like, it's finally been presented to it. It almost feels like a weird form of prophecy. Like they knew what it was when they saw it, and then they. And then they move, which is wild.

Interviewer Dave (40:06)

Because a lot of scripts come across tables and, and you know, these people think that it's going to be brilliant one way or another, and then you cannot help when the industry, you know, when, when it flops, when it comes out.

Tom Althouse (40:17)

Yeah.

Interviewer Dave (40:17)

And. But these people were tenacious in their. Their willingness to, you know, sort of pry it out of your fingers and present it as their own. They had a tremendous amount of faith in this product.

Tom Althouse (40:32)

Absolutely. That's what Bonaventura made clear at the pitch session. He was like, this is revolutionary. He already had the script. It was given to him by Lenny Coco. And we got a tape of Lenny Coco, who's one of the famous singers of all time on the top Billboard charts. Lenny Coco and the Chimes had a big ballad in the 60s or something. And so he was best friends with Bonaventura from Warner Brothers. And what's interesting is he. We have a tape of him saying, yes, you were here. Yes, I would like you to write my story. Yes, it blew the attorneys away because they were on the phone like, you're vindicated, you're vindicated. Never allowed to be in the end of evidence. Let me give you something too of how you throw a case. If you really are scared and you have no evidence to refute as studios, here's what you do. Let me show you these documents right here, which are just mind blowing. Okay, so we've got these pieces right here. I'm going to show you something. These were also restored to my home. These are the original entries. Look at the. Look at the pink marking on this. So it's a stack. This stack right here is all matrix matchups. Now you're seeing the writing of the attorney that was supplied me. The attorney Tony Rankin, who had a suspended license at this time since 1982, to make sure that I wouldn't have legitimate representation, was also classmates of theirs. So Sophia Stewart gets on the phone with me when the news first breaks that this author has been brought forward and says, you're the missing link. I have that call recorded somewhere. You're the missing link. I wrote Matrix one, year two and three. This is done by the studios. She has a letter from a Kate Chilton, who's a top exec at Warner Brothers and Netflix now, to launder the work in charge of litigation, content control. She was at Warner Brothers at my deposition. She was the one that hired Sophia Stewart. She's the female architect, if you will, promising her five to seven million dollars in a letter if she'll handle the author. Original author. And so Sophia Stewart's on the phone telling me, in 2012, you're the missing link. Brands me right away. We'll do interviews together. You claim I a Matrix one, you can claim two and three. Now, why was she doing that? And why was Tony Ranking saying, you can't claim Matrix 1? Look at this draft right here. These are our similarities. 190 similarities. Look at these circles and question marks. And X's only matrix one. So the game was this. Take all these 190 matchups from the original work. That's a slam dunk. Win in court and say, all right, you can't claim Matrix 1. And then anything in Matrix 1 cannot be carried over to Matrix 2 and 3. You can't claim it then. So no matchups. Unbelievable. Until it surfaces by a guy. And stay with me inside Warner Brothers story department that contacts me right after Sophia Stewart does and says, guess what? I'm with the story department. He doesn't give his name. He says, if you go to the interrogation scene, first scene they wrote, first scene I wrote, first thing they did. You're going to see a graphic where your high school, your birthday, your dad's name, your name is all in the work by the Wachowskis inserted. They're slapping back at Warner Brothers. It's all there. Go look it up. And I did. It was all there. And Sophia Stewart blew a gasket. She was screaming and yelling. And even the BBC had me on an interview with her when I brought this forward and said, it's been discovered and brought to my attention. And she cut the interview off. Sophia Stewart was with me on it. She's supposed to handle me. She was a handler. And so all these entries from Matrix 1, all these matchups, that's how they throw the case, too. They go, you can't claim Matrix 1. I want to claim Matrix 1. So I never got to claim Matrix 1 yet. So now here we are, and now we're told that we can go forward and make a claim because of the duress, fraud, harassment, everything that stopped me when I wanted to and was willing all these years to do it. There is room here to wiggle. So that's how they threw it. Don't let them claim matrix 1. In a coordinating effort between Sophia Stewart, supplied by Kate Chilton of Warner Brothers and also the attorney. It's very important to understand that when you look up online, Tom Althouse lost his case. Tom Altos never had a chance because all the evidence was being shot down and they killed George Michael and they turned witnesses away and made sure nothing ever came to light.

Interviewer Dave (45:00)

You don't have. Was there anything in your original scripts that started to lay the groundwork for like, let's say Matrix 2?

Tom Althouse (45:06)

Absolutely. What you have is of course, very important question you just asked. Warner Brothers is now saying they want to go back and redo over. Do over. Do a do over on Matrix 2 because the Wachowskis did it so badly, they want to do a do over with a different writer.

Interviewer Dave (45:24)

It was a massive departure. Like it was, you know, it was, it was jarring how different it was.

Interviewer Dan (45:29)

It was. It was similar to. Well, if you paid attention to the Game of Thrones.

Interviewer Dave (45:34)

Oh yeah.

Interviewer Dan (45:35)

The very last season. Those books aren't even finished yet. They'll probably never be finished. So George R.R. martin could only give a direction.

Tom Althouse (45:43)

Yeah.

Interviewer Dan (45:43)

And then you have the directors there that kind of just fill in the gaps and it was garbage.

Interviewer Dave (45:47)

Yeah.

Tom Althouse (45:48)

Ready for this? Okay. Ready for this. This is very important. You just raised something so important on that copyright with Tom Hanks and then the one with Wendy Waste. Look up, if you get a chance sometime, I can send it to you. Look up at the copyright office webpage, Tom Hanks Immortals. And look what you see. Ordered and commissioned by HBO and Warner Brothers. J.J. martin is an in house employee for HBO and he was commissioned to steal work. And in Game of Thrones, you're going to see it all through it. It's an extension of the ripoff of Matrix story. And so believe it or not, I know it sounds like a stretch. King Tomlin commits suicide as the king. Off the top. You've got the whole thing with the oh my God, it's all through it. It's such a stab in the back that they have this guy who is an in house employee elevated to some great writer. The reason the stories aren't finished is they don't need the book finished. They don't need it now. Just like Joel Silver did with Oblivion when our case was thrown. Disney held on To Oblivion for Joel Silver. And he got it right. He didn't have robot like agents, I mean, sorry, robots in the program. He had robot like agents. And so the identical figures facing off the stadium scene, everything's in there because he got to take it with a win with the case thrown and steal with impunity.

Interviewer Dave (47:11)

That's within Oblivion.

Tom Althouse (47:12)

Oblivion, yes. And so they said in the article that there was no need to finish the graphic novel. Novel. The graphic novel for Oblivion will never be completed. Just like JR Martin's work because it was a theft device. So they could have instead of the script, something that people could then follow. Then they turn it into a book. If it needs to be a plausible back source to claim that's where it came from. And they hire in house employees to render it. J.R. martin is not a genius. He had it done with a team with him. And he got to be the front guy. Just like the Wachowskis are failures. He got to be the front guy. We have been snowed our entire lives.

Interviewer Dave (47:48)

How much Hollywood is. Is this mechanism by which you just steal.

Tom Althouse (47:54)

It's all tinsel and plastic. It's all tinsel and plastic held together by gravy. What you got is everybody has to sell their souls and sell themselves out basically, to a degree, in order to be part of the club. And the club is a. Is a group of monkeys that are devouring a carcass and dividing it up amongst them themselves. It has been stolen, stolen, stolen, stolen, stolen throughout time. They don't want legitimate people coming forward and actually showing they own the work because that means they'll have influence. That's where the agencies come involved. They don't want people having influence that are outside their way of thinking. So if you're benevolent and empathetic, you are supposed to be removed. You're weak. And they claim that the laws of nature apply, that the strong feed on the weak. If you're. If you care, you're weak. I was told that by a honeypot wife. So they'll take from you have. Because that's what the laws of nature say, take from the weak to make the strong stronger. That's what they apply.

Interviewer Dave (48:51)

It's an interesting thing because, you know, I. I said that I wanted to get to this idea of almost like the tide's turning, right? Like the time for the CIA to then favor your story seems to be, you know, relevant.

Interviewer Dan (49:07)

And it's alarming.

Interviewer Dave (49:08)

But it's also weird because Hollywood, and maybe I'm wrong, maybe this is just. Maybe I'm so exhausted with all like the woke insertions and all the crap. But it looks like Hollywood is dying in a huge way. It hasn't recovered since COVID and, and, and, and so now it just adds to this moment where it feels like we're pivoting in one way or another.

Interviewer Dan (49:32)

And then what's happening now is independent media is taking off in a big way. That's why you're seeing a lot of independent media. I mean, it starts in news. I think it's the best example where we can look at these journalists who are being honey potted. Like, these are just regular people. At some point they're elevated, they're given Epstein files, marched out by the White House, embarrassed. But this is the same process that has happened to people that worked for CNN previously or like Fox News, large agencies now. It's just on a small. The game has changed. So I think we're watching that and I guess you're getting, maybe you're getting vindication from these people.

Tom Althouse (50:09)

I.

Interviewer Dan (50:09)

And I, I'm just like, like, why do they, why even bother now?

Tom Althouse (50:13)

Why.

Interviewer Dave (50:15)

Weird ass moment where, you know, speaking of Tom Hank as somebody, and it's like right after Covid, he got really jammed up, it seemed, and he was wrapped up in all of these sort of child sex trafficking accusations. And then they whisked him off to like Spain or something like that. And there was all these cryptic situations where he was posting pictures. Yeah, he's posting pictures to his Instagram. And one of them is like, near the location where they think Isaac Happy died or something like that. Everything got really weird for Hollywood. And then it stopped producing. Not to the level that it was, you know, before 2020. It just kind of hemorrhaged. And now we're in this really weird place and it does feel so I wonder maybe we, maybe we should get.

Interviewer Dan (51:05)

Into this, like, as it's dying. It's like they're. They're restoring. They're restoring you. And I'm just like, well, because you know why?

Interviewer Dave (51:12)

And. And I'm gonna let you go, Tom. I'm sorry, but it feels like we're at this turning heel point where.

Interviewer Dan (51:19)

Turning Point usa.

Interviewer Dave (51:20)

Well, well, what's. Disney just fired Kibble, you know, more or less. Right. I mean, Disney owns abc. ABC gets rid of Kimmel. Disney does the same thing back in the day with Gina Carano. So you've got polar opposite ends of the spectrum, the cultural spectrum, the political spectrum, but the same actions. I kind of thought we were turning a corner when I saw The Deadpool and Wolverine film because it's seem to be mocking some of these, like LGBTQ whatever ideologies. And I said, interesting. Not a. Not a move to overlook when it comes to Hollywood willing to poke that part of the. The cultural spectrum. And. And so now with this firing of Kimmel, I can't help but feel like, are we really. They're going to follow wherever the money is? I think it's more than that, but let's just say something people can grasp. You're gonna go wherever the money is. And the cultural paradigm is shifting towards conservatism. Again, the pendulum is swung.

Tom Althouse (52:17)

Are.

Interviewer Dave (52:17)

Is the industry getting ready to pivot also?

Interviewer Dan (52:20)

Why does it take a blood sacrifice to do that? Because I think you're right. I think we are like, everyone's been feeling it. We're feeling a movement and now it's like full swing. But I'm like, yeah, it looks like they did a blood. Like, do you have to do a blood sacrifice maybe to change things, to mark the occasion? Why not just do it?

Interviewer Dave (52:36)

What are your. What are your thoughts on that?

Tom Althouse (52:38)

So many. These are great questions. This has been very enjoyable for me to be here right now because it's. You guys are smart. I love it. It's nice.

Interviewer Dave (52:45)

Don't get carried away.

