Speaker 1: I want you to close your eyes for a second. Well,
unless you're driving them, please keep them open. But picture this.
You are standing in the middle of the Yucatan jungle.
It is hot, I mean the air is thick, humid,
sticking to your skin. You are surrounded by thousands of
people and everyone is staring up at this massive limestone
pyramid towering over the trees. It's the Pyramid of El
Castillo at chichen Itza, and everyone is dead, silent. You
are all waiting for the sun to set.
Speaker 2: It is late afternoon on the equinox. That is the
crucial detail here.
Speaker 1: The timing has to be perfect right the equinox, and
as the sun starts to dip toward the horizon, a
shadow hits the northern balustrade of the pyramid, and it
doesn't just look like a generic shadow. It looks like
a body. It joins up with this massive stone head
carved at the base of the stairs, and suddenly you
are looking at one hundred foot long serpent made of
light and darkness, slithering. It actually looks like it's moving, exactly,
slithering down from the heavens to the earth.
Speaker 2: It is, and I don't think this is an exis
arguably one of the most sophisticated feats of geoengineering in
the ancient world.
Speaker 1: Yeah, for sure.
Speaker 2: To align a structure of that magnitude so precisely that
it animates a stone statue using nothing but the sun.
That takes a level of math and planning that is
it's just hard to wrack your head around even today.
Speaker 1: It is theatrical. Absolutely, it's a spectacle. But here's the
question that kept nagging me as I was reading through
these reports today. Why why do you mobilize an entire civilization,
move tons of stone without wheels or beasts of burden,
and align it with that level of mathematical precision just
to make a shadow puppet twice a year.
Speaker 2: Unless, of course, it wasn't just a show, unless it was.
Speaker 1: A record, a record of a visitor. And that is
where we are going today. We are looking at a
massive stack of reports that center on the interstellar secrets
of ancient civilizations. We've got data from the History Channel,
We've got the theories of Eric von Danigan, Giorgio Sucolo's,
David Childress. We are pulling from the absolute best of
the thrilling threads.
Speaker 2: Collect and we are going to treat this as a
true investigation. Our mission is to strip away the spooky
music aspect of these theories and just look at the logic.
The central premise we are testing is this, are these
ancient myths actually historical journalism? When the Maya carved figure
operating a machine, were they being symbolic or were they
just drawing what they saw?
Speaker 1: Welcome to thrilling Threads. I am your guide, the enthusiastic learner,
here to ask the questions we all thinking, and I.
Speaker 2: Am here to help connect those dots and keep us
grounded in the context.
Speaker 1: So we have a lot to cover. We are going
from Mexico to Honduras, down to the underworld and all
the way over to Greece. It's a big trip. But
before we get into the specifics, we need to set
the stage. We are talking about the Maya and the.
Speaker 2: Aztecs, right and for the listener who might recall their
high school history class, mainstream history often paints these civilizations
as well as isolated. The narrative is that they developed
entirely on their own in the Americas, cut off from
the rest of the world, and yet they were astronomically
advanced in ways that rivaled or even exceeded Europe at
the time.
Speaker 1: Exceeded for sure, and the lens we are using today,
the thread we are pulling, is looking at these ruins
not just as temples, but as potential cargo cult recreations
of high technology.
Speaker 2: That term is really important, cargo cult.
Speaker 1: Let's break that down because I think it frames everything
we are about to discuss. It's a fascinating concept.
Speaker 2: Sure so for the listener who might not be familiar
with that term. It comes from World War Two. You
had indigenous tribes in the Pacific Islands Melanesia mostly who
had never seen modern technology. They live very traditional, low
tech lives. Suddenly the US military shows up. They build runways,
they set up radio towers, and giant metal birds. Planes
land with food, medicine, and cargo.
Speaker 1: To the tribes, this must have looked like pure magic, exactly.
Speaker 2: They see men on the ground waving orange wands to
guide the planes in. They see men putting on headsets
and talking to the sky. They don't understand the mechanics
of radio or aerodynamics. They just see the ritual wave
wand wear headset, receive cargo.
Speaker 1: And then the war ends. The military packs up and
leaves the cargo stops coming right.
Speaker 2: In decades later, anthropologists go back to these islands, and
what do they find. The tribes are building imitation runways
out of straw and bamboo. They are carving headphones out
of coconuts. They are mimicking the movements of the ground crew,
waving sticks, hoping that if they perform the ritual correctly,
the gods in the metal birds will return with the cargo.
