Speaker 1: Welcome to Thrilling Threads, the show where we pull on
one thread and watch a whole universe unravel.
Speaker 2: Today, we're definitely doing more than just unraveling. We are
tracing a global mystery that well, it begins with some
really terrifying events right here on Earth.
Speaker 1: It does, and it ends up pointing toward a complete
rewrite of human history, a history that might just lead
us straight to the stars.
Speaker 2: That's the mission. We're going to unpack the proposed links
between these bizarre modern animal mutilations and, believe it or not,
the foundational myths of ancient civilizations.
Speaker 1: The idea here is that all of it, all these
disparate points suggest a hidden history of well of extraterrestrial
design and contact.
Speaker 2: And our main source for this incredible deep dive comes
from excerpts of the video When Dragons Ruled the Skies
from the History YouTube channel. It really tries to tie
it all together into one cohesive and I have to say,
pretty wild narrative.
Speaker 1: Okay, let's untack this then, because what starts with a
single horse in a quiet part of Colorado, a case
that just seems to defy any earthly explanation, apparently leads
us to the exact star system that may have seeded
life on this very planet.
Speaker 2: It's a huge leap, but let's see where the thread
takes us.
Speaker 1: We have to start by setting the scene. We're in Alamosa, Colorado.
The date is September seventh, nineteen sixty seven, right, and.
Speaker 2: A rancher guy named Harry King. He reports that his
three year old horse, who had the nickname Snippy, has
gone missing.
Speaker 1: Now a few days later, Snippy is found and the
scene is well, it's just horrifyingly bizarre.
Speaker 2: It's so strange that the local authorities are called in
immediately and they can tell right away this is not
a predator attack, not a mountain lion, not a bear.
Speaker 1: No, what they saw was something that could only be
described with one word surgical.
Speaker 2: That's it. The source material details this, and it's really specific.
The skin and the flesh around the neck and shoulder
area were removed with these incredibly neat, almost clinical cuts.
Speaker 1: And here's the detail that defines this entire phenomenon. Were
described as being completely bloodless.
Speaker 2: No blood. Think about that, no blood at the scene,
no blood around the wounds. On top of that, key
internal organs were gone.
Speaker 1: The heart had been removed, and even more disturbingly, a
huge portion of the animal's brain was just gone.
Speaker 2: And maybe the most unsettling detail from that initial investigation.
Speaker 1: I think, I know what you're gonna say about autopsy.
Speaker 2: It revealed this strange formaldehyde like odor coming from the remains,
and somehow her spinal fluid had been removed.
Speaker 1: Just think about the skill that would require to drain
spinal fluid from a dead horse without destroying all the
surrounding tissue. That's beyond a predator. It's beyond most humans
with a scalpel, way beyond.
Speaker 2: So the local community, law enforcement, they were just stunned.
It's still a landmark cold case. But the real point here,
the reason Snippy is so.
Speaker 1: Important, is that it wasn't a one off event.
Speaker 2: Exactly Snippy's case became the prototype, the first major, well
documented example of a pattern that has continued for days gates.
We often call them cattle mutilations now because cows are
the most frequent target.
Speaker 1: And since nineteen sixty seven, this just exploded. It went global.
The sources estimate that we're looking at something like fifty
thousand similar reported events.
Speaker 2: Fifty thousand all over the world. Cattle horses, other domestic animals,
all with that same signature.
Speaker 1: Bloodless clinical cuts, often the removal of soft tissues you know, tongues, eyes,
reproductive organs, And that.
Speaker 2: Is where the whole story pivots. It goes from a local,
albeit bizarre crime to something in the realm of the
truly unexplained.
Speaker 1: By the mid seventies, it's a fixture in euphology. The
question becomes inescapable. If this isn't natural, and it isn't
a conventional human.
Speaker 2: Crime, what is performing these incredibly technical bloodless procedures on
living creatures? And that mystery right there is a foundation
for this entire ancient astronaut theory.
Speaker 1: And there's one person who has been tracking this just relentlessly.