Tom Althouse (52:47)

No, I'm like it. I like it. I'm not trying to blow smoke. I'm just saying it's nice. For me, this is like on the other end of sides. Other end of it all. Because you're saying, like, it's now changing. This is what I've been waiting for. Waiting for, like, dialogues like this. Because I was told that I was groomed to lead inside the cabal, but that grooming to lead inside the cabal. Now they're looking at maybe I can lead in a good way. And the good side of things where we turn it around. I was told by paparazzi, lead paparazzi, Rick Leakes and others that are like lead on Maui in California. They said dangerous. People in Hollywood are looking. Are supporting you now, Tom. And just stay alive. Your orders are just stay alive. A new Hollywood is forming because of you. What happened was because of all the inserted material I talked about. If you go to the website, look it out, look it up. What's in there? Fiance's birthday is Neil's birthday. My birthday's above it. My high school, all that stuff stuck in there. That means that I have a mantle of responsibility to see this through. I'd like to be riding or farming, but I have to see this through, because my work is what they put all the inserts in. Thank God the Wachowskis were so dumb. And so they stuck all that in to mock and to mock the authors. What I was told, now we can show and turn this around with the right venue and the right vehicle and the right people and prove and have that influence. Disney says it's all about power, but now they're seeing also, if you have success, they want to get on your bandwagon. And so now they consider me successful because I stayed alive. And to stay alive, I let Disney know and I have the call recorded when I said, I have 17 more drafts of other work. One is improvement on the Matrix 1 the Immortals. And they're like I said, if anything happens to my last surviving son, my other two were killed. I said, if anything happens to my last son, I'm destroying that work. And they go, you can't do that. I found the leverage card. I found what they wanted so badly that would keep me and my last son alive. And it was their greed for the other work I have. Because they know, they'll always come up and they'll say, we know you're the one that wrote it. Even their attorneys will take breaks and go, you're really a cool guy. We know you wrote it. We're just doing our job. So the enemy is complimenting you. Off record. The enemy is saying, you're the guy. We like what you did, but we're just doing our job. We have to bring you down, you know, so isn't that interesting? So now they can't contain it. So now they're saying, we want to choose those people to lead that actually had the guts and the ability and the courage to survive. Everything we threw. It amazes them that I'm still walking around and others like me because I was supposed to have a living death, that I would take my own life or they would take my life and say it was plausible. He would take his life because he was in misery. He wasn't happy. So what you have is a situation where finally we saw it through. We lasted. The greater will wins. We have all the proof. They know it's going to come out now. Roseanne Barr doing her show, she did that on the kindness of her heart and just made it fly. She got the biggest numbers off of it because she framed it properly. She brought it, let me say, about the red pill, Blue Reverse brought her evidence. She said, I'm going to give you legitimacy. I'm going to let you, the World. See, this is real. And she said that Trump even said from when she got off the platform at that one engagement, that she was keynote speaker at his thing in Florida, that he says it's the greatest story. His whole family knows your story. It's the greatest story. And they're waiting for the right time to bring it all forward. So I'm being vindicated by the top people now, but I still feel responsibility, that I need to see this through to the right way and steer it the right way. And if I'm called to serve, I'll serve. If I'm called to be in the sidelines, I'll be on the sidelines. Whatever it takes. The work I believe will do the job. The work being out there and shown. If you share the website, that's what's going to do the job. Not anything I say. It's going to be the work that I believe God gave me.

Interviewer Dan (56:34)

What do you.

Tom Althouse (56:34)

I got.

Interviewer Dan (56:35)

So I guess a personal. One more personal question. When you're writing these things, are you. Are you meditating? Are you. What. What is your inspiration when you're drawing much of the ether, where you. What are you aimed at? Because I'm a big fan of how many ideas are actually our own. And I'm not. I'm not quite sure, but it seems like things come to you when you allow them to. So what are you. What are you looking at when you're, when you're getting this stuff that they want to protect?

Tom Althouse (57:06)

This question is so. I'm not getting teary right now. I'm getting teary. This question is so important at the core of everything that humanity needs to understand to proceed us to the next level. It's so important as the writer. You hit a vein, you hit a big vein, an artery. Humility and compassion is essential to equipping great work to make it happen, to facilitate it. It's humility, treating your audience as a service to them. That's what creates great art. I explained this to Bob Iger at Disney. You need to do it as a service, not as what you're going to gain. Like the Wachowskis said, they're going to get wine, women, fame. No, it's about doing something that lifts humanity and evaluating it as with compassion and empathy for all. That's where your great work comes from. And so this is where this came from. So when I'm writing it, I'm in tears, I'm laughing. It's like a private party. I'm getting this down low where I'm seeing it visually, I'm hearing it. It's all like Mozart where it's in layers at once, where I'm hearing the chorus and the orchestra. I'm not pasting and putting it together, like, piecing it. The interrogation scene flowed like that. I was just a scribe and it was tight. And I'm still making discoveries from the work. Like you guys said that you go back and you see it again, you get more. The author's still doing that. I still learn more. And it lines up. Is it prophetic? It sure seems to be. But that's not a feather in my hat that that means that I'm on the right track to maybe encourage others to be on the right track to do great creative work where we can use the creative work not for fame or celebrity status, but great work to maybe lift humanity to the next level and free us from this prison. Yeah, we're in a prison. We need to get out. And there have been schmucks that have been controlling the keys. It's time to get the keys from them. They know we're smarter. They know we're better. And they put it all in the Game of Thrones. In the end, Tyrion Lannister says, what makes a great king? What is it? Armies, power, you know, popularity. A good story. They even put it there. A good story. We have that good story. We have many. And just think, if this one screenplay that I held up, and here's those drafts. If I. This one screenplay that they say that the attorneys say change the world. They're on. Attorneys say you change the world. Yeah, but if one did that and we release it to make it freed up, where everybody can do their take on it, how many people live in the world right now, that means there's how many variations in the optimum response would be if they all did it, that's how many new works. So is there a ceiling on what is possible? We just broke it, the glass ceiling. When I got a call from a NASA scientist after I did one program, he called me from NASA and he said, oh, my God, I'm talking to Tom. Oh, my God. You're the one. I said, I'm talking to a rocket scientist. Oh, my God. And he's like, okay. He's like. He expressed the one fear they had was they're going to get all the answers. He's like, we don't have anything to live for after that. I'm like, yes, you do. They'll never be all the answers because, like, when I wrote the Work like when you astutely pointed out it's always going to ask more questions. Life will always be dynamic and so it'll never end in stimulation and fascination. So I'm looking forward to longevity and sharing a world where we do bring peace and we look at art as a service to help us learn together and no one has the wrong answer. And whatever your faith walk is, I celebrate it. And I'll be there in the end, right by your side. No matter what you choose as your religion, I'll be there. If you change your mind, I'll be there. If you have faith, I'll be there. And I celebrate that. So everybody has worth because you have the ability for faith. The one thing that can destroy it is the Neuro link. And it wasn't Elon Musk that came up with the name neural link. It was Warner Brothers and Paramount in Star Trek Discovery. That's when they have neuro enhancer. Neuro enhancer. Episode 6 Season 1 Star Trek Discovery they have neural. They have my name. Neuro enhancer. Neuro enhancer. Then they name it neural neuronal link before they give it to Elon Musk. Elon Musk is beholden to Warner Brothers and the FBI to do whatever they say. To do whatever they say and then otherwise they can yank it back and give it to somebody else. The neural link is in his property.

Interviewer Dave (61:29)

Well, this is actually perfect because this is where I wanted to go. You had mentioned before this idea that Elon was groomed for this situation and we're aware of that moment, right? Iron Man 2.

Interviewer Dan (61:38)

Hey, Dave, I'm sorry, before you go into Elon, go ahead. I got another question.

Tom Althouse (61:43)

Do you.

Interviewer Dan (61:43)

Does it ever give you pause that they took the idea of the red pill, inverted it and the right wing movement along with like these ideas of, I guess you would call like white hat, black hat, kind of like within, within the, the government, within Hollywood, within, you know, your major institutions, there are actors that are good actors that are bad. The good actors would lean towards this idea of the red pill. Like that's synonymous with. If you're thinking about a right wing or a conservative movement or like along the lines of Donald Trump or like, like things like that. That's.

Interviewer Dave (62:20)

Yeah, it used to be conspiracy. Now it's culture.

Interviewer Dan (62:23)

Now it's culture. And they, you know, this is also explicitly left wing. The Wachowski brothers, sisters, whatever it is, what they are doing now, their ideology is specifically left wing and that's correlated deeply with the blue pill. Whether they like it or not like that is known rhetoric. They inverted it though for a reason. And it's almost like they slurred themselves. It's bizarre.

Tom Althouse (62:50)

The amazing thing is they inverted it so that we all are compliant and when we speak it that if I say I'm red pilled, I have just gone along with the idea of the ingestion of the blood of the children for a longevity program. I have just gone along with that idea now involuntarily, if I'm ignorant to what it means. But it doesn't matter by saying it. So that's what they've done is they get us to agree by putting it in. Yeah, basically that's it. And that's their world. And they can. They're also trying to prove that the population is not intelligent. I wrote the piece when I felt guided to because I wanted to treat the audience as intelligent. If you watch any Spielberg film, you're going to see the local public or public portrayed as morons. You go to Men in Black where they break in the living room and get the weapons out of the back living room wall. The dad doesn't stand up and say, what are you doing in my home where those are. He just says go like, yeah, you know, like they're drooling idiots. So what you have is like your intro talked about morons running the show and they're mocking the actual smart people. Public's not stupid. And when you said about the actors being black and white, I believe basically actors are gray. I could meet with an actor and talk them into certain ideas and they'll probably agree because like, oh yeah, you wrote the thing. But it's like they're, they're malleable. No. So it's like it depends on who's influencing them. And that's why you have this huge battle over influence. And that's why a new Hollywood is forming. According to paparazzi saying, just stay alive. If I'm alive, I represent something, represent the author. And is it interesting that with JJ Martin wherever they've created somebody who's like their backroom guy employee to wear stardom, they keep doing this. Failed people become their poster boys.

Interviewer Dan (64:40)

It's because they're easier to say it. When I look every time I've read his books for like a decade and every time I look at him like this guy looks like an, like he's just like his beard's falling out of his face. He talks like real stupid. Yeah. And it's like, but he's writing this fictional piece of work that in my opinion is genius. It calls back to, I mean all the way to, you know, isn't that kind of the same mythology?

Interviewer Dave (65:01)

Stephen King, he's a. I think Stephen.

Interviewer Dan (65:03)

King is, I think he also, he might be chatting, he's plugged in. Yeah, but then there's other, this, it's like, that's like Neil DeGrasse Tyson or.

Tom Althouse (65:11)

Right.

Interviewer Dan (65:12)

They said Stephen Hawking.

Interviewer Dave (65:14)

I don't even think Stephen Hawking's was a genius. I think in front of us there's.

Interviewer Dan (65:18)

A lot of people that are marched out in front of us that are probably actors and we're supposed to believe that they've done some unreasonable things.

Interviewer Dave (65:25)

Well, that's. So that's what I was getting at with this whole Elon Musk thing is. Yeah, we are, he is our, our beacon of, you know, the highest potential iq. He is a, a modern day in the flesh Tony Stark. And, and you know, that was highlighted in this Iron Man 2 film where Tony is at the Stark Expo and he lands and there's, you know, the X is very prominent in the background. And then when he later on in the film is at a, at a party, Elon Musk cameo. And.

Interviewer Dan (65:56)

And isn't it also interesting that his son, I guess his oldest son is also trans?

Interviewer Dave (66:01)

Yeah, yeah.

Interviewer Dan (66:02)

Like it's almost like.

Tom Althouse (66:03)

Yeah, that's part of the program. That's part of the program. Elon Musk isn't that bright. He's not. He's a failed engineer. And the question is this, why would what engine? Like I had an engineer, a very gifted engineer talk to me recently after a program. He said engineers don't come up with this tech, visionaries do and the engineers are given the tech. And he explained it very well. He said engineers are focused in on solutions and creating off the vision. They don't have broad scheme vision. They are, their talents are focusing in on the directive or problem or creating. So they don't come up with a vision. So they give it to a failed engineer because it seems plausible to the public. Just like they give it to Tom Hanks, an actor, not a writer. See, and so what you have is this spell casting again basically, isn't it, where you're duping the public. Elon Musk failed and he would take any bone thrown to him. He's trying to repopulate the earth with his own sperm. He's like trying to be a playboy.