Speaker 1: It is heartbreaking, but also completely logical from their perspective.
They are perfectly replicating the form of the technology without
understanding the function.
Speaker 2: That is the key. They are acting out a memory
of high technology using the materials they have available.
Speaker 1: So the lens we're using today for thrilling threads is
what if the pyramids are the straw runways. What if
the stone cartings are the coconut headphones. What if these
ancient cultures saw something I tech and then spend thousands
of years building stone replicas to try and bring it.
Speaker 2: That is the core question. If you see technology but
you'll lack the vocabulary for it, you call it magic,
you call the beings piloting it gods. But if we
strip away the religious language, do we find a technological core.
Speaker 1: Okay, let's unpack this. We have to start with the
serpent I mentioned in the intro. Segment one takes us
to Chichinitza. The Pyramid of Il.
Speaker 2: Castillo a fascinating location located on the Yucatan Peninsula. This
city thrived roughly between seven fifty and twelve hundred eighty.
It was a major hub of trade and religion, a
real metropolis, and.
Speaker 1: The centerpiece is Lcstio. Now I mentioned the light and
shadow trick, but let's really get into the mechanics of this,
because I think people underestimate the math involved here. It's
not just build a triangle pile of rocks, No.
Speaker 2: Not at all. You have to understand that the Maya
were obsessed with time and astronomy. The pyramid of Lkestio
is basically a stone clock. It has four sides. Each
side has ninety one steps.
Speaker 1: We do some quick mental math here. Ninety one times
four is three hundred and sixty four plus.
Speaker 2: The top platform, which counts as a step. That makes
three hundred and sixty five the exact number of days
in the solar year. The entire building is a calendar,
but it goes deeper. The pyramid is built with nine
distinct platforms or terraces.
Speaker 1: Nine platforms, okay, and how does that work? Why nine?
Speaker 2: When the sun hits those platforms on the equinox, and
only on the equinox, the angle is perfect to cast
a shadow against the side of the stairway. The light
hits the corners of the platforms and the shadow falls
on the wall. It creates seven perfect triangles of light, and.
Speaker 1: Those seven triangles link up to form the diamond pattern
of a snake's.
Speaker 2: Body correct and that body links up perfectly with the
colossal stone serpent head carved at the bottom of the stairs.
So visually you have this body of a snake undulating
down the pyramid from the sky to the ground. It's
an animation.
Speaker 1: Imagine the architectural planning for that. You aren't just building
a stable structure. You are building a structure that has
to be oriented to true north with absolute precision. You
have to calculate the slope of the wall so that
the shadow falls exactly on the balustrade at a specific
hour of a specific day. If you are off by
even a degree, or if the slope is slightly wrong,
the snake is broken. It doesn't work.
Speaker 2: It implies a knowledge of geometry and orbital mechanics that
is just staggering for a society that supposedly didn't have
the wheel.
Speaker 1: And Eric von Dankin, who is sort of the grandfather
of this ancient astronaut theory, he stood there in nineteen
sixty nine. He's standing in the crowd watching this shadow
crawl down the stairs, and he has this huge realization.
He calls it learning the game.
Speaker 2: The game is a great way to put it. It's
the difference between translation and interpretation. An archaeologist translates the
glyphs and says, this is a ceremony for the god
ku Kulcan. That is a translation. Von Danakin looks at
the visual data and says, okay, but what is Kukulcn?
Speaker 1: Right, we know the name, but what does the name represent?
Speaker 2: Kukulcan or Queshelkotal to the Aztecs, or Kukumats to the Kishimaya.
It's the same figure across Mesoamerica, a feathered serpent, a
flying snake.
Speaker 1: Now let's apply the cargo cult lens. If you are
a pre technological society, you don't have engines, you don't
have metal wings, and you see a metallic craft flying
through the.
Speaker 2: Air, and maybe it's trailing smoke or fire from an engine,
a propulsion system of some kind.
Speaker 1: Looks like a snake, a long, thin body moving through the.
Speaker 2: Sky exactly, But it flies. And in your world, what
is the only thing that flies? Birds? Birds have feathers.
So if you see a long snake like object flying,
you don't call it an airplane. You don't have that word.
You call it a feathered serpent. It's not a monster.
It's a descriptive noun for a flying machine.
Speaker 1: That is the coconut headphone moment. They're describing the fuselage,
they're describing what they see with the.
