Steven Spielberg's Disclosure Day Trailer Breakdown

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Yeah, m h huh.

Speaker 2 (00:44):
Or should I say keep your eyes on the skies? Wow,
you got the time. We all have some time off
for the holiday season. Uh so make sure, you know,
get outside and take a look up. Take a look up, baby, while.

Speaker 3 (01:01):
You got the time. Today, I wanted to do something
a little bit.

Speaker 2 (01:05):
Different, kind of like pulling from my old quote unquote
career field in movie reviews and breakdowns with the current
UFO film by Steven Spielberg.

Speaker 3 (01:18):
Together, we'll deep.

Speaker 2 (01:19):
Dive into this explosive marketing campaign for Steven Spielberg's highly
anticipated return to the UFO.

Speaker 3 (01:27):
Genre Disclosure Day, hitting.

Speaker 2 (01:29):
Theaters June twelfth, twenty twenty six, out of December twentieth,
twenty twenty five, just days after the teaser tailor dropped.
The campaign had the Internet posing with theories, symbolism, and
real world ties to UAP history from whistleblowers to ancient lore.

(01:51):
Let's break it all down. It's kind of heavy, so
you know, piece by piece, we'll we'll do that. Make
sure to light share and subscribe for more content like this.
It's the biggest way and reality to helping the show grow.
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(02:12):
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Speaker 3 (02:23):
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Speaker 2 (02:25):
Membership, or as low as the price of a couple
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Speaker 4 (02:31):
All right.

Speaker 2 (02:32):
With that being said, I mean, let's get fucking right
into this. Let's take a look at the full marketing
campaign for this upcoming film disclosure Day. Then we'll start
breaking it down brick by break. Now, first off, there
were some billboards that started hitting.

Speaker 3 (02:53):
I think they started on.

Speaker 2 (02:54):
December tenth, and it was massive times Square La. Huge
billboards appeared and I think in other major cities as well.
But it was like a star black background dominated by
this optical illusion. It was an intense upside down woman
eye with this pale, very very pale skin, long lashes,

(03:20):
and a starring or staring I should say not starring,
staring reddish brown. Now I leaned more toward it being
like a red eye. Other people were saying brown, but
I mean it was composited perfectly into the silhouette of
a perched northern cardinal that bright red bird that we

(03:42):
all know, and then we end up seeing throughout the
trailer multiple times. So we flipped this picture mentally one
hundred and eighty degrees and the eye became the bird's
beak or like eye socket area, and the feathers started
to emerge from what looked like the skin. You can
even make the case that the eye of or its

(04:03):
is showcased in that billboard, again bringing us down that path.

Speaker 3 (04:08):
Uh.

Speaker 2 (04:08):
Starting with ancient civilizations symbolism that they used to describe,
you know, what they were seeing. They etched it into rocks,
into clay tablets, in which today we would call, you know,
alien or non human intelligence. Uh, and that could be
what our ancestors went to great lengths to warn us about,
or at least educate us. Then the subtle urinescent glowing

(04:33):
is seen inside the reflection of the eye, almost like
a a a lens flare from another world.

Speaker 3 (04:41):
And I really liked So.

Speaker 2 (04:43):
This is both the this is the poster that I pulled.
This isn't the exact one that was on the billboard. However, However,
shit I didn't upload the other ones.

Speaker 3 (04:57):
I had let me upload the I had from.

Speaker 2 (05:01):
My photos because it shows the eye of Orus. There
she is, ready, here we go. So this is the
one that was seen in Times Square. And as you
can see on the left side, it's it's got the
bird right which I outlined so you can kind of
see a little bit more clearly, and then the eye,

(05:25):
and the eye is clearly upside down in the picture,
so it like invokes you to turn that picture upside down.
And when you do turn that picture upside down, you
know what you get is something that looks and more
resembles that the eye of Oris.

Speaker 3 (05:46):
So you know, it just it the symbolism is all
over the.