Interviewer Dave (67:00)

Even says situation.

Tom Althouse (67:02)

Yeah, absolutely. So they bring in these guys like Zuckerberg, everybody to take the credit off the actual People to shut down the idea that people with empathy and compassion are actually the powerful ones in the creative realm. They don't.

Interviewer Dave (67:16)

You know what's really funny? They do this thing too, where they will bring out, like, you know, Stephen Hawking's, which I believe, and maybe I'm too conspirator. I don't think that he was really. I think they. They would wheel out a man who was disabled in front of us and, you know, who was controlling the. The speaker on the. On the. But I think the same thing. So. So you look at him and you go, there's. There's something so out of the norm about him that you're willing to accept the idea that he's a super genius. It's the same thing with Elon Musk, where he. His cadence is such that he'll have these long pauses that are so insane. And no one in their right mind would behave this way. You go, certainly that's the hallmark of a genius.

Interviewer Dan (67:55)

And kind of like when you hear British person talking.

Interviewer Dave (67:57)

Yeah. People narrate all the documentaries. So. So this idea that he's groomed is very fascinating to me because he is a bizarre character. And I. I watch him now. He has his finger on the cultural scale in a. In a massive way. And he is bought the influence of Twitter now. X. And. And he is.

Tom Althouse (68:22)

Which he had to be blocked from. He blocked me from Twitter.

Interviewer Dave (68:25)

Really?

Tom Althouse (68:25)

Yeah. I can't have access to my own account.

Interviewer Dave (68:29)

Oh, that's interesting. That's very interesting. He. He seems to be much more concerned these days from what I could actually track him doing with. With steering cultural sentiment. And, And. And that cultural sentiment plugs into this pivot point that we keep talking about. It seems like the. The pendulum will always swing from left to right given enough time. But Elon has made it his purpose in very many ways to. To steer the pendulum back towards conservatism. But it's almost like he strapped a rocket to it. This is his focus these days. And we're talking about this. This pivot in. In, you know, I guess, Hollywood, all these different elements that we've highlighted throughout this discussion. And. And I can see him expediting that process. He's. He's making it more dramatic. He's making it turn faster. And I. I wonder because, you know, you're talking about how we're gonna need a new Hollywood soon. And. And I go, it certainly is happening. I would agree with that. 100. But I also have my hesitations because I go, an institution like Disney which to me was birthed out of an Operation Paperclip. We have these Nazi scientists that we take over and they. And it. To me, it is a massive propaganda machine. It's now the biggest multimedia conglomeration on earth. It owns all these.

Interviewer Dan (69:54)

It's like taking. It's like taking Epstein's Temple of Moloch and building a megachurch on. I'm like, does that work?

Interviewer Dave (70:00)

I don't know.

Interviewer Dan (70:01)

Can you do that?

Interviewer Dave (70:01)

Great question. Does it work? Should we not be burning these institutions to the ground? Does Disney deserve to stick around a rebrand? It fire fires a Gina Carano. We all gasp. It then fires a Jimmy Kimmel. We all applaud. But meanwhile, it's making money on both sides of the spectrum here. What is the worth? I don't know. I mean.

Interviewer Dan (70:23)

Well, in a sense, Tom, though, the, the response to these actions is kind of like a Steven. A Steven Spielberg movie where the, the Spectator, the father is just like, yeah. And we watch it. And I, I like to think that people are. Are more than that, but I think maybe people are just trusting. You know, people don't want to look at that, so they'd rather be in that state.

Interviewer Dave (70:45)

Well, can we have a. A beautiful, important piece of art reach the peer. The people that it should reach without the, the machinations of a Disney or like we see the, the, you know, arrival of Angel Studios and, and that has some impact and it, and it's seems to be able to do decently well, but I don't really. I haven't seen those films. I hear people watch the films. I don't know. Can we even reach people with. Because. Because the art is important and the message is important.

Tom Althouse (71:15)

Yeah.

Interviewer Dave (71:15)

Can we reach these people? I don't know. It's a strange time.

Tom Althouse (71:18)

Everything's hijacked right now. Basically, even Angel Studios was a field studios and then they were brought in with the agencies to create a piece called Sound of Freedom. Sound of Freedom was supposed to make it look like the agencies are good guys and that everything happens outside the US when the US is leading traffickers with the agencies. So it was all smoke and mirrors, all of this. And when. Watch for ego. If someone like Sound of Freeman directors and stuff like that, look at their. Look at the ego. It's like you can see the egos at work. That's your clue. Look at the eyes of Elon Musk when he's talking. There's that one clip where he's walking along and this guy is just coming up saying, like, hey, there's Elon. Hey, Elon. Elon. And he just has this look of disdain. Elon's got this look at this looking back, like, just walking on us like, you are nothing. You are lower. I think people need to realize you can tell how a person feels. Look for compassion and humility, you know, and that's one of the things that will key in if a person actually is going to be benevolent in the end. And they talk about this. They talk about, you know, you're not the material that Hollywood wants because you care too much. Caring too much means weakness in their world. Caring too much means that you're outside the laws of nature where the strong devour the weak. They put that all through their films. They put all this stuff in the films, including mocking those that they don't want to have influence or have influence restored throughout. And that's why they put all my stuff in the Matrix. But they also mocked the death of my sons. And Steven Spielberg was primarily involved in that. And so if you know Philip K. Dick, you know the novels. Philip K. Dick did Minority Report, man in the High Castle. That's all Philip K. Dick original work that is spawning that series. And Philip K. Dick from, I understand had said, I don't want my work altered in any way upon my death. I don't want anything altered. Well, Steven Spielberg and the rest come in and they alter it and they say, I think he'll be approved. He said he didn't want it altered. I don't think he would approve. So they use it as a vehicle to also steal other work by inserting into Philip K. Dick's work what they want to steal. Isn't that something? And so with Minority Report, you have Tom Cruise playing a character, Captain John Anderton. Captain is my dad's rank. John is his name. Anderton's Anderson off of that. So they have it at Matrix. They have it in that. That was not in Philip K. Dick's novel, that rank of captain and everything. Also, they changed the story completely. Steven Spielberg did in Minority Report, where it's about the death of a son that causes Tom Cruise's character to be hunted down and put in Stathis for pre crime. That was not in Philip K's work. So what's the name of the son that's it's caused this to happen? Sean. My son Sean was murdered. And what's interesting and chilling is Spielberg does a piece about pre crime when my work was taken and stolen, and then makes it where it's my dad's name and rank and then puts my son dying and that his. The person will be put away and hunted down. I was put away after Sean was murdered. So they, he did it. He did a pre crime thing with the film. Then in Saving Private Ryan, they have fictitious names for the the Ryan brothers. This is all fabricated. Sure. Based on possible events combined. But what you have is, get this, they have Jim as the main guy by Matt Damon. And Jim is the main character that Neo is called in my script. Then you have Shawn, which is again my son's name. Spielberg sticks it in there again, killed in action. And you have Kirk Daniel, my other son's name, killed. And then what you have is the man who takes it from the secretaries at the office where they received the war reports. It takes it. The man that takes it and takes it to the colonel is named Boyd. The submitting attorney that submitted my screenplay in 1993 was named Boyd. Spielberg is rubbing it in. I got a call from his best friend Peter saying, Spielberg hates you. You're a dead man if you come to Hollywood. So he's been rubbing in my face ever since. He's part of the theft with Disney. And so they stick it in there in Good Place. In the Good Place. They have an entry in the Good Place. The man. It's actually hell called the Good Place. And people that see it think what you said earlier, like, it's like it doesn't seem to be a film, like I said about Matrix 4 or 5. It doesn't seem to be or for. It doesn't seem to be a film. It seems to be just someone playing something on someone. Well, it is. In the Good Place, you got the train station, which is the way you get between worlds, like in ours. And you also have the arc, the architect of it named Sean and Michael. My son's name was Shawn Michael that was killed. And then you got the main character sitting in front of the Shawn Michael character going, My birthday is October 14, 1982. My son, Shawn Michael, who was killed, was born in October 14, 1982.

Interviewer Dan (75:56)

October 14 is a crazy date. I, I don't know if you're aware of this, but that's like Charlie Kirk and George, George Floyd's birthday.

Interviewer Dave (76:04)

That's very interesting.

Interviewer Dan (76:05)

Yeah, yeah, yeah.

Tom Althouse (76:06)

So this. Is there a benevolent power that has orchestrated all this? Let them know. Let us know he's there. In the working of my work, I believe there is. I believe that there is that benevolent power. I don't want to isolate into names. I'm just saying I was working off that idea that if you're there, Gad, then, you know, he puts the clues all through. Look at the names of the attorneys involved in throwing my case. Burroughs like down the rabbit hole. Rankin like Stench. Rios like up the river. And my main character, Smith's name was Kirk Barringer. So they have an attorney that takes me on in the whole pool of attorneys named Kurt Besinger. Did God orchestrate all this? I mean, is this all here to let us know he has already laid the groundwork for our place ahead? Taken now the architect with the option of free will. Do we have free will? Are we on a path that's set? Are the fates, the three of them spinning the thread, or are we able to have free will? So that's one of the things I was working on when I wrote the Matrix story. It was the idea that we can, if we remain unpredictable, if you're going to head down one path and constantly choose right then to go the other way. And of course people can layer on going well, that might have been factored into the decision making in the beginning. You know that you would do that. Not necessarily slow, so not necessarily so. We can put ourselves in a frame of mind where we make ourselves unpredictable to ourselves. Then we free ourselves up from any predictable pattern. And that is the way you free yourself from the Matrix. You break the predicted pattern.

Interviewer Dave (77:39)

That's interesting. That's. I've heard that kind of a mindset before and I think you. I've even seen there was a piece of film that I was watching. I forgot what it was, but they did that. They had to do something like that to break because there was something that was aware of their internal monologue and the directions that they were going. And in order to deviate from that, they had to make these really impulsive decisions that even they didn't know where they were going to go. I forgot what that was. I think you even see that kind of played off of in like yes man, right? This idea that when, when this realm petitions you with choices, saying yes will continually open up these, these paths that, you know, I guess maybe that is a little bit more predetermined. But I, I mean, it gets.

Interviewer Dan (78:27)

That gets into the idea of Calvinism, which is predeterminism.

Interviewer Dave (78:31)

Right.

Interviewer Dan (78:31)

I don't necessarily agree with, but even thoughts of that I've been having recently, like they. They take a blood type off of the Shroud of Turn and whether that's accurate or not, but they're saying that Jesus blood type is a B. And I was like, well, why specifically this very. It's a. It was a very rare type of blood. I was like, why that? It's like, is there. Are there specific building blocks within this realm that you need to transmute? Like, do we need to have certain characteristics? Are they located in people? Are there names? Because these names, things.

Interviewer Dave (78:58)

Oh, yeah, they.

Interviewer Dan (78:59)

They happen so much.

Interviewer Dave (79:01)

Anthony Weiner, his laptop. Bernie Madoff, with all your money.

Interviewer Dan (79:04)

Yeah, it's too many. There are too many instances for me to go, that's just a coincidence. That's great. It's like, is it named because of that, or is it named before that? Is that person helpless to stop their fate? Are they moving towards this thing no matter what?

Interviewer Dave (79:20)

And that sort of thing piles up to the degree that I would. I would show some real hesitation to attribute that to a man. Right. Like an individual who's pulling the strings one way or the other couldn't possibly have orchestrated this because you know that.

Interviewer Dan (79:32)

But they might know. They might. These might be clues. Like if you're clued into what. What this is, and you see specific. Maybe birth dates, maybe specific blood types, maybe names, maybe just little things.

Interviewer Dave (79:44)

They. Certain dates in certain times and certain.

Interviewer Dan (79:47)

We know who to sort of keep an eye on this person.