Speaker 2: Words they have precisely. So Von Danikin argues that the
pyramid is a stone monument to a specific event. The
god kuckle Can descended from the sky in this craft,
taught the people and then ascend it again.
Speaker 1: But he made a promise, the classic I shall return.
It's a story we see if.
Speaker 2: He promised to return in the faraway future. So the
Maya built this incredible machine, the Pyramid, that twice a
year reminds the people he came from the sky and
he will come back from the sky.
Speaker 1: It's a promise carved in stone and animated by the sun.
It really makes you think about the dedication required. You
don't move that much stone just for a fairy tale.
You do it because you saw something that changed your reality.
Speaker 2: That is the argument that the intensity of the construction
matches the intensity of the event. If a space ship
landed in your backyard today, you wouldn't forget about it.
You would build a monument. You would tell your grandkids,
the story would live on.
Speaker 1: And speaking of intensity and monuments to visitors, we have
to move to segment two. We're going from the open
plaza of Chichenitza to the deep, humid jungles of Chiappas
to the site of polanke.
Speaker 2: The Temple of Inscriptions. This is perhaps the most famous,
the most iconic site for ancient astronaut theorists.
Speaker 1: This is the one that always gets me. I remember
seeing this image in a library book when I was
a kid, long before I knew what a podcast was,
and just staring at it. We are talking about the
tomb of Lord.
Speaker 2: Polankle, discovered in the nineteen fifties by archaeologist Alberto Ruselilier,
and this wasn't just a burial. It was a hidden chamber.
It was deliberately concealed. He found a secret staircase inside
the temple filled with rubble. It took him years to
clear it out. Finally he reaches the bottom and there
is this massive tomb and inside was the sarcophagus of
the Great King Polang.
Speaker 1: But it's the lid that everyone talks about. I mean,
if you buy a book on this topic, this image
is on the cover. It is a massive slab of limestone,
intricately carved.
Speaker 2: It is the Rosetta stone of the theory in a way.
Now we have to be fair to the mainstream view.
Archaeologists look at this intricate carving on the lid and
they see deep symbolism. They see King pek Hall at
the moment of his death. He is falling backwards into
the jaws of the underworld or Jibalba. The cross shape
behind him is the world tree, the waka Chan. It
was a spirit which will journey.
Speaker 1: Right, that's the textbook version. He is falling into death.
But then you have David Childress and Ericandanikin looking at
it and they say, hold on, tilt your head. Look
at his posture.
Speaker 2: Let's describe that posture for the listener who might not
be looking at it right now. Pekkacal is not lying
flat like a corpse. He is bending forward. His knees
are drawn up toward his chest.
Speaker 1: Sure a racing motorcyclist or an astronaut in a lunch chair.
He's braced for something exactly.
Speaker 2: He looks like he is bracing for g force. And
look at his hands. They aren't folded in prayer or
resting at his side.
Speaker 1: Now, they're busy.
Speaker 2: They're busy. The upper hand seems to be manipulating a
knob or a dial, The lower hand is adjusting some
kind of control lever.
Speaker 1: And the face, this is the part that always guess me.
His nose isn't free. It looks like it is plugged
into something.
Speaker 2: An oxygen mask or a breathing apparatus of some sort.
It connects to the rest of the machinery. And he
is sitting in this capsule. Behind him, there are carvings
that look an awful lot like flames or propulsion exhaust.
Speaker 1: When you describe it like that, a guy hunching forward,
hands on controls, mask on face, fire coming out the back,
it is really, really, hard to unsee the rocket ship.
Speaker 2: That was von Danikin's point. He said, I see a
Mayan king in a rocket ship. It challenges the entire
timeline of human capability. If this interpretation is even partially correct,
it suggests that the concept of space travel of a
human sitting in a capsule piloting a craft isn't a
twentieth century invention. It's a memory.
Speaker 1: But here's the pushback I have to give. Pucky lived
in the seventh century AD. We know who he was.
He was a king. If this was a depiction of
a visitor, why put the king in the pilot seat?
Was Pokey an alien?
Speaker 2: That is a major point of debate among the theorists.
Some think Pical might have been a hybrid or a
direct descendant of the gods. Others think he was simply
the highest priest who had access to the cargo. Maybe
he was the only one allowed to sit in the simulator,
you know.
