Speaker 1: Welcome to Thrilling Threads. I'm your host, and I have
to tell you. Usually, when we sit down to record,
I have a pretty good handle on where the conversation
is going to go. We map it out, we look
at the sources, we have a plan. But today, yeah,
today we are pulling on a loose thread that might
just I mean, it might just unravel the entire tapestry
of what we think we know about our closest celestial neighbor.
Speaker 2: It is a thread that once you start pulling, you
realize it's connected to everything everything history, physics, national security,
and maybe the biggest question of all.
Speaker 1: Are we alone exactly? We're talking about the moon. You
know the moon, right, that silent, dusty, gray companion that's
been hanging out in the sky for billions of years.
It's the ultimate been there, done that location. Yeah, we
went in the sixties. We played some golf, planted a flag,
collected some rocks, and then we came home. The narrative,
the one we all get in school, is that it's
a dead rock.
Speaker 3: That is the standard textbook definition.
Speaker 2: Desolate, silent witness to history, geologically inert, no atmosphere, no life,
no volcanic activity, it's just a mirror for the sun,
absorbing impacts and reflecting light.
Speaker 3: That's the story.
Speaker 1: But what if that silence is actually a very a
very carefully constructed set of noise canceling headphones put on
the entire human race. Because the stack of documents you
brought to the table today, and I mean a literal
stack of flight transcripts, photos, government reports, it suggest the
moon is actually quite the busy neighborhood.
Speaker 2: It does sound like science fiction or you know, maybe
a screenplay for a movie. But what we're walking through
today isn't a collection of Internet rumors or some creepy
pasta from a message board. Well, we're conducting a review
of a very detailed presentation by a physicist named Max
Manley dirk Shan, which was recently hosted by the investigative journalist.
Speaker 1: Ross Colfart on his show Reality Check exactly.
Speaker 2: And they haven't just speculated, they've combed through the actual
NASA archives and what they've found suggests that the Dead
Rock narrative might be one of the most successful bureaucratic
cover ups.
Speaker 3: In human history.
Speaker 1: The energy coming off this whole investigation is just pure
How did I not know this?
Speaker 2: Yeah?
Speaker 1: We aren't talking about grainy photos of Bigfoot walking through
the woods here where you have to squint and guess.
We are talking about high resolution scans and the Apollo.
Speaker 3: Missions, the real deal.
Speaker 1: We're talking about glowing creators that defy physics, craft that
track our astronauts, and official NASA photos which you can
download right now that appear to show artificial structures and
plasma energy ships.
Speaker 2: And the key here is to just it's to look
at the data without the filter of that's impossible. If
you strip away that assumption that the Moon is empty,
the data starts to paint a very very different picture.
Speaker 1: Okay, So before we get to the aliens or secret
Space Force or whatever they are, we have to address
the elephant in the room. This is the skeptic's first
line of defense, and honestly it's mine too. Of course,
if there are aliens on the Moon, why wouldn't height
it wouldn't that be the greatest discovery in the history
of mankind? Why would you bury that headline?
Speaker 2: It is the logical first question, and to answer it,
we don't need to speculate about men in black. We
can just look at the legal and bureaucratic foundations of
NASA itself. Okay, there are two key documents that Ross
Colthart and Max Shann point to that frame this entire conversation.
The first one is the National Aeronautics and Space Act
of nineteen fifty eight.
Speaker 1: Nineteen fifty eight, Okay, so this is right at the
birth of the agency. Sputnak has just happened. Everyone is
panicking about the Soviets.
Speaker 3: Correct.
Speaker 2: We tend to think of NASA as this benevolent agency
of science. You know, guys in shortsleeved shirts with pocket protectors,
just wanting to explore Reik stuff. Guys, exactly. But NASA
was created essentially as an arm of the Department of Defense.
It was a Cold War strategic asset. And the Space
Act of fifty eight makes it very clear any discoveries
made in space exploration that have implications for national security
can be and must be classified.
Speaker 1: Implications for national security. That's a pretty broad.
Speaker 2: Brush, incredibly broad The administrator of NASA, along with the
Secretary of Defense and the President, has the authority to
withhold that information from Congress and the public.