UFO investigator Linda molten House. She spent what over thirty
years on this.
Speaker 2: At least she has compiled this staggering database photos, testimonies,
all showing the same disturbing, repetitive pattern.
Speaker 1: These almost laser like.
Speaker 2: Cuts precisely on the jaws, the ears, the organs. She's
the one who really documented the lack of blood coagulation
and importantly the absence of footprints.
Speaker 1: Around the sites, even in snow or mud right.
Speaker 2: Which led her and a lot of other people to
believe that whatever was doing this had to be airborne.
Speaker 1: So what about law enforcement? I mean, these are practical
boots on the ground people. What did they make of
it all?
Speaker 2: Well, that's what's so critical. How collected testimony from dozens
of rural sheriffs, people who are first on the scene and.
Speaker 1: Not people prone to you know, flights of fancy.
Speaker 2: Not at all, and she says they told her they
just systematically ruled everything out. Predators are out, Predators are messy,
they leave blood everywhere. Disease, natural death also ruled out.
They even looked into the whole satanic cult theory that
was popular in.
Speaker 1: The eighties and found nothing, no.
Speaker 2: Ritualistic evidence to support it. They hit a brick wall
with every single earthly explanation.
Speaker 1: Okay, behold on a second. If they ruled out every
terrestrial explanation, how do they then make that jump to
the extraterrestrial hypothesis. I mean that feels like a massive leap.
Speaker 2: It is a massive leap, especially.
Speaker 1: For you know, an official, uniformed perspective.
Speaker 2: And that's the tension at the heart of the source material.
How claims that after they exhausted every other possibility. These sheriffs,
the guys who had to face the angry farmers, they
reluctantly conceded that the only conclusion left was, well, something extraterrestrial.
Speaker 1: He actually said that.
Speaker 2: She says that they allegedly told her we are dealing
with creatures from outer space, and that just changes the
whole conversation. It's no longer about pathology, it's about non
human intent.
Speaker 1: Which brings us to the why why would they do this?
The sources lay out three main theories, right.
Speaker 2: The first one is the most straightforward, food. Maybe they're
looking for an easy, reliable food source.
Speaker 1: But that doesn't quite track, does it. If you're looking
for food, you take the big muscles, the bulk meat.
You don't just take an eyeball in a tongue exactly.
Speaker 2: It contradicts the evidence. So the second possibility is study
information gathering, like they're.
Speaker 1: Using these animals as biological data sets, studying Earth's ecosystem
or evolution, that kind of thing.
Speaker 2: A planetary survey in a way. And then there's the
third explanation, and this is the one the source material
really zeros in on as the driver for the whole
ancient astronaut theory.
Speaker 1: They're seeking genetic material systematically.
Speaker 2: Yeah, for some kind of large scale, ongoing experimentation.
Speaker 1: And this is where Linda Molton Howe's investigation gets this
incredibly pointed and frankly chilling answer.
Speaker 2: From a man she only ever refers to as a
purported government.
Speaker 1: Source, someone who allegedly had access personal knowledge of these activities.
Speaker 2: And according to her, this source gave her the most
direct explanation possible. She asked him about the intent behind
all these mutilations, and his reply was just stark.
Speaker 1: It's a genetic harvest.
Speaker 2: A genetic harvest. That one phrase reframes everything. It's not random,
it's a project. It implies something long term, systematic, almost
like farming DNA.
Speaker 1: The precision, the lack of a mess, the consistency over decades,
it all points to an organized operation.
Speaker 2: But if it is a harvest, that just opens up
a Pandora's box of new questions.
Speaker 1: Right. The source material basically demands that we ask, why
a genetic harvest from Earth? What are they making with
this material?
Speaker 2: And to what end? What is the ultimate goal of
all this? The theory is that you can't solve this
modern mystery.
Speaker 1: By looking forward, you have to look back thousands of
years back to see the results of maybe a previous
genetic experiment.
Speaker 2: It's the perfect conceptual bridge. If they're collecting genes, now,
what were they doing when human civilization was just starting.