Speaker 1: Or maybe it's aspirational, like a kid buried with a
model airplane. He's saying, I am going where the gods went.
I am taking the ship to the stars exactly.
Speaker 2: Fiction is of the ascent. It's an upward journey not
a descentant to death, but a launch into the heavens.
It flips the whole narrative on its head.
Speaker 1: It's the ultimate thrilling thread, isn't it taking a static
image and realizing it might be a technical schematic. But
speaking of technical schematics and knowledge, we have to move
to segment three. We are going to Copan in Honduras.
Speaker 2: Copan is magnificent. It is often called the Athens of
the New World because of the sheer density of art
and texts. It's incredibly ornate, and here the focus shifts
from the visual of ships to the software, if you will,
the knowledge itself. We are looking at the hieroglyphics stairway.
Speaker 1: Seventy two steps, built in the early seven hundred's eighty
Every single step is covered in carvings. It's basically a
history book carved into stone.
Speaker 2: It is the longest Mayan text ever discovered, a massive
public monument. It chronicles the history of thirteen kings, from
the founder yaks Kukmo, to the ruler who commissioned it,
Ruler thirteen, also known as eighteen.
Speaker 1: Rabbits eighteen rabbit I just love Mayan names. They're so evocative.
Speaker 2: They are. But for the longest time nobody could read
this stairway. The stones had fallen out of place. It
was a jumble. It was just pretty.
Speaker 1: Pictures until Ernst Forceman came along in eighteen eighty. This
is a great story of intellectual detective work. He wasn't
an archaeologist in the field, right, He was a librarian.
Speaker 2: No, he was a librarian in Dresden, Germany. Now you
have to remember the Spanish conquistadors burn almost every Mayan
book they found. Bishop Landa famously burned piles of them,
destroying thousands of years of history in a single act
of cultural vandalism. But four books survived, and one of them,
the Dresden Codex, happened to be sitting in Forstman's library.
Speaker 1: Talk about being in the right place at the right time. Wow.
Speaker 2: But it wasn't just luck. Forceman was a brilliant mathematician.
He cracked the code without a Rosetta stone. He realized
the system used both logographs, where a picture equals a
word like a jaguar head means balum, and glyphs, which
represents sounds. But more importantly, he cracked the numbers.
Speaker 1: The maths back to the map with.
Speaker 2: The Maya always he realized the Maya were using a
bigesimal system, Base twenty. We use base ten, they used
zero to nineteen. And he realized that their calendar wasn't
just counting days, it was tracking massive cycles of time
with terrifying accuracy.
Speaker 1: So he unlocks the library, and what do we find.
These kings aren't just bragging about battles. They are claiming
a very specific kind of authority.
Speaker 2: They are claiming a connection to the ancestors and the gods.
The Cabal of Priests, as Georgio Sucolos puts, it, derived
their power from this contact.
Speaker 1: And the theory here is that this contact wasn't spiritual meditation,
It wasn't just visions. It was literal communication with extraterrestrials. Right.
Speaker 2: Suculos argues that the priests were the intermediaries. The common
people didn't understand the nuts and bolts of the technology
they were seeing, so the priests became the gatekeepers. We
talked to the guys in the flying ships. You listen
to us. It's a way to maintain power.
Speaker 1: It's the ultimate power trip. I had the radio to
the Mother's ship. But the proof of this contact, they say,
is in the knowledge they possessed. I mean compare the
Maya to Europe.
Speaker 2: At the same time, it is a stark contrast. In
the seven hundreds eighty, Europe is in the so called
Dark Ages. Literacy is rare, science is stagnant. They're bleeding
people to cure illnesses. Meanwhile, the Maya possess advanced trigonometry,
precise architecture, and an understanding of astronomy that is mind boggling.
Speaker 1: They were tracking things that take lifetimes to observe. It's
not something one person could just figure out.
Speaker 2: Sean David Morton points this out. They track the procession
of the equinoxes.
Speaker 1: Okay, we need to slow down and explain procession because
it blows my mind every time I hear about it. Ye,
what exactly is it?
Speaker 2: Imagine the Earth is a spinning top, doesn't spin perfectly
straight up and down. It wobbles slightly like a toy
top slowing down. That wobble is incredibly slow. It takes
about twenty six thousand years for the Earth to complete
one full wobble.
Speaker 1: And how did that look from the ground? How would
you even notice that it.
Speaker 2: Changes the background stars? If you look at where the
sun rises on the equinox. The constellation behind it shifts
backwards very very slowly, one degree every seventy.