Tom Althouse (79:50)

I think. I think it's clues to us that we're not alone and that everything is going to be okay, that we have to do our parts as we feel guided and as simplistic as that sounds. But I also believe that if I were to believe in a God, I would want to believe in the one that treats me as his child and allows me to be. Do free thinking and please by having choice to do it and choose which way I want to go. If there was an End time event. And of course in the end they put Neo with the gold cross. And it's just mocking the whole idea that this was a second coming faked by the Architect because he needed to have stimulation of his mind. In the original piece, he needs stimulation of his mind. So that's why the untainted people of Zion are brought out by that ambiguous oracle to see him come back as Christ. But actually the real one shows up and you have dental figures facing off. Isn't it interesting? They kept the scene with Neo where in mind you have a Christ figure facing off, the Architect looking like the Christ Architect's son looking like Christ. And at that last thing where the crater pulse wave comes out renewing the earth and the little girl, all that's there. They kept the same ending. They argued on Set, they're going to keep the same ending. But in that scene I had the Christ figure shot by the architect's son looking like Christ and only his palms bleed. And he looks up slowly. Well, that has meaning when it's a Christ figure. But they kept it. They have Neo pummeled with his palms dripping blood and looking up. Doesn't mean anything. With Chomsky's. If it doesn't have the meaning of the Christ story attached, that doesn't mean anything. So what, his palms are bleeding? Could be his nose bleeding. It doesn't have any more meaning. So it's like they, they. But they carry everything over and disconnect the purpose of it.

Interviewer Dave (81:27)

So you think that they would have removed that element because of its crisis.

Tom Althouse (81:31)

Everybody wanted to. Everybody wanted to blow up the Matrix. They said, look at the articles, look up online. They're saying that everybody on set, they're saying all inclusive. Said to blow up the Matrix, to end it. Yeah. If you chop shop it and rip the screenplay apart. If you're ripping the screenplay apart in a visual storyboard and lifting all the images you think are cool and then making up as you go along, you're not going to have a spine to your story anymore. And you asked me how I felt about it early on, the beginning of the program, I infuriated. It's like you're ruining the whole story. Because it was tight. I couldn't change a page without her having a reorganize everything else. It was that tight. And so what they did was make it all convoluted. Now they say it's supposed to be so. But here's my thought. In the ending, if there's a God and he comes back and, and we are restored like let's say the ending where the pulse wave comes out, everything's turned to green and there he is before us. I'd rather him say, you don't have to worship me. I just want to be your father. I would rather have that than saying, worship me. I think the way we're created, if we're created in God's image, if this is so, if this is so, whatever religion you believe that I couldn't imagine saying to my son, worship me. Worship me, only me, or you're going to hell. I would say I'm delighted to be your father. I'm excited to see where your journey takes you. And I'm going to be with you every step of the way. And I can't be wait to be reunited with you and say, well done. I think that's the ending in my mind. Whether that was changed at the council 400 AD or whatever it was, I don't know what has been stripped and put in front of us and saying, we're not allowed to change or look at it differently. But I was asking. When I put this together, I believed. I was asking, God, let us prove ourselves as your children. If you're there, let us prove ourselves. And I believe I was handed the job story on a plate with hors d' oeuvres and had to live it as an. As an answer. Okay, you'll go through this. But the work came out of that. Was the suffering worth it? Yeah, because I think this is prophetic in a great way, where it's all. If even from the standpoint of Hollywood being so drunk on the work that they did, so not only so many derivatives of it, but they copied it so much that it became part of our world. Even the fake Oval Office is in the original work, and they imitated that in real life. When I get contacted by attorneys and others like our studio heads, they'll say, you really did change the industry. Yeah, you did. And we're still following your work even to the standpoint of having a, you know, 10 minutes of film. And then your intro comes in with teasers for what might. How will this all tie together, this collage of imagery? How will it tie together in the end to hook people in to watch for it? Look for Walking Dead, all these other shows. Now, it's common where you have. Your film starts and the credits come in after about 10 minutes or 5 minutes, they don't do it. And that was. Think back to the time that was not done originally. It wasn't even.

Interviewer Dave (84:28)

You know, what's funny about that, Tom? I. I will watch a film that, you know, is from the 90s or something like that, and I actually find doesn't flow right when it just starts with, like, music and. And like, you know, they're doing credits. They'll do, like, a title scene, they'll do credits, and then the movie will start. And I go, man, that felt weird.

Interviewer Dan (84:49)

Dog. Space Jam. I just watched Space Jam again and it was like three minutes of intro.

Interviewer Dave (84:53)

And I was like, right, yeah, it feels weird. And now that. That whole idea of, like, getting straight into the movie, you know, fading into a scene and having something compelling happen. Yeah. And then you get lost in the movie and then a moment happens and you go. And then it starts. You know, the title screen will start. That. That's a much Better. A much better mode.

Tom Althouse (85:15)

See the page number? Page 12.

Interviewer Dave (85:17)

12, yeah.

Tom Althouse (85:18)

So in. In Hollywood and back in the day, a page is a minute of film. So 12 minutes in, you start your credits.

Interviewer Dave (85:27)

There you go.

Tom Althouse (85:27)

Credits are channelizing things. And so now they'll try to have people come forward and argue. Well, this was done before. I don't think it was done before 1993. So, no. And it was standard to. Just like you said, roll the music. Yeah. It's jolting, isn't it?

Interviewer Dave (85:42)

It is, yeah.

Tom Althouse (85:43)

Yeah. So producers are still calling and saying we're still following that model you did, you know, so I'm. I'm accredited inside the cabal, inside Hollywood, I'm credited where even the stunt bat, Batman, stuntman from Warner Brothers named Quentin did a check all through Warner Brothers, and he asked all these different personnel, what about Tom Althouse, the Wachowskis and the Matrix story? And they said, we're not supposed to talk about a Tom Althouse or Diane Bellis, the former head of the story department. No one's supposed to talk about it. But, yeah, we all know it was stolen. So therefore you have this climate, almost the Matrix itself, with a different world within Hollywood where the people inside know the story was taken, and then outside, they're left in the dark because they want to treat audiences as dumb. And so every time someone argues and you watch, watch it happen, there are people that are paid to shout down and they'll even say to you, didn't you vet your guest? Why did you have your guest on? He's obviously a fraud. He's slick. He's talking. It's like we're showing the evidence and you can have it anytime you want. But that's their job, to keep the lid and keep people in the. In the Matrix, if you take the red pill. Go ahead.

Interviewer Dan (86:57)

It's. No, I'm saying it's done on every level. We've seen it. I mean, we often talk about our friend Tim Pool. He's done it. And it's. It's per. It's on purpose. Someone comes in and they're speaking a counter narrative, he shouts them down. Even though he doesn't necessarily believe it. It's just because he has to. And it's like, this is a low level of entertainment, in my opinion.

Interviewer Dave (87:17)

And it's also got to be a terrible place to be is the person that has to do the shouting down. Because I think that grinds on your spirit.

Tom Althouse (87:26)

Yeah, go ahead.

Interviewer Dan (87:26)

Sorry. Go ahead, Tom.

Tom Althouse (87:27)

I was saying this to bring us all Down. Like, remember how if you argue with somebody who's not that bright, you're down at their level kind of idea as far as the eyes of others. And so that's what it's supposed to do, is bring us all down to a lower level. And we can't, we can't go down there. What helps is when others stand up and do it for you and go, look, he has the proof or she has the proof, and. And let them be. Stop interrupting. That is built in human, humanity's nature that if. If the person doing the shouting down, who usually wants to be noticed and matter and have popularity, is silenced or, or, you know, a group says, no, we're not doing it, the bully leaves the sandbox. So it's like they, you know, and then you go back to examining facts again. So it really is up to the audiences to control flow of truth out.

Interviewer Dave (88:12)

What's been happening, though, is they've been creating the perception. So. So they'll shout you down and then they'll create the perception of like a social pressure. Like, this is what everybody else thinks too. And so if you believe that that's what everybody else thinks, and you're likely to sidestep and then run that narrative too. But it's only after, I guess, especially if you're all plugged into the Internet, nobody's actually going outside having these real conversations with individuals, then you believe that that perception that's propagated by the person who's doing the shouting down is real. And if it's real, then you don't want to be the person that's outside of the group.

Interviewer Dan (88:43)

They're masters of manipulation and psychology.

Interviewer Dave (88:45)

Yeah, they're manipulating it all.

Interviewer Dan (88:47)

I wanted to bring up something, just a point, and then had a question as well. But the idea of God where you're saying that you don't want that he demands worship, and he does demand worship. When you read about him, he demands it. But I think it's because if you understand the human condition, we're going to worship something. And no matter what you do, if you empty that space of God, something will fill that. Yeah, we've had people on the show where they're like, we were worshiping, like, amiibo toys. Like he had, like, his. His set of toys. Maybe it's a poster, maybe it's a thing. Something will fill that spot.

Interviewer Dave (89:26)

Worshiping Star wars and worshiping Marvel films. I'm worshipping.

Tom Althouse (89:29)

Yeah.

Interviewer Dan (89:30)

When you worship something, who knows what's behind that? People worship the Matrix movie.

Interviewer Dave (89:34)

People worship Money.

Interviewer Dan (89:36)

Yeah, yeah. So there is an idea of that, that hole being filled and it will be filled by something. So I think the idea of demanding it is something that we should consider rather than like this kind of like boisterous me now it's like, no, no, trust me.

Interviewer Dave (89:55)

There's a deeper understanding of the human condition at the root of that request.

Interviewer Dan (90:00)

The human condition is constantly to exalt, give worship to something. And, and the worship, the idea of worship is like when you're exalting something, when you're giving it your attention. We have mythology after mythology about entities, demigods, fallen angels vying for that thing. They want that even humans want it. You know, we want when we're celebrated for something that we do and. But it's poison. It's.

Tom Althouse (90:25)

Well, that's brilliantly explained. Brilliantly explained. And it's like, I, I like the way you put it. I think that we're going to develop and evolve and I got. If there's, this is God, I think he's going to allow us to advance to where we don't need to be demanded to worship Him. That will have a different type of relationship with our Father. So I think that's going to happen where he'll allow us to evolve into that right now. I mean, if you look at humanity right now, it's just we're cave people. I mean we have not gotten out of the box at all and just. It's like people fighting in a cave that don't know where they out, don't know the way out. But they all want to be experts on the way out. And they're all banging on solid wall. They don't want to actually hold the candle together to find the way out. They all want to be popular, right. And matter and carve their initials on the wall rather than find an exit. So I think that, you know, to be remembered, everyone wants to be remembered pretty much.

Interviewer Dave (91:16)

Yeah.

Tom Althouse (91:16)

But I think we're going to get to the point and I'm so glad you said this because I think this is what my journey's been, is that he doesn't need to demand my worship. He knows that my desire of my heart is for him to simply say well done. That's all I want at the end, just say well done. I don't need anything else, you know, just, just that I did it. Well, that's it. And that that drives us. I think an image helps us too if we lock into an image, my image that kept me going. Because when you go through the Darkest times that are throwing everything at you, including the death of your sons. What are you going to hold on to? Right? They want. In my case, I was told they wanted my life to be worse than a death, that I'd live a living hell, that I would either take myself out like I said, or they would do it for me and then claim I did. And they had people in place to do that. But I think that the image I was holding was a father holding his daughter who had died from war in his arms. And that image would last through any torturous moment. I could hold on to an image that I would not lose my compassion, humility and focus. And we need that. We need something that will never allow us to be shaken from. And the neural link, though the neural link could do anything. I mean, there could be blockers in there to keep us from feeling faith. There could be blockers in there for. In fact, what I understand is they're going to take the tech that I believe God gave me in the work so we can have control of it. And we're taking steps to get control back. That they would make a version for the elite that was enhanced and the enhancer, and then they would have a less one for the general population saying it'd be safer for them not to over. So you're going to have a higher elite with a more efficient thinking system and justifying a lower system for the rest of public. See what's going on. And so that's. That's planned. That's planned just like they said, exactly what was predicted in the work, that it wouldn't be available for the general public, just for the elite. And that's.