Speaker 1: Did our ancestors witness the results of an earlier harvest
and did they record it?
Speaker 2: The theory is that they absolutely did. It suggests that
this modern genetic harvest is just a continuation of a very,
very old project. And the answer to what is being
made well, it's found in the archaeological.
Speaker 1: Records, in these bizarre, sometimes monstrous creatures that pop up
in early civilizations. We're talking about chimeras hybrids.
Speaker 2: Let's start with ancient Egypt. We find texts and art
that specifically describe the gods creating mixed beings, human and
animal characteristics all blended together.
Speaker 1: And the source material points to these incredible paintings. Some
people call them ancient comic strips, and.
Speaker 2: They seem to show a process, a step by step
guide to biological recombination.
Speaker 1: The detail is stunning. You see a panel with a
human body, but the head is severed and there's this
weird red tube like thing connected to the neck.
Speaker 2: Right next to it you see the head of an animal,
and then in the final.
Speaker 1: Panel, the animal head has been seamlessly attached to the
human body.
Speaker 2: For an ancient astronaut theorist, this isn't symbolism, it's not
a myth. It's a literal, almost journalistic depiction of something
they witnessed cross species engineering, surgical grafting.
Speaker 1: Visual evidence that this concept of hybridizing was part of
their known reality, part of what the gods did.
Speaker 2: And to figure out who these gods were, the theory
makes us go back even further back to.
Speaker 1: The beginning, to ancient Sumeria.
Speaker 2: The earliest known civilization in Mesopotamia, and this is so
critical because their cuneiform tablets give us an identity and
origin story for these beings, the Anunaki, the Inernaki, and
as the source points out, the translation of that name
is incredibly specific. It means those who from the heavens came.
Speaker 1: Not a lot of room for ambiguity, there none.
Speaker 2: And the stories about them, like in the anuma elish
they aligned perfectly with this genetic harvest idea. They say
the Innaki came to Earth for a specific reason, to
mind for gold, to mind for gold and other resources,
but they needed a labor force. When their own workers
rebelled against the harsh conditions. The story goes that the head.
Speaker 1: Scientists Angie and Knewhersix.
Speaker 2: They decided to create a subservient working class, and they
did it by taking a pre existing hominid on Earth
and mixing well the flesh and blood of a god
with the.
Speaker 1: Clay of the earth, the ultimate act of genetic engineering.
They literally intervened in our evolution to create the Lulu,
the primitive worker, the first modern humans.
Speaker 2: So that's true humanity itself is the result of a deliberate,
successful genetic harvest and modification project.
Speaker 1: And if they did it once, why would they stop?
Which brings us back to the big question. Is there
any actual physical proof that these other experiments, these human
animal hybrids actually existed.
Speaker 2: Beyond carvings on a wall. Yes, and this leads us
to a really bizarre and compelling.
Speaker 1: Discovery Saquara, Egypt, hum of the oldest pyramid, the Step Pyramid.
Speaker 2: A year is eighteen fifty one. The French Egyptologist August
Mariette is exploring the Serapium. It's this massive underground tomb
dedicated to the sacred to APIs bull.
Speaker 1: He's expecting to find mummified bulls.
Speaker 2: Right, preserved revered animals.
Speaker 1: That's what he should have found. Instead, he finds two
enormous sealed sarcophaguiy. The lids alone weighed about eighty tons
each eighty tons, and inside it was just a shocking site,
not a preserved mummy, not even the bones of a
single creature.
Speaker 2: It was that massive black mass of betamen or asphalt
poured in to seal everything.
Speaker 1: And mixed into that asphalt were bone fragments, but not
from a bull. They were the crushed, almost pulverized bone
fragments of seven different types of.
Speaker 2: Animals, seven different animals, seven all crushed together. And the
contrast here is just jarring. Everywhere else in Egypt they
carefully mummify everything, cats, crocodiles, falcons. The goal is always
preservation for the afterlife.
Speaker 1: But here, at the oldest pyramid complex, a colossal effort
was made to well to annihilate these remains, to permanently
seal them away.
