Beam Me Up, Scotty

On Novemeber 21,2025, Dan Farah’s documentary The Age of Disclosure was released. Far from the first of it’s kind, and presenting mostly information that had already been made public, Farah made a streaming-friendly, slickly-produced film meant to resonate with general audiences. The film features interviews with 34 high-ranking, bi-partisan government, military, and intelligence officials in the US:

  • Secretary of State Marco Rubio (while he was a senator) (R)
  • Senator Kirsten Gildebrand – Senate Armed Services Committee (D)
  • Senator Mike Rounds – Senate Armed Services Committee (R)
  • Rep. Jared Moskowitz (D)
  • Rep. Andre Carson – House Permanent Select Committee on Intelligence (D)
  • Rep. Dan Crenshaw (R)
  • Rep. Anna Paulina Luna (R)
  • Rep. Tim Burchett (R)
  • James Clapper – Frmr. Director of National Intelligence and head of multiple US intelligence agencies
  • Christopher Mellon – Frmr. Deputy Assistant Secretary of Defence for Intelligence
  • Christopher Miller – Frmr. Acting US Secretary of Defense
  • Jay Stratton – Frmr. Director of Task Force at Defence Intelligence Agency
  • Brett Fedderson – Frmr. Director of Aviation Security & White House National Scurity Council
  • Tim Gallaudet – Ret. US Nazy Rear Admiral and Oceanographer
  • Luis Elizondo – Former DoD AATIP Official
  • Hal Puthoff, Ph. D. – Physicist (Stanford)
  • Eric Davis, Ph. D. – Astrophysicist and AATIP Advisor
  • Garry Nolan, Ph. D. – Immunologist (Stanford)
  • Mike Gold – NASA
  • David Fravor – Frmr. US Navy Pilot
  • Alex Dietrich – Frmr. US Navy Pilot
  • Ryan Graves – Frmr. US Navy Pilot
  • Robert Salas – Frmr. US Air Force Officer
  • Travis Taylor, Ph.D.
  • Jeffery Nuccetelli – Frmr. US Air Force Security Forces

A group of people who are instantly credible, from all over the US power map, all saying the same thing unequivocaly: UFOs (UAP) are real, the US government has known about them for some time and has denied it for 80 years, they have recovered craft, and have laws and procedures long in place to direct the reverse engineering of these technologies.

  
E.T. stares wide-eyed into the void, fingertip aglow like he’s about to heal your trauma or hack NORAD. His wrinkled skin and glowing digit are pure 1982 nostalgia—alien empathy rendered in latex and light. It’s Spielberg’s soft power fantasy: extraterrestrial tenderness as antidote to earthly dysfunction.

I know, I know… but come on! ALL these people put their reputations online for a documentary meant for Prime Video? From all of those backgrounds? Hey, I don’t know what the truth is, but here’s what I do know, and so should you: governments lie to the people, constantly, about life-altering knowledge that no government has the right to hide from its people.

Bald-faced, unapologetic, endless lies. But the most disturbing thing about modern UAP disclosure isn’t what’s being revealed—it’s how little reaction it provokes in a culture trained to ignore anything that isn’t maximally extreme.

Why is this not shocking to people? Well I’ll give you a hint: just a few months ago we learned that it is possible to brainwash and weaponize people to murder others for nothing other than their opinion. Just shoot them in the neck in front of their family. Then happy dance gleefully in the still warm blood. Then high five each other over said celebration. I might still hold some upset over that one; that was disgusting on a deep, visceral level that communicated very clearly: things will never be the same again.

Bronze statue of a suited man seated in a fountain, microphone in hand, spouting water from his mouth like he’s mid-interview with Poseidon. It’s public art meets absurdist commentary—where gravitas gets soaked and the spectacle of speech becomes literal overflow.

Ten years ago, which isn’t long, the idea that gender was a social construct and not a biological fucking hard fact of nature would have been laughable. The idea that attacking law enforcement officers as they enforce laws would have been met with mouths agape. Calling people Nazi pedophiles would be seen as coo-coo for cocoa puffs crazy, like the ravings of a paranoid delusional schizophrenic. Ten years ago. Not 200.

And I know Fail Army et al have been around for decades, but my tweens tell me about all the “funny” videos that are popular, like making someone think their dog has been killed. The violence shown on shows available easily to unsupervised kids with a Netflix subscription is… wow. Spartacus, GoT, Squid Game – I don’t want to sound uncool, but holy shit, that is an orgy of extremely graphic violence. You know skulls exploding with brain matter, gouging out eyeballs, things like that. That’s the entertainment that sells mainstream.