Interviewer Dave (93:16)

Yeah, I think if we did. If the general public got one, it would be. There'd be a really heavy focus on entertainment. Yeah, you would get your bread and circus pumped through there in a. In a really immaculate way to the degree that you wouldn't want to unplug. So it would. It would serve as you. You'd probably have some function. You'd be able to Google a thing pretty rapidly or whatever, but. But not whatever they had access to. And you. And the main function of what you would have would be. Is like a pleasure stimulator.

Tom Althouse (93:45)

Yeah. You just hit so. So strong right there is that. I never thought of this before. The entertainment section would be attached to it too. Never thought.

Interviewer Dave (93:52)

Yeah.

Tom Althouse (93:53)

And a way to keep it down. And then justifying like, oh, you have the better one because it has entertainment in it, you know, so.

Interviewer Dan (93:59)

Yeah, Tom. So one. One Question. This is completely off the wall. Philip K. Dick. I have, I had like some brief studies on him because he is a prolific sci fi writer. He had early, like before his sci fi career. He was, he was coordinating or communicating with like a pink ray of light.

Interviewer Dave (94:20)

Oh yeah, that's right.

Interviewer Dan (94:21)

They said it was triggered by dental surgery. Is that anything like that happen to you? Like a dental surgery triggering pink, pink ray of light, alien stuff, any, anything kind of crazy.

Tom Althouse (94:31)

It's so funny you said that because it's like, yes, teeth, dental, very much involved in all this. In fact, it goes back to that old movie Marathon man where you have that terrible scene where if you ever go back to that old, old film, they drill into the nerve in his tooth. You know, one of the devices to control people is, you know, what year is that?

Interviewer Dan (94:51)

What year is that film?

Tom Althouse (94:51)

Just look up Marathon Man. It'll show up in your Google search. And it's probably back in the 70s. But it's in that they are torturing him by drilling into his teeth to hit the nerves. And they've got this like. Yeah, so they got this like stuff that dulls the pain. He says, here's the, here's the pleasure, here's the pain basically idea. And so they're able to give him that and they take and fake rescue him, drive off to get information that he knows, then take him right back again. Like in Game of Thrones. Game of Thrones is actually drawing off of things that are already done with a team of writers. So just tie that in just so you know. And their best work comes from mocking other work and other people. So Game of Thrones is mocking other work. And it allowed them to be interested in the project full of writers and stimulated them into it. The best work they could do. If you're not feeling a service oriented mindset to your public is if you're enjoying tantalizing. And. And that's exactly what the guy said from Warner Brothers story department. He said when he called me and told me all these things are in there. And even their graphic designer, Susanna Bolgin did an article where she said it. She said that the Wachowskis stuck these things in there to keep the project interesting for them because it's not their work. So to keep the project interesting. In fact, that's why they didn't write the drafts. That's why there's no working drafts, is they didn't want to. And in fact they tried to. When Matrix 1 was a success, they went back and tried to write Matrix two. Not by work. And they. They came up with the idea, but they couldn't stop from mocking. So they put Thomas A. Where Smith. It's a common theme. They have Thomas A. Where they take, I guess, DNA from Thomas A. And create Gregory, who's a clone of Thomas A. To defeat and train him to defeat Thomas A. Neo. But the thing is, they're so stupid because Gregory is my. Right here. Gregory is dear Greg. Here it is, Greg. And that sheet is right here, Tom. Signed Greg. Greg is the guy I work the battle sequences with. So they put Gregory and Thomas A. Against each other. And now they scrapped it when I resubmitted my work in 2001 and they then scrapped it and they said it never existed. But we have a copy of. Of this badly done second one where they stuck the ghost program and I have. And everything else. And it's so juvenile in their mindset. What they have is it opens up with. They're thinking it's going to be cool. A motorcycle going across the desert highway, I guess, you know, motorcycle. And Trinity's holding on to Neo on the motorcycle. This is the opener, apparently. I think this is really cool. And then the motorcycle disintegrates, but they're still going through the air like they're riding the motorcycle. Well, I'm sorry, guys. You know, that's pretty juvenile. But it's like that's their thing. You know, they thought they'd be. Everything was about being cool. It was all about being.

Interviewer Dave (97:51)

Yeah.

Tom Althouse (97:52)

And that's why they could rip the screenplay apart. You know, they. Their whole device was what lift everything they think was cool.

Interviewer Dave (97:58)

That's actually. Tom, did you ever interpret. I mean, intend for that aesthetic to be part of the Matrix? When you envision the Matrix making it, you know, to its big screen adaptation.

Interviewer Dan (98:09)

Leather jacket.

Interviewer Dave (98:10)

There's like leather trench coat coats and. Was that ever part of what you envisioned?

Tom Althouse (98:16)

Thank you for asking that question. It's reversed. The agents wear the cool outfits. The Neo and Trinity characters are trying to blend in with the general public. That's how you hide. You camouflage. And so that's why it's dumb for them to wear the black, shiny stuff. You're standing out. Yeah, you're standing out. No. So. Yes, you're. I glad you asked that. It's reversed. In fact, the scene that. One of the opening scenes with the agents is there. There's three of them dressed in black with the long coats and everything. They're the ones that have the cool outfits, so. And the CIA like that Too. But get this crazy.

Interviewer Dan (98:54)

That has influenced that aesthetic. That style has influenced like almost every school shooter.

Interviewer Dave (99:00)

Yeah.

Interviewer Dan (99:01)

Like they're coming in with a long. It is. This movie has just pervaded every aspect of the world.

Interviewer Dave (99:08)

Yeah.

Tom Althouse (99:09)

Because it feeds off that idea of what's cool and what's revolutionary new. That's why Bonaventura said this is revolutionary. We're making it at the pitch session because he couldn't believe they thought everything had been done under the sun. And here we have 190 plus new concepts that are now becoming iconic. Right. But it's like. Yeah. So. Yeah. The other thing too, about the agents. What was going to say was that they become the good guys in the end. In the end. Yes. The Architect goes to purge the agents because he doesn't need them anymore. It's about they leave this out. They left this out. The real crust that drives the story in the end is the Architect needs to have stimulation of the mind in an immortal program. Therefore, he has already planned for everything. He's not trying. Six attempts at Zion and failing and redoing it. No. In fact they admitted on their fan page the Wachowskis admit that they were wrong to do six generations should have been one. It's one in the original. The Architect knows. He has set aside untainted humanity to come and stimulate his mind by coming back as a fake second coming. The blue beam. So you have that before bleeding was really being talked about. And so that's stimulated the Architect's mind. And instead it gets screwed up by a oracle that's supposed to be ambivalent. Actually turns out to know exactly what he's doing. And working with underground. They didn't know what to do with that.

Interviewer Dan (100:32)

So were you familiar with these ideas before you wrote it or did this. You said it came as a download and you just.

Tom Althouse (100:38)

It did. I was familiar with it's great question again. You guys are good. I was familiar with the plans, partly spotty plans that Robertson Cabal, FBI. All them had the Cabal different facets. How to institute a one World Order. I was familiar with that. And then I just open it up to the flow and that's where you get the interrogation scene. Which actually happened. I was an interrogation scene. I drew off of that my own life. Like Shakespeare in Love. But it just flowed. All the entries and entries are all in there about. If I read the interrogation scene to you sometime. It's like all there. The crust, the core of what's going on. How to formulate a one world Society is you have to offer across international boundaries, all the elite from different, different ideologies to come together. How do you do that? Longevity for them and their families. And then you no longer need the massive population which they're planning to eliminate anyway. Right. That's why Elon puts the X up. Let's put that up there. The X is the final solution. Every time he flashes this, he's doing his job for those that allowed him to have the neural link. X the final solution. What was added to the letters to make immortals Matrix Elon Musk is the harbinger. He has been put in place. I was tapped to do it and I said no. I said, I will not do it. Therefore, you won't have the rewards and will destroy you. Make an example of you, so be it. I didn't do what Elon did. So Elon took over my position and basically my identity. So I am the creator of the neural link and other things in it. I do have the vision for it. He doesn't tell you what's bad about it. I can tell you what's bad about it. There's tons of things bad with the neural link. It's basically a Pandora's box. We need to put the lid back on. That's why I believe I'm now being tapped to put claims in post. Claims for the entries to show that, yes, I published it before their claims when they stole it. So I have.

Interviewer Dave (102:36)

What do you think, Tom, about the idea that, like, the neural link could lead to something like the Mark of the Beast, or. Or even potentially. Yes, absolutely. Also, I've been kicking around this idea that, like, it has the ability to reanimate potentially a corpse, but if you have your personality backed up in some AI, whatever personality, which I think Elon has a few of these characters kind of floating around Twitter or X, that you could reanimate a corpse and you could make it convincing as if it is actually still the individual, but all you would have was the AI that you've uploaded to. Now this. This reanimated.

Tom Althouse (103:16)

Right. You could reactivate the system, but it wouldn't be the soul. Yeah, absolutely. So, yeah, I mean, all these things we, you know, in the work, it's echoed all through it. That's why at pitch sessions, I think one of the reasons they went for it so fast was because at the pitch session, Bonaventura is going like, oh, my God, where'd you get this? How'd you understand? Where'd you put this together? So we took the plans of the cabal that we didn't even know what God's doing is tapping in and going, okay, take this work. And now I'm gonna control like God's going to control. I believe the dissemination of it and what happens. I believe we're on a hijacked timeline that you can't hijack a timeline forever. Eventually the talents and abilities and the goodness of certain people is going to allow that time train line to come back together. You can't stop genius. You can't stop it. So I think we're going to right now you're seeing that change. It was inevitable. Their side knows it. They're resigning. They're getting scared. They have the audacity to call me and say, I had a call not long ago where a party said to me, who's on the inside? You're where you are because of the journey we put you on. Don't even go there. I can't bring my sons back and I didn't need to be on the hijack timeline. We do fine without them. And I think they're realizing they're not needed. In the Game of Thrones again. The one Queen of the Roses is told by that sparrow leader of the cult religion. Once the masses figure out we don't need you, we don't just supply your food, your fabrics, your fine shoes, you're done for. They're echoing their own fears through hack writers that they put up as poster people of what they're afraid of. And that's a reaction to fear. If we say it and spell it out, what our fears are, maybe we can keep people from coming at us. Maybe we have some form of control over those fears being actually implemented into something terrible. So they will put it in their own work what they fear most. Pay attention, watch their films. It's all there. And that's why also they stuck my entries in. They have opened the door for us to get justice some point. I may not see it during my lifetime, not with how they monkeyed everything and took advantage of my naivety, but I may see it. My son may see the justice. I am comfortable with that.

Interviewer Dave (105:47)

Over the last like five to six years, we've seen a lot of CEOs, various corporate kind of fat cat characters who have positions in all sorts of different companies, especially media conglomerations banks who are just mysteriously resigning.

Tom Althouse (106:07)

Yes.

Interviewer Dave (106:07)

I mean we've been subjected to a ton of resignations and I. It's weird because it kind of goes over people's heads or under the radar, but it's like, if you really look at that, what are these people doing? What are they stepping down from? Why are they resigning in droves?

Tom Althouse (106:26)

It's in the screenplay. It's actually in the screenplay that I pitched in the screenplay. Here's what happens in the screenplay. I'm not saying it's necessarily tied to what's happening right now and all these conditions that you're naming, but here's the deal. In the screenplay, you have a longevity program. That's your matrix, okay? Longevity program. And we know about the red pill is the way they got longevity. Experimenting on growth hormones and blocking proteins, things like that. We got it right. We got it right. Okay. Way back in 93. So the idea is that if there's a longevity program. I just lost my train of thought. Oh, my gosh, there's the first I just lost.

Interviewer Dave (107:08)

I was saying that. That all these resignations are taking place.