Speaker 2 (05:50):
Place with this one, and I really really enjoyed, you know,
everyone's attempts at decrypting what they thought they were seeing.
Of course, you know, it's it's a poster. Posters and
trailers are often not made by the filmmakers, but it
looks like in this case there was you know, at

(06:13):
least some communication from Snielberg and the team about what
they wanted to convey, which I thought was, you know,
evident to some degree.

Speaker 3 (06:23):
But I don't want to get too involved.

Speaker 2 (06:25):
In the marketing campaign and get my expectations way up
here and then have them crashed because dude, if this
changed my microphone again, I'm gonna fucking lose it.

Speaker 4 (06:38):
It did, It's really starting to drive me crazy. Stream Yard.
It just does what it wants. It does what it
wants to do, and it's really aggravating. So sorry, that
whole intro was in like the shitty iPhone quality, you know,
per usual. I got thousands of of equipment here and

(07:01):
uh still still can't get get what I want. But yeah,
as you can see, all will be disclosed is on
the right side. Uh in fragmented glitching texts that arches
like a radar suite. Spielberg's name, the date, Uh, no
title on that original poster. Uh debut just pure mystery,

(07:22):
pure genius, by the way, in a marketing aspect, uh,
because it went viral instantly. Uh. In that cardinal let's
it's not random in real UFO lore birds, especially owls,
but also cardinals, and ironically, cardinal is also a rank
given to a high level official in the church often

(07:46):
rape I think right before the pope, you know, cardinals
so and and then we see the religious tie in
in the trailer and more symbolism in the trailer, even
the people with their phones. You know there, we'll get
to that part when we watched the trailer, but I'll
stop it when it gets there. But all these people

(08:07):
have their phones out and their flashes are on, and
when you see it, you can see the crosses that
the lights are making. So there's so much symbolism in
each shot. It's almost like each one was picked very,
very specifically. But birds are often also associated with screen memories. Now,

(08:32):
screen memories, what are they? Well, they're quote unquote psychic implants,
hiding the true alien encounter that the person went through.
Researchers like Mike Cleland have documented hundreds of cases where
abductees recall staring birds moments before they are abducted, or

(08:53):
at least the right before they're missing time in some cases,
only to uncover later that it was the grays under hypnosis. Also,
you know in the trailer and in the lore, animals
reacting strangely during UAP events, whether it's cattle, horses, or
other livestock. It's something that that we are we often

(09:17):
know and see in the UFO community, which you know,
I think what Spielberg is doing here, because Spielberg wrote
this treatment. He wrote about a fifty to sixty page
treatment and then it was expanded upon. It was written
by David Kepp. David kept took that street treatment and

(09:41):
wrote the actual script, which you know, expanded upon the treatment.
John Williams scored this film, which is I think it
marks their thirtieth film together Spielberg and John Williams, and
John Williams is an amazing, amazing composer. So I'm super
excited for not just the visuals and the cinematography and

(10:03):
the writing from Spielberg and David Kepp, but I'm also
excited for that John Williams score. It's very exciting. I
think that we're gonna get a lot of classical tie
in from history like UFO history, Roswell, you know, from
Roswell reports to modern whistleblower testimony and the inversion. It

(10:28):
symbolizes disclosure, you know, kind of flipping our reality. That picture,
the marketing picture that they first released. It's flipping our
perspective on what we think is human or earthly. Uh
might you know, could it be that non human intelligence
have been watching us all along? And ties to the

(10:49):
ancient astronaut theory too, that you know, red plumage invoking
that Catholic cardinal, hinting at religious institutions knowing more about
angels orquote unquote angels and demons that were actually uh,
you know, non human intelligence and and by definition they
are next the character posters. And that was the ones

(11:12):
I just I did show on screen. God, I my,
I'm gonna pause for a minute because the orientation of
my the orientation of my screens is off and it's
really making it hard to go from one to the other.
You know what, Let's just watch the trailer now. I'll

(11:35):
fix when I need to fix, and then I'll I'll
come back. Let's watch the trailer once through fully, uh,
and then we can start breaking it down a little
bit more, you know. Bye? By what it? What it shows?