  
A shirtless, long-haired man swings a sword mid-strike in a blood-soaked gladiator arena, landing a brutal blow on his opponent. The crowd blurs in the background, but the violence is crystal clear—cinematic carnage dressed as historical drama. It’s testosterone in slow motion, where myth, muscle, and murder blur into spectacle.

Life is brutal, but not for the people watching these shows, who live about as soft-boiled a life as one can on Earth. And they revel in The Boys or Banshee, pushing them to the top of streaming charts. Squid Game, if you haven’t seen it, is a show about a shadowy organization that takes a couple hundred desperate, indebted people and forces them to play games of death and murder for the promise of money. There’s some point to be made about the dehumanization of the poor, but that point is made in the first episode. The original Running Man was more intellectually complex.

When I was kid, movies like Terminator were bad-ass. Guns! Explosions! Fast cars! What’s not to like? The good guys run from the Big Bad, until they are forced into a confrontation at the end of which good triumphs over evil, lessons of camaraderie, self-motivation, and the like are learned, roll credits. Outside of some really fringe horror slashers, gratuitous violence was a bunch of squibs and a lot of fake blood. That stuff is considered Mickey Mouse these days, and would probably get laughed down for not being “realistic” enough – as judged by people who have never seen or experienced anything remotely like it in real life.

Kathy Griffin stands holding a fake severed head modeled after Donald Trump, eyes closed and bloodied. The image is staged for shock, a deliberate provocation that blurs satire, protest, and spectacle. It’s political theater at its most combustible—where outrage is both the medium and the message.

Ho hum, another beheading. Yawn. Nothing shocks. Nothing excites unless cartoonishly extreme. Shot a podcaster? Ha ha lol ;). He’s a Nazi pedophile? Seems sane. That guy over there with his dick hanging out? He’s actually a woman, so call him “Ma’am” or we’re going to get violent with you. In fact, it’s not enough to just say it. You have to believe it. Get your ass into Room 101; The Ministry of Love needs a word.

A dimly lit room, one man restrained in a chair with a brutal metal contraption clamped around his head—cylindrical, cage-like, and sinister. Another figure looms nearby, watching or interrogating. It’s dystopia rendered in steel and shadow, where pain is procedural and silence is weaponized. MGM-branded torment with a production budget.
  • Violence must escalate in order to register with people who are bombarded from every angle by an array of information competing for attention
  • Authority must escalate in order to contain the increasing violence
  • Truth becomes boring unless packaged as a spectacle

So when a group of very credible people get up and state very clearly that this huge, HUGE secret that could utterly transform humanity at a fundamental level is real and present, something needs to be seriously wrong with people that they’d shrug it off. If this had come out 15 years ago? There’d be mass demonstrations to get the truth, now there are mass demonstrations against law enforcement because the screen said that was an approved, on-brand reason for hate.

It’s by design, I just can’t quite figure out where Trump plays into it all. The people who know all the dirt on UAPs aren’t presidents and news anchors, they’re career bureaucrats and military wearing stars, who outlast administrations and quietly shepherd secrets from one White House to the next. It would be silly to think that both parties in the US aren’t both pushing to create deep divisions and hate amongst the people; one doesn’t brainwash and weaponize tens of millions of people just to not use them as weapons. So where does Trump land in that system? His arrival scrambled the machinery. He wasn’t supposed to win, and when he did, the reaction from the permanent political class went into full on panic. That alone raises a reasonable question: was he ever fully inside the tent? Given how radically other politicians have reacted to him, I have to wonder if he’s being kept on the outs. Apparently he has been briefed on the issue, but nothing is forthcoming in terms of disclosure.

The film itself is worth a watch. I was convinced – not necessarily that little green men are secretly running the world – but that there are things being kept secret that the public needs to know about, that nobody should be given the authority to keep it from us. In a former life, that would have mattered. If disclosure no longer shocks us, it isn’t because the truth isn’t important, it’s because we’ve been conditioned to only react to off-the-charts spectacle; it’s the most effective form of control ever devised. I’ve had enough. Beam me up.

2 responses to “Beam Me Up, Scotty”

  1. […] Illegal immigration can’t be allowed, but needs to be enforced in a humane way. Governments should be transparent and accountable; too much now falls under the purview of ‘national security’. Speech […]

  2. […] and remain common refrains, charging institutions like the FBI and DOJ as partisan adversaries (probably not that far off the mark). But the issues were no longer discussions with the Left, and tribalism became an entrenched part […]

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