➡ The Paranoid American podcast, which also publishes comics, has launched a new comic book about Stanley Kubrick directing the moon landings. The comic is available on Kickstarter, with various rewards for backers including digital and print versions, variant covers, and exclusive merchandise. The podcast also discusses Disney movies, with the latest episode focusing on the film Treasure Planet.
➡ The speaker discusses the evolution of Disney animation, noting the shift from traditional animation to digital backgrounds. They mention the success and failures of various films, including Notre Dame, Pocahontas, Mulan, and Tarzan. The speaker also discusses the controversial decision to adapt Notre Dame, suggesting it may have been due to a desire to tap into different cultural folklore. They end by discussing the financial failure of Treasure Planet, despite its unique approach to animation.
➡ The text discusses the comparison between the movies Titan Ae and Treasure Planet, with the author favoring Titan Ae. It also talks about the impact of Shrek, which was a successful movie that challenged Disney’s monopoly on folktales. The author mentions the importance of dedication and obsession in creating a successful movie, using Shrek as an example. Lastly, the text touches on the controversial history of Disney’s Song of the South and its impact on later movies like Princess and the Frog.
➡ The text discusses Disney’s approach to representation and storytelling, comparing it to their older movies like ‘Song of the South’. It also talks about Disney’s strategy of re-releasing old movies and creating new versions to boost sales. The text further discusses the impact of Disney’s movies like ‘Treasure Planet’ and ‘Atlantis’ on the company’s trajectory, and the potential of Disney incorporating traditional animation and VR technology in future projects.
➡ The discussion revolves around various movies, including Atlantis, Treasure Planet, and Jungle Book, highlighting their unique aspects and personal impressions. They also talk about upcoming projects like the launch of a NASA comic on the Apollo eleven mission’s 55th anniversary and other comics related to Illuminati and secret mystery schools. The conversation ends with a promotion for nasacomic.com and paranoidamerican.com, offering comic books and propaganda packs.
➡ Paranoid American offers unique sticker sheets that can bring joy and spark curiosity. These stickers, featuring everything from mysterious creatures to hidden cults, are available for purchase. The text also expresses the author’s personal journey and emotions, using metaphors and references to challenges and triumphs. It ends with a repeated phrase, “You’re welcome,” possibly indicating the author’s contribution to a larger conversation or community.
➡ The discussion revolves around the movie “Treasure Planet” and its lack of success despite its close adherence to the original “Treasure Island” story, only set in space. The speakers also mention other attempts at sci-fi adaptations of “Treasure Island”, including a Bulgarian film and an Italian miniseries. They also touch on other animated sci-fi films like “Titan AE” and “Land Before Time”, and the challenges of making animated sci-fi popular. The conversation ends with a discussion about the Star Trek series and its attempts to reach new audiences.
➡ The text discusses the Silicon Valley series, its relevance, and how it accurately predicted future tech trends. It also talks about the movie Treasure Planet, its underrated status, and the notable actors involved. The text further delves into the concept of transhumanism, particularly in the Mormon context, and draws parallels between this concept and elements in Treasure Planet. Lastly, it suggests that the treasure in Treasure Planet could symbolize the Mormon idea of godhood or enlightenment.
➡ The text discusses the concept of apotheosis, or becoming a god, in various stories and traditions, including the movie Treasure Planet. It suggests that the treasure in these narratives is not material wealth, but rather the journey towards enlightenment or divinity. The text also touches on the evolution of animation and its ability to handle mature themes, and the impact of audience preferences on the success of animated sci-fi movies. Lastly, it explores the depiction of space in these narratives and the questions it raises about physics and reality.
➡ The discussion revolves around the cultural differences between Japan and the West in terms of animation and manga consumption, highlighting that Japan caters to a wider age range. The conversation also touches on the work conditions in Japan’s animation industry and the quality of their output. They discuss Disney’s struggle to compete, using the example of Treasure Planet, a unique but unsuccessful film. The conversation ends with a debate about the success of the movie Dinosaur and the work of director M. Night Shyamalan.
➡ A person recalls watching the movie “6th Sense” with their dad and how it influenced their view of movies with plot twists. They also discuss their experiences with other films and TV shows, like “Star Wars” and “Star Trek”, and how media can shape our perceptions. They also touch on the concept of character archetypes, particularly the “bad boy” character, and how it’s used in different franchises. Lastly, they delve into the philosophical implications of technologies like the transporter in “Star Trek”.
➡ The discussion revolves around the Star Wars series, comparing it to real-world conflicts and politics. It also touches on the idea of racism and how it’s portrayed in the series. The conversation then shifts to other movies like ‘The Great Mouse Detective’ and ‘American Tale’, discussing their success and themes. Lastly, they discuss the concept of an artificial moon in the movie ‘Moonfall’ and ‘Treasure Planet’.
➡ The text discusses a movie where a young boy reads about a fantasy world in a book and then ends up living it. The movie explores concepts of metaphysical space and interdimensional realities, with spaceships and artificial moons. It also touches on the idea of a future where reading is unnecessary due to advanced technology. The text also compares this movie to other shows and discusses theories about pirates and their historical context.
➡ The text discusses a complex theory about enlightenment, space, and the metaphysical. It suggests that when a star explodes, it could symbolize someone achieving enlightenment. The text also delves into a conspiracy theory about a man named Mark Hoffman, who is believed to be in jail for forging letters related to Mormonism. The authors question the validity of these letters and Hoffman’s motives, suggesting he may be a scapegoat for the church.