Speaker 2: Why would you go to all that trouble hauling an
eighty ton lid just to seal away crushed animal bones?
It suggests well. It suggests a profound.
Speaker 1: Fear or extreme secrecy.
Speaker 2: The source material suggests that the texts found nearby mentioned
some type of monsters that existed in the early days
of Egypt.
Speaker 1: So the theory is that the priests ordered these things
to be utterly destroyed, ripped apart, bones crushed, sealed in
a tomb built to last forever.
Speaker 2: The implication is powerful. The ancient Egyptians did not want
these specific creatures, these hybrid monsters, to ever return, to
ever reach the afterlife.
Speaker 1: It reads like a historical record of cleaning up a
failed genetic experiment, a direct link from a modern genetic
harvest back to a previous harvest that went horribly wrong.
Speaker 2: And this whole idea of extraterrestrial genetic engineering of creating
finished products takes us on a fascinating detour, now.
Speaker 1: Away from ancient bones and into modern biology, to an
insect that seems to defy the rules of evolution.
Speaker 2: The Bombardier beetle.
Speaker 1: The Bombardier beetle. It's a favorite example for ancient astronaut
theorists like Eric Moondanika, and for good reason.
Speaker 2: Its defense mechanism is an almost insurmountable problem for a gradual,
step by step Darwinian evomission. It's an unbelievably complex piece
of biological machinery.
Speaker 1: The source calls it a chemical warrior, and that's not
an exaggeration. This tiny beetle shoots boiling hot streams of
toxic liquid.
Speaker 2: A liquid that apparently has the same chemical properties as
some rocket fuels, and it.
Speaker 1: Can fire these streams at a rate of over five
hundred bersts per second.
Speaker 2: It's so fast you can't see it. The researchers at
the venture A BioCenter in twenty seventeen they had to
use a special high speed camera two thy five hundred
frames per.
Speaker 1: Second just to slow the action down enough to even
understand what was happening inside this tiny insect.
Speaker 2: Let's talk about the plumbing, because it's incredible. The beetle
makes two separate chemicals inside its body. They're stored in
these twin reservoirs.
Speaker 1: The first is hydroquinone, which is an organic compound. The
second is hydrogen.
Speaker 2: Peroxide, the rocket fuel component.
Speaker 1: Right, And the crucial step is when they combine. They're
funneled into a central reaction chamber.
Speaker 2: A chamber that contains enzymes that act as a catalyst,
and that triggers this instant, violent, super hot explosion. It
creates a pressurized blast of toxic chemicals.
Speaker 1: But here's the part that just stumps the evolutionary model.
The system has a critical one way.
Speaker 2: Valve absolute necessity. If that boiling, pressurized, violent concoction blasted
back into the beetle's own body, you could.
Speaker 1: Instantly cook itself from the inside.
Speaker 2: So that one way valve it has to be there.
It's not an optional extra, it's a non negotiable requirement
for survival.
Speaker 1: And it's a weapon. It can aim. The little appendage
it fires from can swivel and rotate.
Speaker 2: Which brings us to the evolutionary quandary, the question the
source material poses, and it's a good one. If evolution
is purely step by step.
Speaker 1: One beneficial mutation building on another, what was.
Speaker 2: The intermediate stage for this? How did it not just
blow itself up while it was experimenting over millions of years?
Speaker 1: A partial system is lethal. If it just had the chemicals,
they're useless. If it had the chemicals in the chamber
but no.
Speaker 2: Valve, boom, it's dead on the first try. You need
the chemicals. The catalyst the chamber, and the safety valve
to all appear simultaneously for this to work.
Speaker 1: Which is why the ancient astronaut conclusion here is so compelling.
They argue that this kind of complexity suggests the creature,
or at least its genetic blueprint, was brought here in
its finished form.
Speaker 2: It's presented as proof of intelligent design, extraterrestrial design, a
creature whose physiology is almost too perfect to have come
about by chance.
Speaker 1: And imagine if you scaled this up. The source mentions
the gases can burn human skin. This could be an
incredibly deadly chemical weapon, which.