Speaker 1: So wait, legally speaking, if Neil Armstrong stepped off that
ladder and shook hands with the Martian, or found a hidden.
Speaker 2: Soviet base, or found a resource that could build a
super wepon.
Speaker 1: NASA would be breaking the law if they did tell us,
assuming they decided it was a.
Speaker 2: Threat, precisely, they would be legally obligated to classify it.
Speaker 1: So the transparency we all expect from NASA it was
never actually promised. It was conditional from.
Speaker 3: Day one exactly.
Speaker 2: But that just explains the legal mechanism.
Speaker 3: It doesn't explain the motive.
Speaker 2: I mean, why would finding life be a national security threat?
And that brings us to the second document, the Brookings
Report of nineteen sixty.
Speaker 1: I've heard of this. This was commissioned by NASA, right
They paid for this study right after its creation.
Speaker 2: They commissioned the Brookings Institution to study the implications of
peace full space activities. Essentially, they asked a very simple question,
what happens to society if we actually find something?
Speaker 1: And one of the sections dealt specifically with finding extraterrestrial life.
It did and what was the verdict? Did they think
we throw a parade?
Speaker 2: The conclusion was stark. They predicted that evidence of extraterrestrial
life could cause and this is a direct quote, unpredictable
and potentially catastrophic ramifications for societal.
Speaker 1: Stability, social collapse.
Speaker 3: Pretty much.
Speaker 2: They were worried about the glue that holds society together.
They feared religious institutions would crumble because their creation narratives
would be challenged.
Speaker 1: I mean, if we're not God's special.
Speaker 2: Creation, the whole thing falls apart for some people. They
worried scientific paradigms would be overturned overnight, leading to a
loss of authority for experts. The general social order might
just disintegrate under the shock of realizing we aren't the
apex predators of the universe.
Speaker 1: So the recommendation was basically, don't tell the kids.
Speaker 2: The recommendation was that the government should seriously consider withholding
such information to prevent that collapse.
Speaker 1: It's so paternalistic, isn't it. Yeah, we're being created like
children for our own protection. That's the motive for silence.
It's not necessarily malicious, it's preservation.
Speaker 3: From their perspective.
Speaker 2: In nineteen sixty absolutely, I mean, you have the nuclear threat,
the Cold War, silvil rights movements are starting to bubble up.
Speaker 3: The world was already fragile.
Speaker 2: Adding aliens to the mix might have just been the
straw that broke the camel's back.
Speaker 1: It makes a twisted kind of sense. If you think
the world is a powder keg, you don't hand everyone matches. Yeah, okay,
so we've established the motive and the means. Now let's
look at what's slipped through the cracks, because apparently even
with the best sensors in the world, things get messy.
Let's start with the Aristarkis anomaly.
Speaker 2: The Aristarkis Crater. This is one of the brightest formations
on the Moon. If you look at the Moon with
the telescope, it's that really bright spot you see in
the northwest. Okay, and this case is fascinating because it
involves multiple independent witnesses and it spans centuries actually. But
the key event, the one we're focusing on, starts in July.
Speaker 3: Nineteen sixty nine, the big one.
Speaker 2: Right as Apollo eleven is approaching the Moon for the
first landing.
Speaker 1: So Armstrong and Aldron are in the command module. They're
getting ready for history. But before they land, something happens
back on Earth.
Speaker 2: Right, German astronomers looking through their telescopes report a strange
light coming from the Aristarkis Crater, a strange light, a
bright flashing or glowing coming from inside it. Now, this
is a massive crater about forty kilometers wide and.
Speaker 1: Very deep, so it's not a small thing.
Speaker 2: No, and NASA gets wind of this, and interestingly, they
don't ignore it. They actually radio Apollo eleven.
Speaker 1: I love how casual that is. Hey, Apollo eleven, while
you're in the neighborhood, can you swing by and check
out that glowing crater for us, like it's a roadside attraction,
And they did.
Speaker 2: Neil Armstrong looks down and you have to remember, at
this specific time, the Aristarkis crater is in shadow. It's
on the dark side of the terminator line.
Speaker 1: Okay, just to clarify for everyone listening, the terminator line
is that border between day and night on the Moon exactly.