Hey, thank you for watching listening to another episode of whatever you’re listening to. Paranoid American podcast, the cult Disney paranoid programming, sound Science. There’s a bunch of them, but whatever it is, I appreciate that you’re listening, watching this right now. And if you really want to support Paranoid American, if you didn’t know this, in addition to being a podcast, we’ve actually been publishing comics since 2012. So over a decade, while I was still at Disney, has started this company to publish a little book called Time Samplers. And it’s exploded into 60 different titles at this point, and the biggest one just launched, at least at the time of recording this, but it’s at nasacomic.com stands for never a straight answer, and it’s about Stanley Kubrick directing the moon landings.

I just want to show you some of the cool kind of exclusive things you can get by backing this thing early. So if you go to nasacomic.com, it’ll automatically bring you to this Kickstarter page. And you can see, bam. Hit our goal at the time of recording this 100%. So it’s definitely going to be made. You’ll absolutely get a copy of this thing if you back it. If you’re listening to this in the future and this page isn’t here or brought you somewhere else, then likely you can just buy it right now. So you have to skip all this and just buy the damn thing.

But here’s a couple little previews of artwork. Here’s different variant covers that are for offered. This top left one, I actually have imprint. I got a couple of prototypes printed up just to make sure that it would look good. It looks great. Looks amazing. Full color gloss pages. It’s got a nice hefty weight to it because it’s 40 different pages of all unique art that you haven’t seen before. There’s also going to be a variant cover. There’s going to be a foil, hollow foil cover, and then there’s a little postcard print that anybody that gets a physical copy of the comic in any form, they’re going to end up getting this postcard size print here.

Here’s some different artwork samples from the three different artists that contributed this book. And then here’s the important part, the rewards. So by backing this project, you’re going to get to pick some different kind of reward tier. The entry level one is this digital deluxe, which has the entire book in digital form. You’ll get a PDF. It’s also going to have an additional eight different pages that aren’t in any of the print versions just because they were maybe somewhere a little too spicy, maybe some were a slightly different art style, but I’m going to give all that the digital deluxe along with some wallpapers and some mp3 s and stuff.