Speaker 2: Raises the question why leave a blueprint for a weapon
system just lying around on Earth?
Speaker 1: And that connects directly to this idea of biomimicry. The
theory isn't just that they dropped off a finished beetle.
Speaker 2: But that they dropped off a whole library of finished
biological concepts, concepts that humanity would then nat truly reverse
engineer as our own intelligence grew.
Speaker 1: We've been doing it forever. The right brothers watching birds
to create the airplane.
Speaker 2: Or engineers studying a shark skin to design faster swimsuits,
and both.
Speaker 1: Holes military camouflage too, that comes from studying how squid
and octopuses can instantly change their skin texture and color.
Speaker 2: And sonar. The entire basis of modern sonar technology is
lifted directly from the biological systems of dolphins, whales, and bats.
Speaker 1: We've definitely borrowed a lot from the animal kingdom for
our own tech.
Speaker 2: But the theory takes it a step further. It proposes
that this entire process our whole history of innovation.
Speaker 1: It isn't random that we're just following clues unlocking a
kind of intricate biological instruction manual left for us by
non humans.
Speaker 2: A greater hidden extraterrestrial initiative designed to see to technological
and human revolution.
Speaker 1: So if the bombardier beetle is the finished product from
their genetic lab, then the scare a beetle might be
the blueprint for how to use it, how to navigate
the cosmos.
Speaker 2: The skin arab or dung beetle is amazing. For thousands
of years, we just saw as this simple creature rolling
a ball of dun across the desert.
Speaker 1: But then in twenty thirteen, modern science delivered this absolute bombshell.
Biologists confirmed the scareb is the only insect on Earth
that navigates by using the light from the Milky Way galaxy.
Speaker 2: It literally uses the center of our galaxy to steer.
It's just mind blowing. Yeah, we figured that out a
decade ago with the modern tech.
Speaker 1: And yet five thousand years ago, the ancient Egyptians held
this insect as sacred as a direct link between Earth
and the heavens.
Speaker 2: How did they know, that's the question. You see the
scab everywhere in their culture. At the Temple of Karnak,
there's a huge detailed monument to a scare a beetle.
It represents the god Kepri, and Kepri.
Speaker 1: Was the god who moved the Sun across the sky.
Speaker 2: Right, they saw the Beatles rolling their dunballs, and they
saw the sun moving across the sky, and they made
the connection. Kepri became the pilot of rosgreat Sunship.
Speaker 1: The theory here is that this powerful image Kapria as
a man with a scab head was inspired by actual contact.
Speaker 2: Contact with some kind of otherworldly, maybe insectoid like being
that had this advanced cosmic knowledge. Their image gets entrined
in history as the god who guides.
Speaker 1: Us, and it wasn't just in temples. The scareb was
central to their most sacred rituals, their funerary practices.
Speaker 2: Absolutely. Look at King Tut's tomb, the incredible treasures they found.
His famous frestplate as.
Speaker 1: A magnificent scaab right in the center.
Speaker 2: And the material that's made from is was so significant.
It's this brilliant yellow silica glass.
Speaker 1: Which was created when a massive comet or meteorite hit
the Sahara Desert twenty eight million years ago exactly.
Speaker 2: So you have an insect symbolizing the pilot god of
the sunship.
Speaker 1: This celestial navigator, shrafted from.
Speaker 2: Material created by a cataclysmic cosmic event and placed directly
over the heart of the pharaoh for his journey to
the afterlife.
Speaker 1: It's an incredibly powerful connection, and.
Speaker 2: The scaab was physically part of the mummification process. They
would place a hard scab directly on the chest of
the deceased.
Speaker 1: The belief was that the scab was essential for resurrection.
It was thought to carry the soul of the dead
person along the path to the next life, the next.
Speaker 2: Dimension, which is where the theory gets really intriguing. That
the scab wasn't just an insect or a symbol, but
a representation of some kind of device, a device that
actually allows for dimensional travel.