So if it's on the dark side of that line,
it should be pitch black. Maybe a little earthshine reflecting
off it, but mostly just black.
Speaker 2: It should be dead dark. But Armstrong confirms to Houston
that there is an area considerably more illuminated than the surroundings,
and then he uses a very specific word. He describes
it as having a fluorescence.
Speaker 1: Fluorescence that's a scientific term, that's not a reflection. That
implies it's generating its own light.
Speaker 2: It implies an energy source. Buzz Algen confirmed it as well.
Speaker 3: He saw it too.
Speaker 2: Now, scientifically, this is a massive problem. Like we said,
the Moon is supposed to be dead. A crater shouldn't glow,
It shouldn't have a fluorescence.
Speaker 1: So what was NASA's explanation. They must have had some
debunker story ready to go. You can't just leave a
glowing crater unexplained.
Speaker 2: Well, over the years, they've thrown everything at the wall
to see what sticks. They suggest it was trapped gases
escaping from beneath the crust, a phenomenon they call outgasing, okay,
Or maybe lunar dust getting electrically charged by solar wind
and levitating, catching the sunlight in a weird way levitation.
Speaker 3: Or and this was another one.
Speaker 2: Perhaps radioactive decay from Raydon to twenty two, which is
a remnant of ancient volcanic activity radon gas.
Speaker 1: Okay, does any of that hold water? I mean, can
radon gas make a forty kilometer crater glow so bright
you can see it from Germany?
Speaker 2: Not?
Speaker 3: Really, that's the issue.
Speaker 2: None of those theories account for the intensity of the
light or the specific bluish white color that was observed. Right,
Raydon decay doesn't look like a spotlight, and Max Manley
dirk Shan points out that these observations go way back centuries.
Even astronomers in the eighteenth and nineteenth centuries reported seeing
red glowing spots and mists in aristarchis.
Speaker 3: It's a recurring thing.
Speaker 1: It sounds like investigating this was a dangerous career move. Though.
The presentation you mentioned talked about a professor Peter Schultz,
Brown University, Yes.
Speaker 2: A highly respected lunar geologist. He revealed to Max in
a private correspondence that back in the seventies, investigating lunar
transient phenomena, which is the fancy term for.
Speaker 1: These lights, the official term for glowing stuff.
Speaker 2: On the moon, right, it was taboo. He mentioned two
scientists Middlehurst and Cameron, who are effectively pressured out of
their jobs or into retirement for looking into it too deeply.
Speaker 1: That is wild. You're a scientist at a scientific agency,
you see a glowing light on the moon, and you
get fired for asking why is it glowing? That just
screams cover up. It suggests they didn't want the answer
found or at least they didn't want to found publicly.
It's like being a meteorologist and getting fired for pointing
out there's a tornado.
Speaker 2: And we have visual evidence now that seems to validate
those old observations. The Clementine mission, which was much later
in the nineties, took these multi spectral photos of Aristarkis okay,
and when you look at the data, we see this
extremely bright, bluish white glow. And what's crucial is it's
the spectrum data. It wasn't just glowing in visible light.
It was also glowing in ultraviolet. Means that implies a
significant active energy source.
Speaker 3: It's not just a flashlight reflection. It's a power source.
It's active.
Speaker 1: And speaking of power sources and well artificial things, let's
talk about the entrance. This is the part of the
presentation that made me stop and rewind the video three times.
Speaker 2: This is a discovery made by independent researchers using more
recent data from the Lunar Reconnaissance Orbiter, the.
Speaker 4: Lro SO super high res maps incredibly high res and
when you zoom in on the wall of the Aristarkus
crater near the floor, there is a structure.
Speaker 1: We say structure, but rocks can look like castles if
you squint hard enough. I mean, we've all seen the
face on Mars that turned out to be just a hill.
Speaker 3: This is different.
Speaker 2: This looks strikingly artificial because of the geometry. It has
a U shaped top arch and what looks like a
square like entrance beneath.
Speaker 1: It, a square entrance. Nature doesn't really do squares, does it,
especially not perfect squares carved into a cliff face.
Speaker 2: Not typically, No, especially not with this level of precision.
And the scale of this thing is immense max estimates
it somewhere between fifty and two hundred meters wide.