Speaker 1 (11:51):
All right?

Speaker 5 (11:55):
Where are were?

Speaker 1 (12:00):
Mhm?

Speaker 6 (12:02):
If you found out we weren't alone, if someone showed you,
proved it to you, would that frighten you?

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

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

Speaker 4 (12:29):
Today, junior.

Speaker 5 (12:36):
See, people have a right to know the truth. It
belongs to seven billion people.

Speaker 1 (12:56):
What is it? You don't believe me if I told
you so, I'm want to show.

Speaker 5 (13:01):
You what are you gonna do full disclosure to the
whole world. People keep wondering, encountering the unknown.

Speaker 4 (13:30):
Way the way.

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

Speaker 4 (13:38):
Do you think there could be others? Why would he
make such a vast universe yet save it only for us?

Speaker 1 (13:56):
M hm.

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

Speaker 5 (14:08):
If Home alone?

Speaker 1 (14:08):
Three?

Speaker 4 (14:09):
Was that?

Speaker 1 (14:14):
So?

Speaker 4 (14:17):
I mean right off the bat in the first sentence,
we need to really pay attention to h. So I
want to bring that back up. I just had to
get that. So the first sentence, I think is one
of the most important things that we need to listen to, uh,
in terms of the tones, the theme, and what the

(14:37):
overall message of this film is. It's going to be
and it's it's let's I'm gonna bring it back up.
So first sentence, listen closely.

Speaker 6 (14:55):
If you found how we weren't alone? M if someone
showed you, proved it to you, would that frighten you?

Speaker 4 (15:10):
Good morning, Kansas City. So we start off with someone saying,
what if we weren't alone? What if SOE proved to you?
Would it scare you? And I think this is a
core theme and tone setter Spielberg's background. It's almost like

(15:32):
his background and his wonder combined with some of his
fears about disclosure, and then we start seeing again this
spot right here. Then we flash over to Emily Blunt's character,
who is a news reporter, and she is in the
middle of a news report for a Kansas City Kansas

(15:56):
City news channel. Now, I am taking a close look
at some of the technology technological devices around because I
have a theory that this movie is a follow up
to Close Encounters. Now I don't I don't know how

(16:18):
the more marketing I see, the less this falls in line.
I'm still gonna I'm still gonna go out on a
limb and try to, you know, to try to see
where it might happen. But I'm thinking it might be
like a split type of movie, uh, where you don't
find out until the end, but it is a you know,
loose sequel to Close Encounters. Now, what form could that take?

(16:42):
Could it be that Close Encounters was a different race
of ets and you know, they they take they take
him at the end and they try to warn us
about something that's coming, you know, which is ultimately a
disclosure day. Now, I know I'm pulling on threads here,
but I've heard it from multiple sources. That were not

(17:08):
connected and unconfirmed. Now, could they just be you know,
drumming up people like myself to get excited, of course,
and never take anything you hear in the film world
super serious unless it's from the filmmaker or you know,
someone that's deeply involved in the production. So with that

(17:30):
being said, I think hybrids are going to be at
the center of this film. For what happens next. Let's
take a look today. See let's she's clearly like something
is happening, right, And I think this will be early

(17:51):
on in the film with Emily Blunt's character, and you know,
then we'll kind of see it from multiple perspectives. But
she clearly starts this broadcast and this is the moment
that they start to communicate through her with a eerie,
eerie communication type, unlike the Close Encounters where it's five

(18:14):
corded you know, music, which most people don't know. But
Spielberg's father was a computer engineer and his mother was
a musician, so he kind of combined both to develop
that language for Close Encounters, the third kind. Unknowingly, I