Speaker 1: Two years, one degree every seventy two years. That is
barely noticeable in a human lifetime. You would need to
live for hundreds of years just to notice it moved
a tiny bit exactly.
Speaker 2: To measure it, you need to record precise data for generations,
maintain that data without degradation, and then have the advanced
math to calculate the curve. And yet the Maya knew
the cycle. They knew the Great Year was twenty five,
nine hundred and twenty years long.
Speaker 1: They had it nailed twenty six thousand years. Civilization hasn't
even been around that long. How can they know that cycle?
It seems impossible.
Speaker 2: That is the million dollar question. They knew about the
Great Rift at the center of the Milky Way. We
know it today as a supermassive black hole, the center
of the galaxy. They called it the birth canal of
the universe.
Speaker 1: That sounds poetic, but it's astronomically accurate. It's the center.
It's where stars are.
Speaker 2: Born and their calendar, the one everyone talked about ending
in twenty twelve is based on this. The end date
of December twenty one, twenty twelve, was when the Earth,
the Sun, and this birth canal aligned a cycle completing.
Speaker 1: And the ancient astronaut theorists say, you don't figure out
a twenty six thousand year cycle with naked eyes in
the jungle. You don't just guess that, you get told
about it.
Speaker 2: Logan Hawks puts it well. He says the Maya claimed
this knowledge was a gift from the gods, not something
they discovered, but something that was given. He has a
great quote. Knowledge is the currency of the universe.
Speaker 1: That's a great line. If you are an advanced civilization
visiting a primitive one, you don't give them money. You
don't give them weapons. That's dangerous. You give them math,
You give them the map of the.
Speaker 2: Neighborhood exactly, here's where you live, Here's how the galaxy moves.
Good luck.
Speaker 1: But here's where it gets really weird. We're just talking
about star charts and space travel and suddenly dinosaurs. This
feels like a left turn.
Speaker 2: Segment four. This is a twist most people don't see coming.
It seems completely unrelated at first.
Speaker 1: So we know about the impact. Sixty five million years ago,
a massive rock eight to ten miles wide smacks into
the Earth.
Speaker 2: With the force of one hundred million megatons of TNT.
It hits the Yucatan Peninsula. The result is catastrophic dust
blocks the sun. Plants dye, herbivores dye, carnivores dye. The
end of the dinosaurs.
Speaker 1: Okay, so that's ancient history. But here is the thrilling thread.
Chichen Itza, one of the most important Mayan sights, is
located exactly near the impact crater.
Speaker 2: It is a strange geographical coincidence. The chick Salub Crater
is buried, but it is there. The main habitation zone
of the Maya sits right on top of the ground
zero of the greatest extinction event in Earth's history.
Speaker 1: Is it just a coincidence or did the gods choose
that spot for a reason? Was it a landmark for them?
Speaker 2: Philip Coppins raises this point. If you are an extraterrestrial
civilization scanning Earth from space, the chick Salub Crater is
the most obvious feature on the planet from a geological perspective.
It's a gravity anomaly. It represents a massive release event.
Speaker 1: Maybe it's a marker go to the crater.
Speaker 2: Or maybe there's residual energy there that they were interested in.
But the weird part is the art. We have found artifacts,
terra cotta figures, paintings at bun Unpack that look suspiciously
like dinosaurs.
Speaker 1: I've seen these. They show men fighting these large lizard
like creatures. Well, but not snakes, things with legs and
long necks, sauropods.
Speaker 2: Mainstream science says this is impossible. Dinosaurs were gone millions
of years before humans evolved. The official explanation is that
it's peridolia seeing what you want to see, or their
stylized crocodiles or something.
Speaker 1: But the theory asks did some species survive in the
jungles or and this ties back to the gift of knowledge?
Did the ets tell them?
Speaker 2: Think about it. If these visitors have been observing Earth
for millions of years, they would know about the dinosaurs.
They would have the historical records. They might have shown
the Maya images or holograms of the great beasts that
used to live right where they were standing.
Speaker 1: Okay, by the way, sixty five million years ago, giant
lizards walked here, and then I go wow and paid
a picture of it.
Speaker 2: It explains the anachronism without requiring humans to live alongside
t Rex's. It is knowledge transfer again, it's historical data
being shared.
Speaker 1: That is, that's mind bending. It makes the visitors feel
like historians. They're preserving the history of Earth for us.