Speaker 1: Two hundred meters that's massive. That's like two football fields
laid endy in. You could fly a jumbo jet into that.
You could, or I guess a saucer.
Speaker 3: Or a saucer.
Speaker 2: It's large enough for a capital ship or a very
large vehicle to enter. And it defies the natural erosion
patterns you'd expect on a crater wall. Usually wall slump,
they crumble. This looks reinforced, it looks constructed, and yet
NASA has never once commented on it.
Speaker 1: Well, of course not because if you comment on the
giant garage door and the crater. You have to explain
who parked the car. It's just easier to ignore it
and hope nobody zooms in. But if there is a garage,
there must be traffic.
Speaker 2: Hmm.
Speaker 1: Okay, let's move from the surface into orbit. We're going
to the moon pitcheons.
Speaker 3: It sounds so innocuous, doesn't It.
Speaker 1: Sounds cute like, oh, look a little spaced, but the
reality is way creepier. This starts with Apollo sixteen and
the astronaut Ken Maddingly.
Speaker 2: Right, So picture the scene. It's nineteen seventy two. Ken
Mattingly is the command module pilot. He's orbiting the Moon
all by himself while the other two are on the surface.
He's circling the dark side.
Speaker 1: That has to be the loneliest place in the entire universe.
You are totally cut off from Earth radio. It's just you,
the hum of the ship and the.
Speaker 2: Blackness, complete darkness. Earthshine doesn't reach the dark side of
the Moon. And in that darkness he reports seeing a
flash on the surface below him.
Speaker 1: Now, normally a flash just means a meteor hit right,
The Moon gets pelted by little rocks all the time.
Speaker 2: That's the standard assumption. So Mission control tells him, okay,
next time you see it, mark the time exactly right.
They had placed these very sensitive seismometers on the surface
during previous missions. If a meteor hits the ground shakes,
the seismometer.
Speaker 3: Picks it up.
Speaker 2: Simple physics, impact equals vibration.
Speaker 1: So Mattingly goes back around on his next orbit. Does
he see it again?
Speaker 3: He sees two more flashes.
Speaker 2: He marks the times perfectly. He's a test pilot. These
guys are incredibly precise. But when they check the seismometer data,
nothing nothing, absolute silence.
Speaker 1: Not a tremor, no impact. So it wasn't a rock
hitting the ground. Yeah, I rock hitting the ground hard
enough to make a visible flash from orbit has to
shake the ground.
Speaker 2: That's just physics, exactly. So if there's no shake, it
wasn't a kinetic impact. It was a light turning on,
or maybe a directed energy discharge of some kind. NASA
had no official explanation, maddingly never spoke publicly about it
in any detail. But here is the smoking gun that
Max and Ross revealed, a NASA internal report from nineteen seventy.
The document itself the title of the report is Moon
Pigeons and Other unidentified visual phenomena associated with spaceflight.
Speaker 1: Moon pigeons, So that was their code name, that was
the official internal jargon it was.
Speaker 2: The report explicitly states that these were unidentified objects seen
in operational photography that defied positive ID.
Speaker 1: So this proves it. This proves NASA wasn't dismissing these
sightings as hallucinations or eye floaters or pilot fatigue exactly.
Speaker 2: They took them seriously enough to create a code name
and write classified internal reports about them. They knew there
were things flying around up there that weren't ours.
Speaker 1: And weren't Russian either, because I know people will say, oh,
it's the.
Speaker 2: Soviets, that's always the go to debunk, but the Russians
did have unmanned rovers like the lunocod. However, the movements described,
and specifically the video footage shown in the presentation do
not match the capabilities of nineteen seventies Soviet hardware.
Speaker 3: There's a video clip.
Speaker 2: Max analyzes where you see a shadow racing across the
lunar surface and as it passes a crater, a flash
appears from inside the crater.
Speaker 1: That video is chilling. You see the shadow moving, It
is moving fast and then pop a light from the creator.
It looks like the signal.
Speaker 3: Or defense mechanism.
Speaker 1: Yeah, like a motion sensor light turning.
Speaker 2: On or communication attempt I see you.
Speaker 1: Yeah.