(18:36):
think he did it and didn't find out until an
interviewer asked him about that, and he was like, you know,
I didn't even think about that until right now, but
subliminally I think that's exactly what I was doing. But
the communication type we're about to see here with the clicking,
reminded me of like the what's that show? God damn it,

(19:01):
Pedro Pascal, It's like the zombie show whatever. The Last
of Us it was like that, or like signs, it
was more communicative like that. So it's like this clicking
almost District ninety as well, Today is Today's. So she's

(19:21):
clearly then taken over by something ski that phone. Another
thing I wanted to point out this phone. Now it
is a flip phone, but it looks like some sort
of satellite phone and it's able to broadcast video. Now

(19:44):
that would kind of I mean, it's almost like a
I can't like, there's little things like this that make
me want to think. And the farmhouse, like the farmhouse
looks pretty close to the farmhouse that's in close encounters.
But here again, so this is the whistleblower and Colin
firsts character. Later on we see he's part of like

(20:07):
the NSA or CIA or DOE, but he's in some
sort of command center and we'll get I mean we'll
get there. But this is that whistleblower, and this is
right before that scene with the crop circle forms around him,
and which is brilliant. I mean, we're including Spielberg's including
as much as he possibly can, and I love it.

(20:30):
You got the whole world watching and listening to this clicking.
So I don't know. I think they're going to go
into deciphering that for the film. Like one of the
angles the government entity is going to be playing is
trying to decipher what is being said to hear and
what the intent is by this non human intelligence that

(20:54):
I think because Spielberg was even quoted in interviews saying,
you know what if they're not quote unquote aliens, but
they're us in the future, coming back. So I think
there's going to be some sort of hybrid program. I
think there's going to be that's gonna be at the
center of the film. The sound design is going to
be crucial, it's going to be at the core of

(21:15):
the film. Liking Close Encounters, like I said, using that
five chord chime to communicate, but this is that next
level or you know, the warning that wasn't understood in
Close Encounters that something bad was coming clicking. Aliens have
been used in like I said, Signs by m Night,
Hiamlan and as well as many other worldly tales and

(21:39):
TV shows, So I think decipher this language but everyone,
And here we get the religious part, the religious entrance,
and we'll get into this a little bit further. That
woman right there, her, she clearly has a worldview that

(22:00):
is allowed, that maybe doesn't follow exactly what the church
narrative is. And she's been around the block. She's an
older woman, she says later on in the trailer, this
whole out of the whole cosmos, you think that it
was all made for us. So she's clearly going to

(22:21):
be a driving force character for the film from the
religious side and the religious aspects of and I think
we're going to see it from multiple aspects. From the
whistleblower that clearly ran away from Colin Firth and is
trying to One thing he does say is he says
seven billion people. We crossed that line in like twenty

(22:44):
twenty two, way before this film began writing. So I
think what they're trying to infer when he says billion
people are owed, the truth is that because there's eight
billion now and when this movie was written, So I
think what they're trying to say is one billion or

(23:04):
hybrids or have some sort of genetic anomaly. So that
would mean one in eight people have had contact without
knowing it. And I think the symbolism is all over
the marketing and the trailer people, so people, this is

(23:31):
the whistleblower talking and I think his name is Dan
I think I got that I got it from. So
there's a when Colin Firth is the office, so there
is at least twelve people that they are watching that
either are I just don't know yet, there's not enough information.