Speaker 1: And then there's the mummification process itself. The source points
out how closely it mirrors insect metamorphosis.
Speaker 2: The cocooning of a caterpillar before it becomes a butterfly.
The similarities are presented as being too striking to be
a coincidence.
Speaker 1: The hypothesis is that they were trying to cocoon the
human beings so that when the Pharaoh emerged in the
next life, they would.
Speaker 2: Be transformed into something greater, more powerful, and epically more beautiful,
just like a moth emerging from its chrysalis, a directed,
beneficial transformation.
Speaker 1: So if the beetles are the genetic tech and the
navigation system, than the dragon, the flying serpent, that's the vehicle, that's.
Speaker 2: The ship they arrived in, then the dragon is a
global archetype. It's everywhere. The source argues, it's a profound
historical mistranslation.
Speaker 1: Let's go to meso America to Quetzelcotal, the feathered serpent,
a creator god revered by multiple.
Speaker 2: Civilizations, right the Olmes, the Toultecs, and to you to
walk in. They build the massive Temple of the Feathered
Serpent to him around two point fifty a d.
Speaker 1: And he was a god who brought everything civilization, agriculture,
the arts, high wisdom.
Speaker 2: And the myths explicitly say he arrived as a human,
fair skinned and bearded a revagon, a raft of serpents.
Speaker 1: Then we see the same deity at Chichenitza with the Maya.
They called him.
Speaker 2: Kukulcan and the Pyramid of Kukulcan. There is this astronomical
marvel twice a year on the equinoxes.
Speaker 1: The light and shadow effect it makes it look like
a giant serpent is slithering down the staircase.
Speaker 2: The traditional view is that this shows the god descending
to be with his people, but the ancient astronaut theory
says this isn't just a calendar.
Speaker 1: It's a commemoration of a spacecraft landing, of a craft.
Speaker 2: Landing or emerging. The shadow play is an engineered memory.
The serpent is the vehicle, the feathers mean flight, the
body is the shape of the craft.
Speaker 1: So the dragon God is a misinterpreted flying machine, and
that idea gets reinforced when we go across the ocean
to Greece.
Speaker 2: To the perplexing dragon houses of Mount Ochi.
Speaker 1: On this remote Greek island, there are twenty five of
these megalithic structures. The main one is at the summit,
almost five thousand feet.
Speaker 2: Up, and the name of the mountain Ochi comes from
an ancient word meaning to descend and to drive.
Speaker 1: So right away it's about arrival and departure, and the
building itself. It's made of these huge stone blocks, some
weighing ten tons. Why build that with so much effort
in such a remote, high altitude place.
Speaker 2: Local legend says a giant dragon built into owners Zeus,
who descended from the heavens onto that mountain. And in
ancient Greek, the word for dragon dragon wasn't just for monsters.
Speaker 1: It was also used for powerful human like god with
superhuman abilities.
Speaker 2: So the conclusion in the source is that this wasn't
a temple. It was a meeting place, a landing spot
for the beings our ancestors called dragons.
Speaker 1: The dragon wasn't the beast. The dragon was the craft, the.
Speaker 2: Vehicle that the teachers the creators, emerged from. Our ancestors
lacked the words for aerospace tech, so they described a
powerful flying serpent.
Speaker 1: A problem of translation, and maybe the best example of
this comes from ancient China.
Speaker 2: Gwandi the Yellow Emperor, the mythical founder of Chinese civilization.
Speaker 1: He's credited with bringing all this impossibly advanced knowledge the
compass acupuncture written language. He was known as the Son of.
Speaker 2: Heaven, and the texts say his origin was celestial. Born
under the radiance of a great star, he came to
Earth in his vehicle, a flying dragon. He used it
to travel his empire, and after ruling for one hundred years,
he decided to leave. To do so, he installed a
massive bronze cauldron.
Speaker 1: The moment he did, the heavens opened and a yellow
dragon came down and took him back to the stars.
Speaker 2: That cauldron detail, it sounds like an antenna, a navigational
beacon to summon his ride home.