If you want the print one that I was just holding up here, then the entry for that one is $15. With that, you’re going to get that little postcard print I mentioned. You’re going to get a trading card, you’re going to get a bookmark, and you’ll probably get some other stuff. Because I always throw in extra freebies and ask anyone that’s bought anything from paranoid american, I hook it up with lots of extras. If you want the variant cover, which is only available in this campaign, there’s a $19 tier for that. It also comes with an extra sticker.

If you want the holofoil, then that one is 29. These ones are going to be super limited. Like these won’t exist outside of this campaign for the next 30 days. So if you are listening to this in the future, sorry you missed out. You might be able to snag one in an upcoming campaign if there’s extras. But if you really want this hollow foil, and you should, you can get it right now for 29. And then we’ve got a couple other tiers after that. We’ve got a 55th anniversary special for $55 that has the main cover and the foil cover and a sticker sheet and some other goodies.

Here’s the best value. Basically, there’s a dollar 99 cosmic conspiracy tier, over 40% off of all the different things that are included. So this one’s going to come with the main cover, the variant cover, a hollow foil cover, three or four different sticker sheets. It’s going to come with sticks plus stickers. It has the trading card, a bookmark. It has a custom paranoid american room 237 keychain. And I think the highlight of this is it’s going to come with this custom embroidered Stanley Kubrick patch based on the Apollo Eleven design. And there’s a. You keep scrolling down, you can see all the other extra reward tiers.

All of the different items are going to be described in more detail. And I want to show you this patch right here, the three inch embroidered iron on patch. You can put it on your molex bag. You can put it on, you know, anything. Hats, backpacks. This is the first time we’ve ever done one of these custom patches, so I’m really excited about that. There’s also a custom fake moon landing playset that you can select as an add on when you go to check out. So speaking of, let’s say that you’re sold. You want to get a copy, you want to help support paranoid Americana.

If you haven’t used Kickstarter before, the easiest thing to do is you just click on this back, this project button on the page. It’s both at the very top of the screen and it’s at the top of the page. So you can click either one back, this project, and from here, it’s going to be like a typical checkout. You’re going to select which of these different tiers you want. Again, I highly recommend this dollar 99 cosmic conspiracy combo. It’s going to have every single thing that the campaign has to offer that’s exclusive to this NASA book.

You click on that, you pick the country that you’re in, and then you just click on the pledge button. There’s one extra last step where it’s going to ask you if you want to do any add ons. If you want to throw in like a, like a trading card pack or another keychain or anything else, you can get some huge discounts on the backlog of paranoid american comics. But let’s say you’re done with that. You click continue, and then finally, if you don’t already have a Kickstarter account, you’ll be prompted to make one. You can link it to Facebook.

The rest of the flow is just like any typical checkout online. So I really appreciate if you would take a look, please just back the comic back, nasacomic.com. anyways, back to your regularly scheduled programming. Ask about Illuminati since the charging. Is it Disney mind control? Is this Mkochet lux? I call this man gonna shut on a star I go Disney video plant as a bomb so blue Pinocchio seeks for no pleasure island where traffickers need your phone mine, Captain Hook, a lost boy in Neverland saving kids from Peter Pans to sons meanwhile, survived the barracuda and that nobody needs no one no, I never took another breath we go from real to real I go this day open me room and no more feel I cook his name ask her back to man I say I cook his neck teacher come to everybody.

Well, you know, because if the japanese government got upset at me, that’s how you start the recording. Thomas. Thanks. Thanks. Yeah. All right. I’m not Logan. Paul. Good to meet you. Matt. Hi. We’re doing Andreas. I’ve been doing a cold Disney with Matt for over a year. We might even be going on two at some point. And I think, same with Andre. Like the same time I started doing both the shows with you guys, so. Andreas, Matt. Matt, Andreas. And you’re Thomas. Hi. That’ll be the intro. That’s fine. Because recently I keep saying adult Disney podcast instead of a caught Disneyland.