(23:52):
But there's another shot of Dan in on the side
of the screen, and then North if you look closely,
North Korean rebels sees Pongdong nuke. So global tensions are
another thing that is going to be in this film.
So kind of like Arrival where the Chinese went off

(24:16):
and they were like fuck this, fuck this, like it
interpreting interpreting language differently, right, It's it's a very like
the word for tool also being weapon, right, Like a
miscommunication like that will set someone down a completely different

(24:37):
path to Okay, they're they're here to hurt us, when no,
they were trying to give us a tool to ensure
our in arrival. At least in twenty sixteen arrival, they
were trying to give us a tool, and the Chinese
misinterpreted that word as weapon, so they started arming themselves

(24:59):
to white. And I think something similar is going to
be happening in this film. By that, I mean, by
that they don't I mean, and it seems to be
that same news channel, that that Kansas City news channel.
So again, North Korean rebels sees Pongdong nuke. So governments

(25:20):
are going to fail to some degree, Global tensions are
going to be rising. Disclosure it's going it's going to
be so shocking and ontologically big that you know, people
are just going to be looking for answers. They're going
to be scared. And you can see again some symbolism

(25:44):
in the shot that I'm we see on screen right now,
where everyone's camera flashes are in the shape of a cross.
So I think it's going to be that intersection between
the again that the government, the the global global implication,

(26:06):
the global tensions rising, the whistleblower perspective, the average civilian perspective,
and then you know, so on and so forth. So
I think we might see this film from multiple angles
and how disclosure affects multiple sectors, and you know that

(26:26):
it'll flash back and forth throughout the main main characters
it belongs. So this is the whistleblower. I think his
name is Dan, and he's talking to that little girl
about how the world deserves the.

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

Speaker 4 (26:46):
Why seven billion? Seven billion's very odd because we crossed
eight billion in like twenty twenty two, again far before
this film began its treatment. So I think that that
line right there means something. So if one billion out
of the seven billion are just human, and one billion

(27:09):
have this other genetic anomaly that is maybe like alien
hybrid or a future human like the you know whatever,
we become the grays. If that's the angle that's being taken,
you know, those one billion people, they're compromised to a degree.
So it's the other seven billion people that need to

(27:30):
know the truth. This one billion they already know. So
and maybe that's what's happening to Emily Blunt's character and
others that we see match cut with Colin Firth's character.
Right after that is in some sort of NSA command bunker.

(27:50):
You see a lot of stuff again on the screen here,
and they're clearly watching everything you think some self up
to like some machine, and then it's matched. His actions
are matched with another unknown characters. So again I think
the government is well informed on what's going on, and
they've even utilized some of the technology. Maybe there's a

(28:12):
deal in place for abductions and genetic experimentation by this
non human intelligence through the years, and you know, secret
technology advancement like the real world UFO lore.

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

Speaker 4 (28:36):
What are you going to do? Right here? So he's
hooking himself up to some sort of machine that allows
him full disclosure the world, and his pupils do this
kind of it's a cool match cut because his pupils
get small and then it match cuts with the others
getting larger. So all what ay and his actions are

(29:04):
his motor function actions are controlling seemingly this woman dope
dope shot by the way, I got it, I gotta
throw it out dope shot. So again this is where
that this is the guy that has the satellite phone
in that earlier shot, and he's watching Emily Blunt's character

(29:27):
fucking freak out or whatever start clicking and then he's
standing there knowing what the government knows. He's a government whistleblower,
military whistleblower, and he's out in this cornfield and a
crop circle starts forming around him, which I think the
way that the way that Spielberg. Now, Spielberg had pulled

(29:50):
real case stuff, case work, case and detail from the
Project Blue Book files on Close Encounters, and he had
Jallen Nick as a consultant on that film. On this
film he has David Grush. So I really like the
detail here where they crops are kind of folding onto

(30:14):
each other and laying down. It's almost like it's being
imprinted from above by some sort of like directed energy,
and the stocks are are form, you know, laying over
each other, not breaking, but just simply laying down. It's
a really really close close attention to detail.

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

Speaker 5 (30:48):
There.

Speaker 4 (30:49):
He's gonna call him Firth and then Nsay clearly have
some sort of dark Knight machine where they're able to
watch every single thing that's happening, which is very, very creepy,
but I think it's something that we all just kind
of understand that's probably reality. So could this be again

(31:10):
some sort of symbolism right about corruption and government corruption,
government being involved with the non human intelligence and keeping
it from the public. I think that is what the
whistleblower intends to show the seven billion people starved for
the truth. This is really the only action sequence that

(31:34):
we get in the trailer.