Speaker 1: And the descriptions of dragons always spewing fire and a
lot of.
Speaker 2: Smoke, which sounds a lot like a modern rocket launch,
doesn't it. The exhaust, the fire, the smoke.
Speaker 1: So these weren't fire breathing lizards, they were misunderstood powerful
flying machines. A translation problem exactly. Okay, so we have
the harvest the hybrids, the flying machines. Now for the
final thread, the one that gives us a potential address
for these dragons from the heavens.
Speaker 2: The Draco constellation, which is of course Latin.
Speaker 1: For dragon, and we start at angkor Wat in Cambodia.
This colossal temple complex.
Speaker 2: Built by a half human, half divine architect who supposedly
traveled between Earth and the realm of the gods.
Speaker 1: The crucial discovery was made in nineteen ninety six by
a researcher named John Grigsby.
Speaker 2: He showed that the entire ancor Watt complex isn't random,
it's a precise me your image on the ground of
the main stars of the Draco constellation.
Speaker 1: You can literally overlay a star map of Draco and
the temples line up perfectly with the stars. That cannot
be a coincidence.
Speaker 2: The theory is this was a deliberate calling card the visitors,
making sure the locals knew exactly where they came from,
an astronomical address left in stone.
Speaker 1: And the temple is covered in these dragon like creatures,
the nagas, just like kucom The theory is the nagas
represent the craft used to travel between Earth and the
Draco system.
Speaker 2: And what makes this so powerful is that this Draco
alignment isn't just in Cambodia, It's a global pattern.
Speaker 1: You see it in North America. The Great Serpent Mound
in Ohio is positioned to point directly to the rising
of Draco.
Speaker 2: And bringing us full circle back to Egypt, all the
pyramids at Giza were built so their entrance passages were
aligned to make Alpha draconas Draco's brightest star visible at night.
Speaker 1: That's just incredible. Cultures separated by thousands of miles and
thousands of years.
Speaker 2: Mayans, Chinese, Greeks, Egyptians all.
Speaker 1: Share legends of flying star that came from the sky,
and all linked their most important structures to the very
same constellation.
Speaker 2: The revelation presented here is that the entire framework of
global dragon mythology, it's just a translated history, a history
of contact with intelligent, powerful beings from a planet somewhere
in the Draco constellation.
Speaker 1: Here's where it gets really interesting. We have tracked a
truly monumental and frankly bizarre thread today. We started right
here in the present day with these chilling surgical animal mutilations.
Speaker 2: Interpreted by some as an ongoing genetic harvest.
Speaker 1: We followed that thread back to Sakhara, to those crushed
hybrid bones sealed away forever, maybe the result of a
failed harvest.
Speaker 2: Which led us to the Bombardi your beetle, a biological anomaly,
a finished product that seems to defy evolution, acting almost
like a blueprint left on Earth.
Speaker 1: We saw how the Egyptians took the scab, an insect
that navigates by the Milky Way, and saw it as
a device for traversing the cosmos. And finally, the global
myths of the flying serpent.
Speaker 2: What's so called ol kwangdi. Yeah, all just descriptions of powerful,
misunderstood flying machines, a problem of translation.
Speaker 1: And critically, all of these myths, these massive monuments, from
ankor Watt to the Pyramids, they seem to align perfectly
with one place in the sky, the Draco constellation.
Speaker 2: It suggests this powerful sequential story the visitors, the dragons
from Draco, first seated the planet with advanced biological concepts.
Then they started this ongoing genetic harvest while their presence,
their tech, and their home address were all recorded by
our ancestors using the only tools.
Speaker 1: They had mythology and astronomy exactly. So what does this
all mean if civilizations all over the world, from Egyptians
placing star stained scabs on their pharaohs to the Chinese
building their entire society under the Yellow Emperor, if they
were all seemingly guided by beings linked to Draco. Are
we just subconsciously completing a blueprint that was laid out
for us thousands of years ago.
Speaker 2: What is your stand on this? Is global mythology just
a translated codified history of extraterrestrial contact. Let us know
what you think.