Speaker 2: It implies an intelligent response to the object moving overhead.
A Soviet rover couldn't do that. It didn't have the
speed or the coordination for that kind of responsive action.
Speaker 1: It really feels like an automated system. Yeah, or a
century Okay, we have to talk about the man himself
now was Aldrin because his story, well, his story is
a tangled web of contradictions, silence, and then these sudden confessions.
Speaker 2: The buzz Aldron enigma is one of the most frustrating
and compelling aspects of this entire inquiry. It centers on
an incident during Apollo eleven. Three days into the flight.
They are on their way to the Moon and that
void between Earth and Luna, and the crew.
Speaker 1: Asks Houston for the location of the S four to
B rocket stage, the part of the ship they had
jettisoned earlier.
Speaker 2: Right they wanted to know where their trash was. Essentially,
Houston comes back and says, it's six thousand miles away.
Speaker 1: So it's gone. It's nowhere. Near them. It should be
a speck in the distance, in visible at all.
Speaker 2: But the crew is looking out the window and they
see an object right there traveling alongside them, close enough
to see it structure.
Speaker 1: But they can't just radio Houston and say UFO off
the starboard bow, can they?
Speaker 2: No? And Buzz Aldrin explained this years later. He said
they were terrified that if they said aliens or UFO,
the mission would be aborted. Of course, they'd be pulled back,
or they'd be public panic, or they'd be deemed mentally
unfit to continue. So they played it cool. They asked
about the S four B to confirm it wasn't that,
and once they knew their rocket stage was six thousand
miles away, they knew the object right next to them
was well unidentified.
Speaker 1: Mike Collins, the pilot, he got a good look at
it through the telescope on board.
Speaker 3: Yes.
Speaker 2: He described it as having a series of ellipses, and
when he sharpened the focus it looked L shaped.
Speaker 1: L shape. That is not a rock, That is not
an ice crystal or a gas cloud. That is a
structure that sounds like aerodynamics or space dynamics.
Speaker 2: I guess, And here's where The contradiction begins in a
two thousand and five interview which was shown in the presentation.
Buzz clearly admits they saw something cracking them, and he
describes this L shaped object. He's very open about it, okay,
But in later years he completely the script. He started
claiming it was just a panel from the rocket adapter,
one of the four panels at peel Off. He called
it the ninety nine point nine percent explanation.
Speaker 1: Why the flip flop? I mean two thousand and five,
buzz says L shaped craft twenty fifteen Buzzy's rocket panel.
Did he just forget or was he reminded of the rules.
Speaker 2: It's speculative, of course, but you have to understand the
pressure these men are under. They are national heroes, there
are statues of them, but they are also military men
bound by oaths and secrecy orders. And the story of
the filmmaker James Fox really highlights this pressure.
Speaker 1: This is the story about the interview in Monaco. I
found this part actually quite sad.
Speaker 2: It is James Fox, who is a very well known
documentary filmmaker on this topic, or ranges to interview Buzz
Aldrin in Monaco.
Speaker 3: He travels all the way there.
Speaker 2: Buzz agrees it's all set, and then at the last minute,
Buzz gets.
Speaker 3: A phone call and cancels the interview.
Speaker 1: Who made the call, according to.
Speaker 3: Fox, Buzz said it was Paul Allen.
Speaker 1: The billionaire Microsoft co founder.
Speaker 2: He was funding SETI, the search for extraterrestrial intelligence at
the time, and apparently Alan didn't want to be associated
with what he called UFO quackery while trying to be
taken seriously by mainstream science. Wow, Buzz was told essentially,
don't talk to the UFO guy.
Speaker 1: That is just heartbreaking. You have the man who walked
on the moon, one of the most famous people on Earth,
being silenced by a billionaire investor because it's bad for PR.
Speaker 2: It just shows that the censorship isn't always government men
in sunglasses. Sometimes it's just funding and reputation management.
Speaker 1: But James Fox didn't stop there. He went to Buzz's family.
Speaker 3: He did.
Speaker 2: He interviewed Buzz's sister, fey Anne Potter, and what she
told him was explosive. She claimed that Buzz had confided
in her about two specific events. One was from his
time as a fighter pilot in the Korean War era
before the space program. She said he told her he
was chased by a disc while flying a jet. She
said he was physically shaking when he.