It was because I kept pitching my adult occult over and over again. Adult Disney podcast where we get erotic with the mouse. I want my due numbers. That’s my new, new intro for this boys adventure film, I guess is what they were working on at this point in time. It’s treasure planets, our focus today. This is one of the ones I was more excited about watching. I’d never seen it before, so what? Yeah, never. I’ve never neither seen before either. I remember seeing in theaters. I loved this movie. This is one of those, like, perfect Disney movies.

It’s one of those movies that’s so Disney to upset people because they’re like, wait, this is like Trad Disney. We don’t want that anymore. We want this other. This is. And this is kind of what ended, I feel like, that style of Disney, you know, this is the last of its kind. Yeah, it’s almost Bluthian. It’s like, not quite, but it’s like a deviation of, like, from, I would say, bluth to, you know, Ted Stones, who did, like, the darkwing duck, and he also did, like, the sequel to Atlantis. And like, all of those Disney movies, like, this is kind of like the peak of that.

That style, you know, and one of the last of its kind in terms of, like, traditional animation. I loved it as a kid. Yeah. For charting it, you know, you got the Disney renaissance of the early nineties. We covered all that. Things start to, like, fizzle out a little bit with Notre Dame and Pocahontas and Mulan. Not that any of them are particularly bad. They just didn’t make bank. And then Tarzan’s an uptick, so they’re kind of like, oh, this is what people want, you know, these digital backgrounds and kind of like, like I said, boys adventure.

So you get that Atlantis, you get this. I think even the emperor’s new groove sort of, kind of fits into that box a little bit. And what we’ll see, we got a couple more coming. We got home. And those are some great. Those are some great. I hope you’ve covered or you do at some point, like whatever the heck, emperor’s new groove, like, how it was allowed to happen, because a lot of that is just, I think that is like, they kind of are giving up and not sure what to do with their formula kind of a thing.

Like, the same way Tron happened is sort of the way emperor’s new groove. Like, okay, we don’t know. We trust you. We don’t know what we’re doing. We’re old. We did that one. It was patched together, and it was patched together in really strange ways that you can actually point out where they were setting up all these plot points and then just never resolve them because that whole team had, like, moved on or got fired or got disgruntled or something. They pissed off. Do you have a thesis on why? Do you have, like a, what the heck happened with Disney? Why Notre Dame? I know this is kind of prequel, but just for this conversation, I think it’s interesting.

Like, why did Disney do Notre Dame? Like, what? I feel like it might just be a bit of media exhaustion. I mean, anything you love, like, give it five years and it’s got to be something new. Um, I can’t. Is it a conspiracy to destroy Disney? Like, from the end, they’re like, look, we want to just destroy, like, what is. Why would you do Notre Dame? Notre Dame is so specifically, like, miserable. Sure. Okay, but Notre Dame, like, and I just feel like that it was, I mean, it’s so controversial of a story to do. Right? Like, in every direction.

So I just wonder why Disney had to do that. And I feel like that’s kind of where they realized they also, that’s, that’s where they realized, okay, we’re not going to do anything like this ever again. Right. You could. I mean, Pocahontas also gets into, like, kind of that weird quasi, quasimodo historical. These are all the most. These are like, Pocahontas and Treasure Planet and, uh, yeah, these are some of the most Mormon, uh, non Don Bluthen Disney movies. Right. You know, like, I think we went, we did go into Notre Dame. And I think if you do, like, the occult Disney version of why they made it, like, if it wasn’t for monetary or cultural gain, I think it was just to, again, like, get their fingers and dabble and own a little bit of that era of storytelling so that now Disney can span a large swath of time from 16 hundreds or before all the way up to the continuity of, like, aristocats and the Oliver and company, which are like eighties, very on brand.