Speaker 6 (31:38):
Do you think there.

Speaker 4 (31:39):
Could be others?

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

Speaker 4 (31:45):
And again here we get the animals. And this is
something that's been in the lure for a long, long
long time, is that animals. See it's almost like we
need to start learning how to share the earth with
all life, and that you know, the animals are because
I think there's the main thing is like a buck.

(32:08):
It's a buck, it's a cardinal. In this shot that
we get a maybe like a fox, a little fox,
and then they're walking with the little girl up to
this you know, fantasy fantasy looking, fable looking, you know,
just out of a straight out of a fucking cartoon

(32:28):
or a fairy tale house. And I think these are
right here. This is the keys to everything. The keys are,
the keys to disclosure are in the future generation or
the keys to unlocking the next stage of humanity are

(32:49):
in the future. The children, the what it's all been
leading up to what the abduction programs were, what they
were doing, What was the non human intelligence's quote unquote goal,
what was their end game? I think it's her right there,

(33:11):
right there, in that little bed right there. Uh and
and you know, we'll see where it goes, but I
think she's going to be a very important person a
vast universe. Here's a cardinal again, lands on the buck again,
symbolizing you know, a bird, a very delicate uh you know,

(33:35):
small landing on a buck a large right. Again, It's
this it's this idea of uh, synchronicity, and it's this
idea of coabtation. And you know that we this earth
is not just humans, it's all of ours for us.

(34:10):
And again you hear that clicking again. Yeah, I mean
I I literally can't wait. I can't wait for this film.
It's it looks so so good. And again I think
the core themes are going to be future humans, uh,

(34:32):
sub element of global tension, a hybrid program, government whistleblowers,
a long standing cover up. Uh and and and just
you know, themes that touch on real things. Uh. You know,
Steven Spielberg is no no stranger, you know in an
interview with I think Colbert uh he said, I think

(34:55):
it's mathematically impossible that we are the only intelligent species
and cosmos. I do not believe that we're alone in
the universe. And I think that there is something going
on that needs extraordinary due diligence. And I think this
is Spielberg's way. I think Spielberg's A lot of people
are like throwing conspiracies on this movie already saying that

(35:20):
you know he's got I mean, of course, he worked
with jillen Heinich on Close Encounters. He works a grush
on this film. He definitely knows some shit. I just
I don't think he's got any access by the government
to disclose actual reality. But I do think that Hollywood

(35:46):
plays a part in shaping societal consensus. And I think
it's very evident from things like Project Mockingbird that that's
absolutely the case that you know, our government is infiltrated,
infiltrated all the media and Hollywood and all these sectors,

(36:10):
and they are shaping reality for the average person. And
what does that mean? What is that? Where does that end?
What's the line in the sand? How can you classify reality?
So I think at some point, you know, the whistleblower
Dan I think is his name in this film, He's

(36:32):
going to expose some sort of truth that he knows
from working on the inside. So I think this is
again pulling from the real world lure. So you know
government whistleblowers, quote unquote whistleblowers. I think this guy's an
actual whistleblower because they are coming at him in full force.
Anytime you see a blacked out car chasing and running

(36:55):
someone down, they are looking for that guy Dan, who
is in the middle of the crop circle. And I
think so. I definitely think Colin Firth is going to
be the the bad guy if he will, but he's
going to be the human bad guy now arbitrarily or arguably.