Speaker 3: Called her about it.
Speaker 1: Chased by a disc. That's a classic UFO encounter story.
And the second event.
Speaker 2: The second was about the Moon mission. She claimed Buzz
told her that something followed them to the Moon, not
just for a few minutes, but for.
Speaker 3: A day or two.
Speaker 1: The day or two. Can you imagine that you're in
a tiny tin can, You're looking out the window for
forty eight hours, and you're seeing an alien craft just
pacing you, watching you.
Speaker 2: It creates a tremendous psychological burden. And this aligns with
what Edgar Mitchell, the Apollo fourteen astronaut.
Speaker 3: Told sources.
Speaker 2: Mitchell was much more open about his beliefs in later life.
He said that admitting what they saw would be considered treason.
Speaker 1: Treason that is such a heavy heavy word it employs.
They aren't just hiding scientific data, they are hiding a
state secret of the highest order.
Speaker 2: It reframes the whole thing.
Speaker 1: It's not lying to the public, it's protecting the state.
Speaker 3: Exactly.
Speaker 2: If the presence of non human intelligence is classified at
the highest level of national security, higher than the atomic bomb.
Then revealing it is a crime. These men were patriot.
If they were told that revealing this would cause panic
or collapse society, as the Brookings Report suggested, they would
keep the secret.
Speaker 1: It's the ultimate soldier's duty, taking the grenade for society.
MM tragic. Really, they went further than any humans in history,
saw the most amazing things, and were forced to take
it to the grave. But they couldn't scrub everything. And
this is where Max, mainly Dirk Shan's work gets really
technical and frankly, really undeniable.
Speaker 2: The photos, this is the core of the new evidence,
and I want to be clear for everyone listening. Max
didn't just look at the famous pictures of the astronauts
saluting the flag.
Speaker 3: He looked at the black sky.
Speaker 1: The parts of the photo where nothing is supposed to be,
just empty black space.
Speaker 3: Precisely.
Speaker 2: In the digital age, we can take these high resolution
scans of the original Kodak ectochrome film. These are raw
files from the NASA archives, and we can use software
to brighten the dark areas. We can change the contrast curve,
and when you do that to the pitch black sky,
things appear.
Speaker 1: Things. The film emulsion captured, but the human eye might
miss on a printed photo exactly. Let's walk through the
specific example. Start with the Paul eleven frame as eleven
forty five nine three eight.
Speaker 2: So at first glance, it's a standard picture. You see
rocks shadows the lunar surface. But when Max zooms into
the black sky and adjusts the brightness, he reveals a
trio of lights in a perfect triangular formation.
Speaker 1: A triangle in nineteen sixty nine. Now, the first thing
skeptics will say is lens flare.
Speaker 2: And Max addresses that directly. Lens flares are internal reflections
in the camera glass. They usually take the shape of
the aperture, often hexagonal or linear, and crucially, if the
camera moves, the lens flare moves relative to the frame.
These lights look like a physical object with a fixed position.
They have bluish and reddish hues. This looks like a
craft hovering over the horizon.
Speaker 1: Okay, that's creepy. But the next one, the Apollo twelve
plasma egg that sounded like something straight out of a
sci fi novel.
Speaker 3: This one is visually stunning.
Speaker 2: Again, you have the astronaut on the surface, the black
sky behind him, but in the upper there is a
very bright luminous object. It's not a point of light
like a star. It has a distinct shape. It's egg shaped.
Speaker 1: Or cylindrical, and it's glowing.
Speaker 2: It appears to have a bluish innercore, possibly plasma. And
what's fascinating is that it looks like it's leaving a
trail or a contrail.
Speaker 1: Wait a second, a contrail on the Moon. There's no atmosphere.
How do you have a contrail? A jet on Earth
leaves a trail because hot exhaust hits cold air and
condenses in a vacuum. That doesn't happen.
Speaker 3: That's the anomaly.