And after that, they’ve, they’ve touched every single sort of time period and little niche faction. And then in, uh, hunchback and Notre Dame in particular. They get into, like, gypsy magic. That’s what they, they refer to as gypsy magic. So now Disney kind of also owns that, like, uh, that romanian style, like romani gypsy princess. Yeah. Now there’s almost no regional magic they haven’t really tapped into, except for maybe Russia or Tartaria or. Oh, yeah, Anastasia doesn’t count. Yeah, true. Oh, that’s Fox, I believe. Yeah. I guess there’s also, like, 91. 92 is when at the time, Euro Disney.

Now Disneyland Paris. So it might have been kind of a attempt to bop into that vibe a little bit more for failing. So that’s, that’s a pretty, Matt, that’s a good point. That’s probably the most logical reason, because they needed something that they’re like, hey, you guys know about this in Euro France, like, you guys, your favorite heroes, we’re now doing french. That makes the most sense. They were doing French. You got Cinderella and Bell. But it’s not, like, as specifically French as basing your movie around Notre Dame. You know, that’s like, you know, doing the X Men is definitely an american movie.

They spend the climax of the Statue of Liberty, that sort of thing. I wonder if there’s bidding wars or negotiations behind the scenes similar to how Taco Bell gets to win the fast food wars of demolition man. Right. Because they bid a certain point, and then when it gets over to the UK, I think Burger King beats them. But I wonder if there’s also bidding wars about who gets ownership over these cultural folklore. So, I don’t know, like, would Russia want America, you know, Disney, to make, like, a russian folk tale? Like, would that be for their benefit, or would they want to, like, keep it back and own it so that, like, only russian, you know, nationals can work on it? Because, I mean, we’ve seen, like, the same variations where Disney would make a certain animation, and then all of a sudden, there’d be, like, a, like, a russian twist to it or like, a slight variation.

I can’t remember the exact ones, but we’ve seen, like, two or three already by now. Well, as Matt pointed out, Fox and Disney owns now Anastasia, which Don Bluth did. And Don Bluth is arguably, you know, the scion of Disney animation style, even if he’s moved on from that. I mean, he’s also put so much energy into, I think, what made Disney what it was in the past, that when we’re talking about that style of Disney. So, you know, I feel like if Don Bluth hadn’t had to walk away, that he probably would have pushed for that project at some point, and then Disney just doesn’t want to, like, Disney didn’t want to tread with Don Bluth after that.

Like, there’s a lot of anger and animosity because he, like, secretly grabbed a bunch of animators and didn’t tell people that they were, like, working secretly on other projects and everything as they were leaving. So there’s. There’s a lot of hatred between the two. You know, I feel like that might be, like, the. The reanimated corpse of Disney in a way, because that’s such a classic Walt thing to do, is to, like, steal everyone’s stuff in the middle of the night. Oh, yeah. So I probably wouldn’t. Oswald the rabbit. Oswald the rabbit and Mickey Mouse are, like, directly feel, uh, felix the cat.

Right. And at first, I believe that of iwerks even did ripoffs of Felix the cat. They started with a cat that they don’t really talk about before, you know, during the Alice in Wonderland stages. So, yeah, I mean, execution of an idea is as important or probably more important than, like, all of the ideas that they are running through. Right. That’s kind of the thing. Ideas are cheap. So I like, though, the treasure planet, is that, like, Don Blue style without him, though, I think that they continued on like, we’re. We can still do this. Yeah.

This one had been the cooker for, like, a really surprisingly long time. So Musker and Clements, the directors, they did the little mermaid, and they wanted to do this next, and we’re basically told to screw off and make what they. I guess they did lad laden after this, and then Hercules. And finally after Hercules, they let them go and make this, which cost $140 million to make 109 worldwide. So this is, like, one of the more massive film flops and history, actually, which it doesn’t deserve, I will point out. But, like, you saw in the theater, I was stuck out in the woods teaching environmental education at the time, so I didn’t see any movies at the time.