Tom Althouse (107:11)

Yes. Thank you. So sorry. I'm so. I don't usually do that because I think when I get on the layers, it's like, oops. But it's like. Yeah. So I was trying to track it verbally. So in the story, you have longevity program. And so the different world leaders are given, offered their families and them longevity if they agreed to the one World Order. And how it's going to be structured through the US and the CIA will become the 1 security program. Central for the rest of it is how it's spelled out in the original story. Therefore, they don't want the general public to see people no longer aging because these people are on the longevity program. So they make them just disappear from work, from all the place. Their homes make it mysterious where they're set aside so the rest of the population doesn't see that, doesn't get to see them not aging anymore.

Interviewer Dave (107:52)

That's interesting.

Tom Althouse (107:53)

Yeah, that's the backstory.

Interviewer Dave (107:54)

You get a weird kind of sample of that, too, where it's like, these celebrities will. You'll notice. You'll be like, you ever notice this celebrity doesn't age at all? And they'll show them, like, throughout the decades, but then all of a sudden, they'll age. After that conversation goes viral, they'll age and they'll age rapidly.

Tom Althouse (108:12)

Right?

Interviewer Dave (108:12)

And it's like, I've noticed that pattern has emerged several times where it's like, you know, they're trudging along and somebody goes, hey, is so and so a vampire? Because I swear they look the same for the past 30 years.

Tom Althouse (108:23)

30 years.

Interviewer Dave (108:23)

They look the same somehow. They look even a A little bit younger than they used to look. And then right after that happens, give it about a year or so, that person will age rapidly. Johnny Depp is one of them.

Tom Althouse (108:34)

Right, right. Well, that goes into a whole other layer, too. We could talk forever, because it's like there's. There's a lot to this where I was given that I would have my youth restored. Well, that's the whole thing that's in the screenplay. And when they were trying to buy me out, they were talking about the red batch. So longevity does exist. Stanford, IBM, look it up. They've been working on this, and they believe that it's. They've achieved great results. Now, where. It's just for the elite, though, and they're trying to tell the rest of the population it's for their own good that you don't have this. It's just for the elite, really. Seriously.

Interviewer Dave (109:09)

So somebody in the chat said, when I was a teenager, Jared Leto was older than me. Now I'm older than Jared Leto. And he's a really weird one, man. He's a really weird one because he had that moment where he. He's in this band, 30 seconds of Mars. They have this particular song, the Kill, that is done entirely like a Stanley Kubrick film. And it's almost like he signaled to somebody that he is talented enough, but also in the know enough, and that he's willing to play ball. And then after that, Jared Leto becomes sort of a Hollywood darling and ceases to age. He even plays a vampire, interestingly enough, in. In the Marvel films. Yeah, it's. It is strange. And for a lack of better explanation, the. When you start to have these conversations about longevity, technology, or procedures or things of that nature, you start. You're really at a lack of any other lens to look at this phenomenon through. And that one works really well.

Tom Althouse (110:09)

Well, that's the really interesting thing, too. You just raised up that hit me on a layer, was that, why am I still alive? There's an accusation going around, like, why is he still alive? He must be on the inside. It's like, I'm alive because what I described, what I talked about with Disney, I found the card that mattered most to them and was able to reverse play. So basically a poker move. But also they are not able to think and conceptualize. Probably a lot of people in chat understand this and are able to do this in layers. When you think in layers, you're able to create like Mozart did. And it's like they don't understand that. They don't have that ability, the thing that kills, that ability of layered conception and in fact like almost like minority part moving things around. Yeah, the thing that kills it is a darkness. Like if you are focused on gains. If I sat down to write a screenplay right now and I'm focusing on what I'm going to get out of it, if I'm going to be famous or if I'm going to have money or if I'm going to get late, then say goodbye to creativity. Because you just shut it off. You're in a different brain. That's back to lizards. If you are going to actually create and from a compulsory compassion, empathy, feeling different positive feelings and layers, your creativity is going to kick in, it's going to flow because you know your mind is made, I believe, to be honest. And if we're honest with ourselves, it's going to flow and function well. If we put negativity into our psyche and go, let's say I'm going to go like, oh, he's wearing a white shirt. I don't like that white shirt. I he doesn't deserve it. If I start going a negative thing where I put inputs about you into my mind, I have put neck, my mind's going to work on those inputs. I can't put a weight value on it. To my mind, my mind's going to go, input received. Let's chew on this and figure out a solution. Say goodbye to my creativity. I'm now concerned about your shirt. So I'm not going to be able to creativity. These long term things we put in hostilities, grudges, that's the death of creativity. If you clear those out and they know this, the other side knows his comments on that. When I'm dragged in to be interrogated by SWAT teams because I think he wrote the matrix. Their seeing, they're not able to get into my head because I'm able to see a different layers. I one part of me. It's like when you do good acting on stage. I can see the audience, I can figure what they're thinking, I can figure what my character's feeling, I can figure what I feel with a script and I can feel all these different ones at once and employ them into composites. What they don't understand is if they're trying to get me to focus on something, I am observing them, their behaviors, what might be possible, what options are all at the same time. So they're never able to narrow you into a point of control. If people can learn this, they can defeat the neural link Idea. The neural link, when it's implied, will. Yeah, it'll be like a computer interface which was intended but it's. It's for narrow thinking. A computer interface which doesn't have layers. Layered thinking, natural thinking, natural feeling in layers. If I feel compassion, hope, adoration, generosity, all those at the same time, then I'm already way above the capabilities of the neural link. The neural link will be one train. We have many tracks in our natural thinking and we're going to evolve to it. We're going to have that neural link outdated very soon. Where people will learn to think in layers and feel in layers. Think of looking at a loved one, feeling all these positive things at once. You don't even need words. You'll be showing it in your eyes. Think of a child looking up at their father and the father feels compassion, empathy, adoration, hope, love, all at the same time. They don't want us to experience this because the neural link will be in the trash pile at that point. It won't be able to serve us like our natural mind will. And that's in the screenplay. It's in the screenplay.

Interviewer Dan (114:11)

And that is so. That is so true.

Tom Althouse (114:13)

Neural answer to adapt Smiths and he has to adapt adaptive collar to have Smith's memories to find the cortex building in the dome. Yes, the dome using Smith's memories. But he only has Smith's memories. He's told he's get to choose three and try to hold on to those because he'll no longer have that device he's become dependent on through ages. Lose all his memories. And now I have to work with Smith's memories which will affect him. Just know the future will be bright. The natural equipment we have is sufficient and we're going to learn to use it more and more in a better and better way. And it'll be enjoyable. It'll be a brilliant world. We'll get to share this together. Everybody's going to matter.

Interviewer Dan (114:53)

That's a white pill. Yeah, that's not to steal from your work. But it's true. We often, often think. I think about neuralink and you're like, man, once these guys get this in their head, we're not going to be able to compete. But there is that. It's like sure, maybe not on like information recall, but on just like emotion or even things like prophecy. That's not going to allow that. There's a. There are barriers put up, constrictions like when we're being funny. We do this show sometimes is like comedy. If I came in yesterday, the day before we did comedy.

Interviewer Dave (115:26)

Yeah.

Interviewer Dan (115:27)

If I come in and I'm angry and I'm bitter, I'm mad at Tom, and I'm gonna make fun of you, Tom. It's gonna suck.

Interviewer Dave (115:33)

It's just gonna come off as mean.

Interviewer Dan (115:34)

And it's gonna be mean, it's gonna be clunky, it's gonna be rigid. People are gonna tell and they're gonna go and turn it off.

Interviewer Dave (115:39)

Yep.

Interviewer Dan (115:39)

But if I actually like Tom and I wanna. If we want to have fun.

Interviewer Dave (115:43)

Yeah.

Interviewer Dan (115:43)

I can. Then I can really do things that are meaningful. You know what I mean? Because I'm like, I'm clear. I'm clear.

Interviewer Dave (115:49)

Yeah.

Interviewer Dan (115:50)

Rather than having this. And that's happened to us, that's happened to me before. Recent events, betrayals, like, I just can't be a certain way. I guess that's creativity. But for me, the creativity comes out as jokes or maybe sometimes drawings. That's. That's like my medium of what I do. But yet when that emotion is there, it's blocked. You feel it.

Interviewer Dave (116:11)

I think in order for us to get to this point, though, where they want to even make this appealing, they first would have had to have convinced us that the software we have is flawed.

Interviewer Dan (116:21)

And it's crappy in the food.

Interviewer Dave (116:23)

Oh, yeah.

Interviewer Dan (116:23)

The skies.

Interviewer Dave (116:24)

You put it in our.

Interviewer Dan (116:25)

Put it in our arms.

Interviewer Dave (116:26)

Yeah.

Tom Althouse (116:27)

You know? Yeah.

Interviewer Dave (116:28)

If you can slow it down, make it lose a step or two and then say, hey, we've got a better thing here, that maybe you can make it appealing. But I agree, Tom. And it's. It's nice to be served up a white pill. I can sense that you're very optimistic about the future, and I am too.

Interviewer Dan (116:43)

And it's crazy how far reaching. Just the idea of the pill, like this color pill.

Interviewer Dave (116:48)

I know. Yeah. Gray pilled, white pilled, black pilled, red pilled, blue pilled. It's. This thing really got away from you, Tom.

Tom Althouse (116:54)

Yeah.

Interviewer Dan (116:57)

Oh, Tom, you're muted. You're muted.

Tom Althouse (117:00)

I'm sorry. The reason that it's a pill, right, Is because the author didn't like shots. That's why I had a pill.

Interviewer Dave (117:07)

That's interesting.

Tom Althouse (117:08)

Yeah. I didn't. Because think of it. It would have been an injection, Right. But I don't like injections. I was traumatized as childbirth, so I made it a pill and they went with it. They went with it and they kept it. Basically. They wanted to imitate genius, so they kept everything. And that's why the visual storyboard. But. Yeah. So there's so much I can tell you. Neural link can be applied if it's done for specific reasons. The only ones that should actually keep neuralink in permanently would be attorneys. I mean, they could benefit because, you know, then they can do that with their work they're doing.

Interviewer Dave (117:39)

What about the idea.

Tom Althouse (117:42)

What about.

Interviewer Dave (117:43)

What about the idea of like those who have suffered an injury that is otherwise irreparable, you know, like as needed.

Tom Althouse (117:49)

Yeah, as needed. So again, therapy for them would be here's a neural link for a period of time, but go back to your natural mind. Don't lose it, don't become dependent on the neural link. And that's what's all through this. You could. One of the things in the future, the theft will be your loved one's neural link. If they take your loved ones neural link, they have all your intimate moments, all your creation, all your memories, everything they get pedophiles, it'd be a dream for them. So do not let. That would be the main thing they're going to steal. It's like Inception. So what you want is you don't want to have that, but you can have a medical neuralink. Like one of the positive things I was saying was like a medical neuralink where if a parent is in a car, it's in your first aid kit and there's an accident, your child's injured, you pop in the medical neuralink and you have the knowledge of a John Hopkins, Hopkins surgeon, you know, and you'll be able to handle it. So that was intended when they put the helicopter scene with Trinity downloading a program. Yeah, I didn't, I didn't have as a helicopter, but yes, I had the instant learning and so it was like they wanted to steal it and make it cool. So it. But that's one of the ones I'm not happy with is Carrie Anne Moss. I'm very inferior with her because she was just like lap it up like a dog. She wanted to steal it all the way and, and enjoy the theft process. And it's like she even came up with the title Matrix 2 because I mean Matrix because it was used in a film earlier. So when they thought about switching letters around, things like that. She had been in a film earlier on something called Matrix and a very pre thing that had nothing to do with Matrix. But that's why they cared that when they're looking for the title to use, she chimed in and said let's use this. So it's like she was very much part of the theft. So yeah. So I'M not happy with that.

Interviewer Dan (119:27)

Well, we're. I. I don't want. I don't want to keep you forever. I want to respect your time. But I got. I got just a couple of other questions. Yeah, fun. A fun one. If you were able to make this movie, would you have chosen Keanu Reeves?

Tom Althouse (119:41)

No, not at all. Keanu Reeves. Keanu Reeves. First of all, he was chosen by the suits, not Wachowskis. The suits at Warner Brothers wanted to save his career. That should say something. If the suits at Warner Brothers that were orchestrating this theft wanted to save Keanu Reeves career and demanded that he be the part, then something's dark with Keanu Reeves. Something's wrong.