Speaker 2: In a vacuum, you can't have a condensation trail. However,
if a craft is ejecting mass for propulsion, like an
ion drive or a chemical rocket, you might see the
ejecta reflecting sunlight, okay, or if it's interacting with the
electromagnetic field in a way we don't understand. But conventional
physics says that shouldn't be there. And it can't be
the command module because the shape is all wrong, and
the command module doesn't glow like a neon sign.
Speaker 1: And it can't be a satellite because it would just
be a tiny dot. This thing looks But the one
that really blew my mind was the Apollo seventeen metallic cruiser.
Speaker 2: This one is the most detailed. The photo was taken
from the lunar rover. You can actually see the rover
tracks on the ground.
Speaker 1: So we know the perspective.
Speaker 2: Yes, in the sky, there are two distinct objects. The
larger one is described as a greenish bluish metallic structure.
Speaker 1: Metallic, so we're actually seeing a hult.
Speaker 2: It has a bright sheen reflecting the sun. But more
than that, it appears to be enveloped in a casing
or a field of some kind. And again it has
a contrail or an exhaust.
Speaker 1: Jet, a force field. What you're saying, that's.
Speaker 2: What it looks like, an energy field surrounding a metallic craft.
The description max gives greenish bluish metallic with a contrail,
implies a technology that uses propulsion or energy generation, completely
foreign to nineteen seventy's human capability, and.
Speaker 1: Appall, seventeen was the last mission. We never went back
after that.
Speaker 3: That's right.
Speaker 1: You have to wonder if seeing cruisers like that floating
around contributed to the decision to stop.
Speaker 2: Hey guys, maybe we should stop playing in the traffic exactly.
Speaker 1: We are out gunned. Let's go home. But it's not
just that the photos show things. It's that some photos
show nothing where things should be. We have to talk
about the tampering.
Speaker 2: This is what Max calls the tail of two archives,
and this is where the cover.
Speaker 3: Up becomes clumsy.
Speaker 2: He compared scans of the same photo frame from different
NASA centers. For example, he looked at an Apollo twelve
image from the Marshall Space Flight Center archive versus one
from the Lunar and Planetary Institute archive.
Speaker 1: And they were different.
Speaker 3: The same photo significantly different.
Speaker 2: Scan A, the Marshall scan from two thousand and nine
shows some debris in the sky, but Scan B from
another archive has what Max calls blocky cutouts.
Speaker 1: What do you mean cutouts?
Speaker 2: Literal square chunks of the image are blacked out, and
there are these strange blue lines cutting across the image.
Speaker 1: So someone literally took a digital sharpie or an analog
one back in the day and just scribbled out the UFOs.
Speaker 3: It looks like a redaction effort.
Speaker 2: But because different archives were digitized it tooferent times by
different people, they weren't consistent. One archive has the clean
version and the other has the obviously censored version.
Speaker 3: It's proof of human intervention.
Speaker 1: It's the inconsistency that catches them. If you're going to
cover something up, you have to cover it up everywhere.
And then there's the Apollo fourteen blue cutout with edgar Mitchell.
Speaker 2: This is a photo of edgar Mitchell on the surface
in the sky. There is this bizarre blue shape. And
when you compare older scans from the nineties to newer
scans from twenty fifteen, the blue cutout is still there.
Speaker 1: What does it look like.
Speaker 2: It looks like something was physically taped over on the
original negative or and Mac speculates this could be a possibility.
Speaker 3: Perhaps it was a leak.
Speaker 2: Maybe a technician intentionally left an anomaly in the scan
or processed it in a way that highlighted it, hoping
someone would find.
Speaker 1: It later, a silent whistleblower. I can't tell you what
I saw, but I can lead the tape on the
negative for you to find.
Speaker 2: It's a plausible theory. When you see these blocky structures
and these cutouts, it's really hard to argue it's a
camera glitch. It looks like deliberate obfuscation.
Speaker 1: But the cover up isn't just ancient history from the seventies.
Ross Colthart told a story from twenty twenty three. Yes,
this one gave me chills because it brings it right
into the present day.
Speaker 2: Yes, Ross was visiting the Marshall Space Center in Alabama.
He was there as a VIP. The administrator is giving
a talk and behind him there's a giant screen showing
the live feed from the International Space Station.
Speaker 1: The live feed real time, just the Earth spinning below.