(37:17):
The non human intelligence might feel like the bad guy
at first, but I think the more this film goes
on and on will realize that the problem isn't the
non human intelligence, it's the deep state, and it's the
people that are pulling the strings from behind the scenes

(37:37):
and not showing what the true reality is That we
aren't alone in the universe. We never have been. So
I don't want to get I have another episode to record.
I definitely wanted to break this down as much as
much as I could, but I want let me know

(37:58):
what you guys think in the in the comments, and
you know, are you are you excited about this film?
This is the first I think summer blockbuster for Spielberg
since or of the World's maybe I don't know, twenty
twenty three. I don't know when the last time he

(38:22):
had a summer blockbuster come out. Well, anyway, yeah, so
I'm all I know is I'm I'm geared up. I
am I'm geared up to do this and not to
see this film. And I really do think that it's
going to be a loose follow up to Close Encounters
to some degree. I don't know how or what or

(38:45):
what context that will come yet, but I do think
that there there is some sort of tie in. So again,
I do like the church element, the religious element, the
whistleblower element, meant, the abductee element, the societal element, and

(39:06):
I think the marketing is very meta, and I think
that is genie because you know it just when you
do something like that and people are able to feel
right like what they're watching on screen, even though it's
a script in science fiction film, that there are they

(39:27):
are pulling from real world law or history and using
that to weave the story and drive the narrative forward.
And I think some of the best films, some of
the best fiction films, have taken real world events and
used them as markers or you know, driving forces in

(39:51):
their films. For instance, Transformers Dark Side of the Moon.
I loved how they use that conspiracy to kind of
weave that Transformer's tie in with it, and why the
astronauts you know, went to a private channel, And I
really like those kind of things. So I think Spielberg

(40:13):
is really gonna take the cake here, and I think
I think we're in for a real, real treat with
Disclosure Day overall, from what I am seeing from the
billboards and the trailer. Granted, trailers are typically cut by
separate entities than the filmmakers themselves, and they're not always
dead on with representation of the final product, for example

(40:36):
twenty sixteen's Suicide Squad by David Air. But that aside,
the tone I think is going to be more more
of the world's terror than ET's childlike warmth. I think
there's going to be a very large emphasis on animal omens,
tying straight to abduction, reports, hybrid theories, and even the

(40:57):
future human idea. Again, I talked about how Spielberg himself
has floated this in interviews with various publications. Entities that
walk among us because they are us. So it's a
mix of real world scenarios and examples being included government
military whistleblowers like David Grush claiming non human biologics, Alizondo

(41:21):
on crash retrievals. They're all mirrored here this film, much
like Close Encounters, like I said, had that government official
working as a consultant to bring that authenticity and integrity
to the film. Sorry again, And I think its target

(41:42):
is meta and it's purposeful. It's teasing fragments of truth
like real disclosure leaks, and Spielberg is no stranger to
this world, you know, for all the movies I just listed.
It's really a synthesis. It's timely, it's emotional. It's kind
of terrifying too. Cast A you know, are calling it

(42:06):
beautiful in reference to our humanity and to expect wonder
among an admid The Chaos Disclosure Day is going to
land in theaters on June twelfth, twenty twenty six, in imax.
So is this soft disclosure through cinema or is it
just the ultimate Spielberg event.

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

Speaker 4 (42:29):
All will be disclosed. All right, everyone, I'm Ty Roberts
and that's it for TDP. This has been a little
breakdown of the marketing campaign for Steven Spielberg's newest film
and first summer blockbuster in many years. If you like
this type of content, smash that like button like you're

(42:50):
abducting a farmer. Share the show with your friends, your family,
and your star Seed galactic community. You want to go
U step further, become a member on YouTube to gain
clearance to early and ad free episodes like this, and
once you've finished watching, hopefully hopefully you well you know,

(43:11):
become a part of the community. That's what I want
all the link subscription of this episode. So stay humble,
stay kind, stay jelant. Let me know what do you think?
What do you think is Spielberg's new film? Is it
going to be more in line with e T and
helpful contact or is it something more insidious like War
of the Worlds? All right, keep your eyes open. The

(43:33):
truth is coming and it's coming soon. Dy and together,

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Steven Spielberg's Disclosure Day Trailer Breakdown

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