I’m in, like, a very specific demographic, and I know that, like, the things I like are shows that canceled in the first season. And it makes sense that this would be something like they would. I was taken to see this. It wasn’t by choice, like, similarly with, like, movies like october skies and things like that. So I don’t know. This. This. This is also something about Treasure island, because Robert Louis Stevenson and you know, that. Who’s the guy who did Tarzan? Again, I’m sorry. I always get his name wrong. It’s like Edward Rice Burroughs or something like that.

Edgar. Edgar Rice Burroughs. Perfect. Perfect. Yeah. So, like, these. These things were really, like, important comic. Like, I had, like, reprints and things like that. And so I was interested in those things. I think a lot of kids didn’t and weren’t. And so by the time that the reason that adults like that stuff, like, oh, we’re gonna do it. Because this was the first time anyone ever had that idea. Tarzan’s the first to do it. But all those things are tropes now that have been done in movies and tv shows that have ripped off those original things so many times that the kids are more familiar with the ripoffs and they don’t see the originality of it.

Right. That’s like, why John Carter didn’t work. And I feel like maybe a problem that happened with treasure Planet. Well, also eugenics fell out of favor a little bit, so it lost some of its, like, Og DNA. And dare I say this, like, if flat earthers were like, if this movie came out just a few years later, I’m pretty sure there could have been another audience. This is the third attempt to make a Sci-Fi treasure island. Interestingly, there’s a 1982 bulgarian film, animated science fiction bulgarian film also kind of doing this, and a 1987 italian science fiction miniseries.

What are the names of these? Because those both sound interesting already. You should watch the russian one he’s talking about because it has live action, creepy pirate scenes in between it and crazy punk 88, like soviet punk music. The bulgarian band Tangra did the movie’s music. That one’s actually just called Treasure Planet or, you know, whatever that is in a planetatana skurofish data. I’m sure I said that as wrong as possible. The other one is just called Treasure island in outer space, which is a bit on the nose. It stars Anthony Quinn and Ernest Borgnine, which is pretty awesome, really.

Both of whom are extremely old by the time they’re doing this. This was back when Ernest Burgnine was being, like, inappropriate on public tv. That was like peak Borg nine. Yeah, yeah. 1987. So that looks like fun. I’ve been watching space 1999 and just looking at the picture, at least it seems to kind of have that vibe, which I can appreciate. I’m actually pleasantly surprised that you saw this growing up, Andreas, because, like, Matt and me, I think we both watched it for the first time this month. Wow. Like, I knew it existed a little bit, but I guess it was just never on my radar for I was in the military at this point.

So Disney movies were the farthest thing on my radar. I was watching weird stuff at this point. So a couple things I think are interesting about this kind of Disney movie. So when they change a Disney story, like the hunchback of Notre Dame, and they keep things as authentic in terms of where the location is as possible, and then they change everything about the story, right. It’s nothing like this book. But if you. If you’ve read Treasure island or, you know, seen the play or movies about it, this is really, really close. The only difference is it’s happening in space instead of happening in the seas.

But it’s their boat still. The characters are the same. He’s got a weird black waters pirate monkey GM. I forget exactly his, like, parrot thing. And he’s like, you know, maybe he’s got like a hover peg leg or something like that, but it’s like it’s long John Silver. It’s all the same stuff. It’s weirdly uncanny for a Disney movie to be that authentic to a story. It’s suspicious. Walt would never have. It’s. Well, no, because Walt did do stuff like that, but those were never the most famous or popular things he did either. And so I also wonder about numbers and where they’re like, oh, you know, this one wasn’t super successful.

We’re not really going to push that one. It’s going to limit a cult audience. It’s kind of like Disney put out this fantastic show. The people who were doing the Oswald the rabbit in the Mickey brushed or whatever thing they did, the three Caballeros animated show, which I hope. Matt, have you seen the legend of three Caballeros show? I haven’t seen the show, but I certainly rented the hell out of the vhs of the forties movies back then. The original is really important because of Project paperclip, right? Because that’s connected to the south american SS information transfer.