Speaker 2: While the administrator is talking, Ross notices something on the screen.
He sees eight or nine egg shaped objects moving information
from behind the space station information.
Speaker 1: Yeah, okay, that's not space chunk. Space junk tumbles randomly.
Formation implies control precisely.
Speaker 2: So Ross interrupts the administrator. He points at the screen
and asks, is that a Starlink launch? You know, a
reasonable question. Starlink satellites move.
Speaker 1: In lines, and what did the administrator do?
Speaker 3: He froze.
Speaker 2: He didn't answer, He just looked at a staff member,
the acting director on the floor, and almost instantly the feed.
Speaker 1: Was cut, cut to black, cut to.
Speaker 2: The temporary transmission interrupted screen, the blue screen. Ross says,
the administrator never explained it, He just awkwardly moved on
with his speech.
Speaker 1: That is the blue screen of death for transparency. It
proves that the protocols are still in place. If something
shows up on the feed, you cut the feed.
Speaker 3: It is happening right now today.
Speaker 1: It reinforces the idea that this is an ongoing operational
security issue. It's not just about what happened on the
Moon in nineteen sixty nine, it's about what is happening
in Earth orbit right nowt Okay, Let's just let's try
to wrap our heads around all this. We've covered so much.
We have the Aristarkis crater glowing like a Neon sign
and hiding a mass of garage door. We have moon pigeons,
lights and shadows tracking our ships with official NASA code names.
We have buzz Aldrin seeing l shaped craft and then
being silenced by billionaires and trees and threats. We have
photos showing triangular lights, plasma eggs, metallic cruisers with what
looked like force fields. And then we have UM reaction
marks on the official film.
Speaker 2: When you lay it all out like that, the dead
rock theory really starts to crumble, doesn't it. The sheer
volume of anomalies, and specifically the consistency of them is
what is so convincing.
Speaker 1: The recurring patterns, the.
Speaker 2: Recurring blue lights, the recurring triangular formations, and the recurring
reaction from NASA, which is always silence or obfuscation.
Speaker 1: It really makes you angry, doesn't it. I mean, we
paid for this, the American taxpayer funded Apollo, that film,
those photos, that data. It belongs to the world, it
belongs to us. But we're still being treated according to
that nineteen sixty Brookings report, they think we can't handle
the truth.
Speaker 2: And that is the crux of the issue. The protection
has become a barrier to progress. If there is an
active presence on the Moon, whether it's extraterrestrial, interdimensional, or
something else. Entirely, we are being denied the opportunity to
understand our place in the universe.
Speaker 1: Yeah.
Speaker 2: Max's point is that we need to stop asking if
there are anomalies and start asking who is operating them,
and why are they there, and why.
Speaker 1: Are they watching us? That's the scary part, right, They
tracked Apollo, they watched us Land, they're watching the ISS.
It feels like we are the ants, and the ant
farm and someone is just tapping on the glass.
Speaker 2: It certainly shifts the perspective. It makes you realize that
our dominance of space might just be an illusion. We
might just be guests in someone else's backyard.
Speaker 1: So here is the question for you, for everyone listening. Yeah,
put yourself in Ken Maddingly's boots or buzz Aldron's boots.
You're out there, two hundred and forty thousand miles from home.
You see a craft tracking you. You know that if
you screen, UFO, mission control might cut you off, or
the public might panic, or you might be court martialed
for treason. When you get home, what do you do?
Do you tell the world and risk everything, or do
you follow orders, come home a hero and live with
the secret that eats you alive for the rest of
your life.
Speaker 2: It's not an easy choice, and I would really encourage everyone.
Speaker 3: Listening to do their own deep dive. You can download
these photos.
Speaker 2: Look up frame as eleven four zero five nine three eight.
Look at the Aristartis crater in the LRO data. The
evidence is there hiding in plain sight in the black sky.
Speaker 1: Absolutely, don't take our word for it. Go look at
the dark spots brain the images. See what's looking back
at you. What do you think is going on up there?
Speaker 2: Let us know, and keep asking questions, because the silence
only works if we stop asking.
Speaker 1: That's it for today's thrilling threads. Keep pulling the threads
and watch the skies. Welcome to the real space Age.