Interviewer Dan (120:01)

It's weird too, because I don't want to believe it. I hate it.

Tom Althouse (120:05)

Now it's grilled to be this way. Yeah, go ahead.

Interviewer Dave (120:08)

Fat Raven, very disrespectful name. Says Brain dances from Cyberpunk, which is basically a dystopian future where we're all cybernetic hybrids, literally. The main character is Keanu Reeves in that game. Yeah, very interesting. But Keanu. And I'm gonna say it, and I don't. I don't know why people don't say, this is a weird actor.

Tom Althouse (120:26)

He's not a good. No, no, no.

Interviewer Dave (120:28)

I will say dog is very bizarre.

Interviewer Dan (120:31)

He's a bad actor.

Tom Althouse (120:32)

He's a miserable.

Interviewer Dan (120:33)

So is, but so is. What's his Nicholas Cage. Nicholas Cage, bad actor, but my favorite because they're so bad.

Interviewer Dave (120:40)

There's something about it, they're so bizarre that I like. Who.

Tom Althouse (120:44)

Who would you have picked? Well, when I pitched it, people aren't a cringe, but when I pitched it to Bonaventure and he asked who I thought should be there, first of all, he said that. Who was it to analyze this? He's in the Meet the Fockers Analyze this. Ben still no the CIA guy character. Oh, gosh.

Interviewer Dave (121:06)

Oh, Robert De Niro.

Tom Althouse (121:08)

Yes, yes.

Interviewer Dave (121:09)

Robert De Niro.

Tom Althouse (121:10)

Robert De Niro. Yes. Yes. Anyway, they said Robert De Niro's in town doing Analyze this. What do you think about him being lead? Very interesting. They already had somebody they were going to put in that was their first choice, not Keanu Reeves. So I said, well, I'm looking for somebody who can play the everyday man in a low key way, which is interesting. They pick Keanu Reeves later. And I pitched Alec Baldwin at the time before he was caught in all this stuff. So I said, Alec Baldwin might be the right look and right thing, because I don't want People to be drawn into any kind of superhero thing. I want them to see him as an everyday guy. Because it goes back to the point too. Neo's not supposed to have Superman powers. If you have Superman powers, the film's already over. If he's able to bunch up, beat up a pile of Smiths, which is dumb, making even that. So then what's the point, you know? And why is there phone booths in the Matrix? I mean, if you're trying to blend in, which is original work, does not have phone booths. But when I was at Bonaventura's pitch session, he said, okay, this is revolutionary. We're making it. What else do you got? Now, anybody out there that's pitched films to studios, they will usually use that phrase, I think you can go along with me on this. So they'll say, what else do you got? You know, as a compliment, you know, we're interested. What else you got? So I said, the dream movie. In the dream movie, you got guys being experimented on where their dreams. What happens to them in dreams will happen to them in real life. This is back in 93. So in that series, we have a character who learns in his dreams to fly to escape danger. Our main character learns to fly to escape danger. Wachowski's wanted credit for everything. So Bonaventura taped the whole pitch session. He gives the Wachowskis. The Wachowskis go, let's mix the immortals with the dream movie. So now we'll have Neo like Superman. Yeah. If he's like Superman, we'll have foam boosts like Superman. They go into. Isn't that cool? And then, oh, Superman powers. He can fly. That's not supposed to happen. It ruins the movie. You ripped it apart just there. Because if you have him with Superman powers. Yeah, I guess in your juvenile brains, that's cool. Wachowskis. But that's going to ruin the whole story. Because it's the architect that Smith is waiting for to give permission to Smith to take Neo out. Until he does, you may not touch him. That's what keeps Jim alive. Just like what's kept me alive all this time. As they said, they put me on story.

Interviewer Dan (123:22)

That's why I hate. That's why I hate Superman.

Interviewer Dave (123:24)

Oh, yeah, because he's just overpowered and it's uninteresting.

Interviewer Dan (123:27)

No character. There's no strife. There's no humanity.

Tom Althouse (123:30)

If the phone booths are the connection back in rather than the train station, if the phone booths or jacking in are the way you got to go Then the Smiths could limit the number. Architect could limit the number of phone booths. He's supposed to be smart, right? The number of phone booths. Beat him up and just bug all the phone booths. It just. You got no problem. You just got the rats. They're not that smart if you're all going to run to phone booths. So it's like. It's so stupid. So how do I feel? Infuriated. And I can't believe that people are going to go, oh, you didn't write it. Hold on, what's this? We have you lost in court. They supplied their own attorneys and they said, right here, right here. Anything. The attorney went all through it. Any matchups are lined out for Matrix 1, because they're not. Let me claim Matrix 1. And you can't say this is a fraud, like Sophia Stewart said, a forgery, because the PAA numbers right there, look it up.

Interviewer Dave (124:25)

I wanna. I want to ask you one final question. And I. I get the feeling it's a good time to ask you this question. If we were to have met you maybe five years ago and asked this question before.

Interviewer Dan (124:35)

Before we ask that. This is our. Our favorite question. Before we ask that.

Tom Althouse (124:41)

How.

Interviewer Dan (124:42)

All right. What if this all plays out the way you think and these people are like, hey, listen, we did wrong. Rectify stuff. In your lifetime, do you have anything in the works that would change something? I mean, would move culture in this way? In the way that you would have. Like to see.

Tom Althouse (125:01)

Yes. That Disney knows it. So the one piece out of the 17 that I have, which are buried, they'll never find them. I made sure check my last son, the one piece I am just so excited about, that would be your Matrix 2, if you will. And there's no way to differentiate on who's the good guy, who's the bad guy. Because the arc and the journey they take is going to cause people to take different viewpoints and different sides on whether benevolent or not. Especially for ladies, too, to decide if they would accept a character. I can't say much further, but it's like, you know, so it's like it's going to be a real quandary where people are definitely going to come together. It will definitely change our world. And my goal, as I wrote the piece too, was to bring us together again. Now, the Wachowskis claim that they wrote the piece, but you didn't even write it. To bring it together, bring the people together, you know, so it's like. But they don't explain how. But I can tell you how, you know, with, like, leaving out parts of the backstory. Have you immersed your own personal story into it? And then it becomes yours? There's no wrong answers. And so. Yeah, sorry about that. So I'm looking forward to people actually seeing this work. If we succeed, this work will be made. That's my card I'm playing on the other side. If we're allowed to have our credit back, we'll make this film. And I can't wait for the effect it'll have. It is, you know, 10 times better than the matrix one.

Interviewer Dave (126:33)

Well, I hope things move in the correct direction then, because I need something good to come out of the film industry. Not that there hasn't been some good things, but I long for the days of, you know, the early 2000s, the 90s, you know, the 80s. We're going back and watching these films with my son, and he's loving them, and he's asking me, he's 10 years old, how come these movies are better than the movies that they make now? And I go, I don't know what to tell you. I mean, it's. It's a long story.

Interviewer Dan (127:00)

I suppose the world is primed right now for a good archetype, a good story to move it in, whichever, because. Right.

Interviewer Dave (127:08)

Yeah.

Interviewer Dan (127:09)

The ball is like. It's teetering. I mean, it looks like we're going this way.

Interviewer Dave (127:13)

Yeah. I would say definitively. I mean, if I had to, if I was a betting man.

Interviewer Dan (127:16)

Yeah. But it's prime for somebody to come and just kick it in whatever direction. I'm excited to see what happens.

Interviewer Dave (127:25)

Yeah.

Tom Althouse (127:26)

Thank you. Yeah. Well, Roseanne Barr, the president, you know, his family, they're all calling it the Greatest Story. That's not for me to have an ego burst. That's for me to go, thank God. Maybe we'll get through the woods now and get out of the Matrix and finally have a better world. And it's almost like my background just lit up all white when I said that. That was really cool. But it's like, I believe it's going to happen. And I believe there is that. That God, that benevolent force that he will say, well done, and I'll be thrilled. And well done means we do go along this path. Timelines converge. We make the films that bring us together and defeat the idea that we're all dark. Some of us are not dark. Some of us have a compulsion for doing good. And they put that in black sails. In Black sails about the pirates. They put that in there. They put the name of the character named Thomas. And in that, because the studios tell me they're doing this all the time because they're fascinated by the story. So what happens is Thomas is referred to as a character that cannot do bad because he has a compulsion to do good. And in man in the High Castle, what they stick in a Man in the High Castle, Go back and watch Abernathy or whatever his name is. The man in the High Castle filmmaker in the prison with Smith. What does he say? He says this, and I'm not doing this for me. I'm doing it for how they're responding to what we have. He says. He says, for God so loved the world that he gave his only begotten son, Tom. What they're doing is they're saying they're trying to get me to be dark. But I was contacted and told, yeah, all this stuff is in there, all these characters. Juliana is the two names of my sisters put together. John Smith, my dad's name. John Thomas, the son that dies. And it's like all through it is these things that are stuck in. In Man Thy Castle. And the Boys series on Amazon. The boys series on Amazon is overdone. Or they even mock the idea of the blue pill and the red pill being reversed. Doesn't matter. They have the main character, the Wolverine kind of looking guy. His. His wife's or interest name. His wife's name was Becca. That's the honey pot WI Fi supplies. The other character he works with, the African American guy. That's so cool, that character, you know, he's so cool. His loved one is Monica, which is the name of my trinity, the original piece. And it just goes on and on to a nauseating level of what they stuck in that. And they even have it where the Germany experiments on the Jewish people to create the immortal program and the superpowers, they have that, but it came from the knot, so they just piled it all in the board.

Interviewer Dan (130:06)

They've done an interesting thing with that series and that, that comic book. Well, I think the reaction to it is kind of what you're describing about your. Your second matrix, where I find myself rooting for the bad guy or who they want to be the bad guy. And I don't know if they're doing this on purpose, but like the, the response back from the people are like, there's an affinity towards Homelander. They can't figure out why. They're like, clearly we've painted him as the bad guy, but he's got this level of humanity, this interest. I don't know if it's done on purpose, but they've, they've done that in ours.

Tom Althouse (130:37)

It's the same way in the original Matrix story the Immortals. You have the Architect going to purge Smith and the Agents. He's going to use Neo character to do it. He allows Neo to go to underground. He allows, when Smith finally gets the green light to take out Neo. The Architect has planned that Neo will take out Smith. He's sacrificing Smith because he wants Neo to be the one to do all that makes what happens to help purge the Agents, to help him bring the people out of Zion. Because the Architect has planned to use that stimulation. So the Architect ends up presenting himself as a Second Coming where he gets the pure power of worship. He doesn't need to harm humanity any further. He will appear as a benevolent because he just needs that stimulation of the mind. The worship goes back to what I was talking about earlier.

Interviewer Dan (131:24)

Welcomes back to worship.

Tom Althouse (131:26)

Huh? So Smith actually is doing what's needed for good to happen, but Neo is doing exactly what the Architect wants him to do to elevate himself. And so people are catching on now going like Neo wasn't the one that was actually doing the good, is actually a Smith character was doing it. The Architect organized that to happen that way. It's, it's a mind blow. That's why go back to that article I told earlier where the heads, the suits that Warner Brothers said, we know we have something cool. We don't understand it. Of course they didn't understand it. They understand anything.

Interviewer Dave (131:58)

That's how that goes. That's how that goes. They, they have a parasitic relationship with the actual creators. They facilitate the success. They can provide you with the money. Xyz. But they are not good creatives themselves. And if given the opportunity, they'll take what you have created and they'll, they'll say they did it.

Interviewer Dan (132:16)

I think that's what.

Tom Althouse (132:17)

Yeah, go ahead, Go ahead, Go ahead. Tom. Sorry. I was gonna say that's one of the stupidest things they did. You have the suit sitting at a table asking the Wachowskis, who they brought in as failed writers to steal it, what it means that you're going to get the reaction you got where Larry gets up and leaves the room and screaming into a phone because they're thinking of replacing him as another with another candidate.