But we have to keep moving. We are going from
the Yucatan up to Central Mexico. Segment five, the origins
of the Aztec and the city of to t.
Speaker 2: Walkin too two walkin the Rome of Mesoamericas.
Speaker 1: This place is huge. I've seen pictures. The scale is
just immense.
Speaker 2: Enormous, eight square miles. Pyramid of the Sun, Pyramid of
the Moon, one hundred thousand residents at its peak. It
predates the Aztecs. It was built around the first century AD.
But here is the mystery. No hieroglyphs found.
Speaker 1: Wait, really, the Maya wrote everything down on stairs. The
du Qua Kanos wrote nothing, nothing.
Speaker 2: That we have found, no writing. We don't know the
names of their kings. We don't even know what they
call themselves. Tioto Wakin is the name the Asti gave
it centuries later. It means city of the gods.
Speaker 1: Because they found it abandoned and thought only gods could
have built.
Speaker 2: It exactly, And the Aztecs have an origin myth that
ties into this. They say they came from Chicomostak, the
place of seven Caves.
Speaker 1: An archaeologist found a cave with seven chambers right into
the pyramid of the Sun. That's too perfect they did.
Speaker 2: It matches the myth perfectly. But the story of how
they emerged is where it gets sci fi.
Speaker 1: Oh, this is my favorite part.
Speaker 2: The flint knife recorded by Geronimo the Mendieta, a Spanish friar.
The legend says a giant flint knife crashed from the sky.
It shook the earth, and from this metallic object sixteen
hundred gods emerged.
Speaker 1: Come on a flint knife falling from the sky. That
sounds exactly like a metallic craft landing. It's shiny, it's
sharp edged, it's hard, it's a.
Speaker 2: Spaceship, and it's huge and beings come out of it.
The Aztec belief is that they were created by these
stranded gods, using bone, ash and blood to serve them.
Speaker 1: So we have a crash landing a crew of sixteen
hundred gods who are stuck here, and they engineer a workforce.
It's a darker story than the friendly teacher theory of Kukulcun.
Speaker 2: It implies a subservient relationship absolutely, but there is physical
evidence of something strained in the ground there. In two
thousand and three, archaeologists sent a robot probe to luck
the itc into a tunnel beneath the Temple of the Feathered.
Speaker 1: Serpent and they found the golden orbs. I saw this
on the news. It was incredible.
Speaker 2: Hundreds of them, yellow metallic looking balls. They were clay
cores covered in gold flex pyrite.
Speaker 1: And the walls weren't they special to The.
Speaker 2: Walls were covered in pyrite as well, Fool's gold.
Speaker 1: So imagine this. You are deep underground, it's pitch black.
You let a torch. Suddenly the walls shimmer like the
night sky, and the floor is covered in these goldie
spheres that look like planets.
Speaker 2: It creates a simulation of space, a simulation of the cosmos.
Why create a model of the solar system forty five
feet underground?
Speaker 1: Maybe to remind the stranded gods of home, this is
where we came from.
Speaker 2: It's a memorial or to teach the initial it's about
the universe. David Childress suggests the orbs represent planets. It's
a planetarium in the basement of a pyramid.
Speaker 1: It connects everything, the sky, the underground, the gods, the technology,
and this symbol of the feathered serpent quetzel cootal here
kukul Can back at chichen Itza. It's everywhere.
Speaker 2: It is the universal symbol. Segment six takes us to
the global pattern the dragon connection, because.
Speaker 1: A feathered syrupent is basically a dragon, right, I mean
functionally in mythology.
Speaker 2: Yes, it flies, it has scales, it has immense power.
The Dresden Codex even depicts Mars as a dragon like
creature hanging from a skyband.
Speaker 1: Oh, the Maya saw Mars as a dragon. The Aztecs
saw their teacher as a dragon. And then we go
to Grease, a totally different part of the.
Speaker 2: World Ubuiah Grease Mount Chee. There are these structures called
dragon houses.
Speaker 1: Dragon and houses. What are they?
Speaker 2: Drogofaceta. They are megalithic massive blocks, some weighing ten tons,
built at five thousand feet altitude. No mortar does perfectly
fitted stone.
Speaker 1: Who builds with ten ton blocks at the top of
a mountain. The logistics of that are insane.
Speaker 2: Legend says they were built by a dragon, or that
Zeus descended there.
Speaker 1: There is that word descended again. The gods always descend.
Speaker 2: And here is the linguistic clue that I love. The
ancient Greek word for dragon, dragon doesn't just mean a monster.
It implies to see clearly. It comes from the verb derkomne.
It can refer to a being with superpowers or a
human form with extraordinary vision or ability.
Speaker 1: So in Greece, a dragon is a super being that
descends from the sky and sees everything. In Mexico, a
dragon is a feathered serpent that descends from the sky
and brings knowledge.
Speaker 2: And in both places they build massive, hard to explain
stone structures to mark.
Speaker 1: The spot synthesize this force. What are we looking at?
Is it a coincidence?
Speaker 2: It's hard to believe it is. We are looking at
a worldwide phenomenon. Different cultures, separated by oceans and thousands
of years, witnessing the same technology. They see a craft
descend its maybe it glows, maybe it has a long
tail of exhaust. One culture calls it a dragon, another
calls it a feathered serpent, but the core event, the
descent of a teacher from the stars, is the same.
Speaker 1: It suggests we aren't looking at regional myths. We're looking
at eyewitness testimony filtered through different cultural lenses. But they
aren't here anymore, at least not openly. Segment seven asks
why did they leave?
Speaker 2: That is the sad part of the story. The pullback
in the myths quetzal Colla leaves, Cocolcon laves why.
Speaker 1: Wars, cataclysms? Did something happen to them children?
Speaker 2: Suggests that civilizations collapse. Maybe the alien civilization had its
own problems back home, or maybe they decided we were
ready to sink or swim on.
Speaker 1: Our own the zoo hypothesis. They set us up, gave
us the seeds of civilization, and now they are watching
from a distance to see if we blow ourselves up
or make it to the stars.
Speaker 2: Exactly. Let's stand back and see what they do. A
non interference directive, if you will.
Speaker 1: But we are getting closer to finding out the truth.
The technology we have now at our is changing the
game completely.
Speaker 2: The light our revolution is huge. It's like X raying
the jungle in twenty eighteen and twenty nineteen alone, we
found so much Mayan artifacts at Tootihuacan, proving a connection there,
cave systems under Chichinitza, and a city the size of
Manhattan found via lightar near lak Petsquaro.
Speaker 1: A city the size of Manhattan that we just didn't
know was there. How is that even possible?
Speaker 2: It was invisible under the tree canopy. Light ars stripped
the trees away digitally and revealed thousands of structures. We've
been walking over it for centuries.
Speaker 1: Georgiel Tucos has a great analogy for this. He says,
we only have twenty pieces of a one thousand piece puzzle.
Speaker 2: Right, but if you have twenty pieces, or maybe now
we have fifty, you don't need all one thousand to
see the image. The image is forming and Leidar is
giving us the rest of the pieces at an incredible rate.
Speaker 1: The prediction is that we are on the threshold. We
are going to find something, maybe a crash ship, maybe DNA,
maybe a smoking gun artifact that proves this once and
for all.
Speaker 2: It feels like we're getting close. The density of evidence
is increasing every year.
Speaker 1: So let's wrap this up. We've gone from the shadow
Serpent at Chichinitza to the astronaut king at Polenke. We've
looked at the download of astronomical knowledge at Copan, the
weird dinosaur connection at the Crater, the Golden Galaxy underground
at Tituwalkin, and the dragon houses in Greece.
Speaker 2: It is a thread that runs through history and across
the globe. The core takeaway for me is that ancient
texts might be literal history books of contact. We have
been reading them as metaphors, but maybe we should be
reading them as journalism.
Speaker 1: Journalism of the incredible. And here is a final provocative
thought for you listening. If Kuku can promise to return,
and if the Mayan calendar is based on these massive
celestial alignments, are we currently in the window where that
return is due?
Speaker 2: The cycles repeat, the stars align. If the promise was real,
the clock is sticking.
Speaker 1: That gives me chills. So I want to ask you,
the listener, a direct question. If tomorrow the discoveries at
Tooti Walkin or Polanka are definitively proven to be non
human technology, if the government or the scientists come out
and say yes, this is alien, how would that change
your daily life? Would you be terrified or would you
be relieved to know we aren't alone.
Speaker 2: It's a question worth pondering. What would you do the
next morning?
Speaker 1: Leave a comment let us know your stance. We really
want to hear what you think. Until next time, keep
pulling the threads.