Interviewer Dave (132:36)

I wonder if we could still find the. Wasn't there a. A interview they did? It was a live televised interview where they kind of like fumbled through a lot of the, the descriptives of it. And it was like, you know, if you were really looking at it with a scrutinizing eye, you're like, these guys don't even know what they, what they have or what they're doing once you know.

Tom Althouse (132:53)

That's right. Elon Musk has a similar interview live with a Chinese scientist. And they picked somebody who wasn't that bright to stand up, post from him to make him look good. But Elon couldn't explain neuralink at all. Not at all. He doesn't understand it at all. And he's. They even put in. He even put forward the idea of the pin. Like, I mean, the filaments that would permeate or go into flesh or vital places like the brainstem. And it's like that's. That's in the beginning part of the screenplay where the mole like device interrogation scene is inserted into the curse of neuralink. And then in mine, it's later. It's done by harmonics. Basically it's done by an adaptive collar that does not pierce vital tissue.

Interviewer Dave (133:33)

Oh, that's interesting. Like a bone.

Tom Althouse (133:35)

Yeah, like. Yeah, like that. That's how. That's how it's supposed to be. So watch for him to do that in the future where before. Now they're talking about filaments that he claims it'll do minimal damage. It's not. No, that's the beginning part of the script. Read ahead at the end. It's done by like the bone thing? Yes.

Interviewer Dave (133:50)

Yeah, like a bone conductive vibration technology, man.

Tom Althouse (133:54)

Yeah. Brain collar. I mean, enhancer collar. So that's.

Interviewer Dan (133:57)

You're ahead of it, man.

Interviewer Dave (133:58)

This.

Interviewer Dan (133:58)

Yeah, I mean, well, that's. That's Tesla work, but still like, you know, in the 90s, people. I don't think you're really onto frequency technology now. It's kind of very popular.

Interviewer Dave (134:07)

Yeah. Out of the bag in so many ways on that.

Tom Althouse (134:11)

Yeah. Look at what else he's did with that. They. They put the in in ours is just a. A small attachment that goes in to the back.

Interviewer Dave (134:17)

Oh, yeah. There's a murder dagger.

Tom Althouse (134:20)

Everything overblown. And the lease. Yeah. In Elysium. Yes. We have the thing where he takes Smith's memories. They got that off into Elysium too, where they didn't do a screenplay, they just did a visual storyboard to show the guys. And so in that one, they have a box attached to the back of his neck which shows what he's thinking and seeing. How are you going to go on a convert mission with a box on the back? Of your neck. It's showing what you're thinking. It's supposed to be. No, you are using the memories by using Smith's adaptive collar or adapted to you to in import those. And so it's like they're so stupid in Hollywood. They're so dumb. They just, they can't.

Interviewer Dave (134:56)

Well, I mean, like I said, it's one of the biggest things. I mean, obviously the concept was profound. Even though they chopped it up and they. They made a Frankenstein version.

Interviewer Dan (135:04)

Yeah, they murdered it and it's still.

Interviewer Dave (135:06)

But all that kind of goofy stuff that they like. I guess what they did is they had a good read on like, what people we're gonna think was cool. So like the bullet time dodging stuff was cool.

Tom Althouse (135:19)

And you know, it wasn't even theirs. It wasn't even theirs bullet time. I had a patent attorney contact me who has the original guy that came up with it that the Wachowskis took it from. Really bullet time was taken from somebody else. They didn't even.

Interviewer Dave (135:29)

Unbelievable. And, and by the way, they do suck so bad. Well, these ladies, they. They integrated that bullet time crap though, into like every video game after. After that, every show.

Tom Althouse (135:42)

Yeah.

Interviewer Dave (135:43)

I show me a single kid who didn't try to run on the wall of a swimming pool. Matrix style 100. Yeah, I mean, they did. They, they. What they had an eye for was other people's creative ideas that. That were gonna work. And I guess there's something to say about the aggregator of ideas. But Tom, we're bringing in for a landing here and I want to ask you one final question. And this really pertains to not the conversation that gonna we're having here, but your work and where you are in life. This is something that we ask everybody as we come to a close. Are you having fun?

Tom Althouse (136:17)

Am I having fun? Thinking about what's ahead and what the world's going to be like gives me elation and great peace. I know it's going to work because the other side's so much dumber than we are. And the more they mock us, it's interesting because they say that one of the things they had the WAchowskis do in TMZ, owned by Warner Brothers, was to say tomalt has just a. Here's just a hack showing their faces famous for nothing. What they did was they made me memorable, which is so important to them, being remembered, not forgotten by coming at me so hard because they were so afraid of what we had and the evidence we had that they actually made us memorable. So it's like, I mean, they're instilling into us what they want to be remembered. And the fact is, when all is washed and done, it'll be shown that we were the good guys and the good girls. We were the ones that actually held it in there. Not for fame or not for fortune, not what they were promised by Dino Laurentiis, the exec that wined and dined them before they were brought into Warner Brothers to steal the work, but because we knew it was the right thing to do. And that's going to change our world. So I. Am I having fun? Yeah. When I'm on shows like this, I'm having a blast. Because, you guys, I mean, it's like. I mean, I was in that prison and it was like that Far side cartoon where they show the orchestra leader or conductor suddenly in hell and he has all these overweight boys with tubas and that's his hell. It's like people don't understand what I'm talking about, you know, and then they have the audacity to say he has no idea what the Matrix means. I understand what the Matrix means and then some. And I understand what my work is means in the layers of all it. And I can't wait to present that. If. If we do get justice back, we'll present it the way it's supposed to be and you'll be able to amp in an amplified way. See just how ridiculous they did alter the work. Like the silver pen being used as a channel changer. And one more thing. Why would you have the defenses in Zion? The thing that Joel Silver says, that is their genius. The one thing that he says he credits them for was having those walkers from aliens, like the walker lifters from aliens, where you're strapped on bare chested, basically, and like, no, no armor in the front of it and you can't even load it. You need some juvenile kid that's supposed to load the fleet with these heavy things and run down all this corridor to get the reloads. It's like it makes no sense at all. What are you stupid? Yeah. And so it's like he. They gave him a model of it and it's in Joel Silver's office. And he said, that's the genius of the Wachowskis. What? Stealing the alien idea and having him exposed at the front of a thing going. It's like, my God.

Interviewer Dave (139:00)

Yeah, anyway, well, hey, look, Tom, it takes a real sharp mind to know what's worth stealing, okay? So let's give the watowski ladies, whatever their. Their due, because, you know, I am.

Interviewer Dan (139:14)

I'm feeling you, like, as. As the show, like, winds down, I'm really feeling the pain of, like, it's having to watch. I'm watching it again through your eyes and going, oh, my God. Imagine, you must have been, like, audibly screaming. You didn't see theaters, did you? Oh, God, no.

Tom Althouse (139:30)

I could. I couldn't watch it through the theaters. But I'll tell you one thing. Christopher Nolan, one of the worst of the worst of the worst of the worst. He was told in film school that he was gonna not make it. And then Universal hires him and they put him in charge of the Star Trek projects. And it's like, Star Trek is a brilliant series, but here comes Christopher Nolan and what does he do? He has Interstellar to mock the author. Because the one scene I had said over and over during the court situation where they just had like a, you know, make a break of Moran on steroids. And it's like I said, they left out the best scene, the one where the daughter's aged and Neo hasn't. He comes back, he has a daughter that's a little girl, represents the train station. And they left. They took that out and it was the most brilliant scene. So what does Christopher Nolan do? He puts it in Interstellar and breaks my heart. The hardest part I've ever seen in my life was Christopher Nolan, that bastard, doing my version of my favorite scene that touches me over the loss of my daughter and putting it in for himself. And interstellar with Matthew McConnelly.

Interviewer Dave (140:33)

I had no idea that that was supposed to be in the Matrix. That would have been fantastic.

Tom Althouse (140:36)

It was in the Matrix.

Interviewer Dan (140:38)

Can we read, like, the original screenplay somewhere? I've never read it.

Tom Althouse (140:41)

Yeah, I can. I had it originally on my website. And that website got struck by the attorneys that were brought on to handle me. And they had said, you know, we need to get this down, get this down. They didn't want any publicity or proof out. So they. That was part of their strategy. So we're going to put it back up on our site. We'll put it back up. I originally had said many times I want to have people have the experience, you know, of the film, but it's getting times ticking, so maybe it's time that people won't have the experience of the film. At least they can read it. And it's already been stolen, right, left and down.

Interviewer Dave (141:11)

It would be fantastic to adapt it to a. To a novel. I mean, I. I would say hold out for the Film. I think it deserves the film. Right. But you know, if that doesn't come to pass, then, then a novel, I'm cool.

Interviewer Dan (141:23)

I'm cool with whichever way you decide to go with it.

Interviewer Dave (141:26)

Let's show off that website though, so people know where to go. We have you at Tom Althouse. And one more time for the people, Tom, just let them know what, what can they expect from your website.

Tom Althouse (141:37)

You're gonna see a lot of the proofs we were talking about, like that interrogation scene. It's worth going to see what the Wachowskis stuck in. You're going to see the original scene where they open that folder and on there is all that information right in the first graphic. You know that my high school Central West. My dad's name, John A. My name Thomas. They double named the character. They gave him double birthdays. My fiance's birthday who was at the pitch session with Bonaventura is March 11th. They give that to which Neo as his birthday. They just. It's called stacking. They stuck all those entries in. It has to get by the clearance department. But that's what the killer is. And they were trying to shut that down from ever being known. That's what caused Sophia Stewart to lose it. Who doesn't have a screenplay. She only has 33 pages. That's not how many. 33.

Interviewer Dave (142:23)

33.

Tom Althouse (142:23)

Interesting.

Interviewer Dave (142:24)

There it goes.

Tom Althouse (142:25)

And it's. It's all based on the Bible and Star wars wars mixed together. That's what it is. Nothing to do with Matrix or Terminator.

Interviewer Dave (142:31)

Interesting.

Interviewer Dan (142:33)

This is a creepy. I'm gonna re watch this episode. I don't usually do that, but thank you, Tom.

Interviewer Dave (142:38)

Thank you for your time and, and thank you for sharing your story. And I hope this is going the direction that it looks like it's going. I agree with you. I think we've got a lot of evidence that shows that we're at this cultural shift. And I hope that your story is told. It's great to do it within these, these podcasts, but it deserves, you know what it deserved all these years ago.

Interviewer Dan (142:58)

I wish we were Roseanne.

Interviewer Dave (143:00)

Yeah.

Tom Althouse (143:01)

No, I think it's great you did this. This is fantastic. And I would ask people if you want to shake up Hollywood, start saying you're blue pilled because they don't want that said. They don't.

Interviewer Dave (143:10)

I kind of want to. Because the red pill community thing has been so hijacked and so turned into something that doesn't even resemble itself what it was in the early 2000s when to be red pilled was to be aware just, you know, of concern, conspiracies. Now it's a cultural thing. It's the manosphere. It's a bunch of goofy ideas all wrapped up and it's, it's worth.

Interviewer Dan (143:29)

It's what it was always supposed to be.

Tom Althouse (143:31)

Maybe so now timeline will reconnect. I mean, if you ask anybody red or blue, a child, ask a child what they think is right. Red usually means danger. Blue usually means serenity. So not facing the blood of children with painful side effects. So to use the blue pill meant you were sacrificing your own comfort. It would be painful, slow aging to go back in a program to bring right for our world.

Interviewer Dave (143:56)

So blue pill, let's start saying that it's going to upset a lot of people, but we won't explain either.

Interviewer Dan (144:01)

We're going to change it up for today's episode. Yeah. Thank you for tuning in again, guys. Don't forget to obey, submit, and take the blue pill. Very interesting. See you later.

Tom Althouse (144:12)

The greatest hypnotist on planet Earth is a oblong box in the corner of the room. It is constantly telling us what to believe is real. You can persuade us that what they see with their eyes is what there is to see because they'll act in the face of an explanation that portrays the bigger picture of what and they have.