That, and even before Project Paperclip, just spying that was going on in South America by Disney for the intelligence, the OSS. But regardless, the new show that they made was about Donald Duck and the three caballeros, the other two in a band that have to go to all of the titans around the world and to awaken these titans to deal with the gods, because the gods have died. Almost. Almost all the gods are old and dead, except for Cassandra, who has the gift of prophecy. It’s like, whoa, the show with minotaurs and checkered masonic rugs and everything.

I think we might have to actually do that one. Is the way related to the secret geometry, Donald favorite show. Absolutely. It’s like, this is the next thing, in my opinion, after Donald Duck and Math. Magic Land. But they only released it at first, iTunes Philippines. And they’re like, oh, yeah, it’s not very popular show. Then they finally kind of, like, released it now on Disney years later. Right. Like almost five to ten years later. And you can watch it, but not everybody knows about it. Right? Like, no one’s heard about it, but it’s like they’re crazy.

So Disney does this for sure, where they’re like, yeah, you know, not everybody is supposed to know about treasure planet, but then they tell the story, like, dare I say, like a masonic play. Really, really well, because they really want that story heard perfectly. So there’s something about that. Something about treasure planet. Right. I. Well, you know, you said masonic play, and I guess I have to say that I agree with that. Although I was seeing, like, a mormon aspect, but I guess it’s like potato, tomato at a certain point when you’re talking Mormons and masons.

Right. Well, I’ve got a huge bias, especially this month, because, like, I didn’t watch treasure planet recently. I have it pretty well, like, in my mind, but I did watch land before time and all dogs go to heaven. So I’m on kind of the Don Bluth is Mormon, so I’m on the Mormonization Disney kick. Wait, is that true? I didn’t know that. Oh, absolutely. Yeah, byu. Yeah, absolutely. He’s like 99 years old. What do you think’s going on? Yeah, of course he’s a Mormon. Since we said populate his planet, since we’ve said bluth this many times already, another film that I have not watched two years before was a Bluth Sci-Fi anime, which was a titan ae.

Oh, God. One of my favorite movies. Also a bit of a flop. A budget of 75 to 90 million, making 36.8. So that’s on a slightly. Well, not slightly. That’s on a smaller scale than treasure planet. But both of them were, like, really trying to push this animated Sci-Fi thing and just fell flat on its face. Another one, maybe. Animated Sci-Fi is not much of a thing. It’s weird. Yeah, people. It’s weird. You think you’d be more popular. I was recently in Minnesota, and I met the band lit, and I told them I was like, mandy, tai na ii was like, I forget what I said.

Something so stupid. Like, tai na was, like, one of the most underrated, like, one of the most profound, like, the most definitive things of its time. Something like that and he was just like that, like, cuz obviously they felt that way when it came out too and they were shocked that most people didn’t get it and were like more in what were people into like the spice world? I don’t know. I was a good movie too, in my opinion, but it was a pretty good movie. Better than it should have been. No, it’s just interesting that even now I’ve said it on this podcast many times, I’m a pretty ardent Trekkie.

And we got Star Trek prodigy, which is pretty good Sci-Fi anime, but getting bumped around from service to service, it’s kind of like not really in the home with all the other Treks now. I really think that’s smart. And I’m like, I mean, I’m more industry centric in that, like, ideology, but I think having a demographic already is. It’s good to try to find new demographics. Like, it’s cool that there already are Star Treks and they’re making more and they’re doing discovery and strange new world, so everybody should be happy. But they’re also trying to get other people into Star Trek, into a different kind of Star Trek.

And I’m fine with that. You know, I’m also a big fan of enterprise and the theme song. All right, I’ve covered it myself. I don’t care. Faith of the heart, bro. Like, oh, I use it as a punchline often, so I got that going for it. But that song is going to be way more relevant as AI becomes more relevant. I think too, it becomes better as it becomes more dated. I’ll give it that. Like, at the time you’re like, what are you doing now? It’s like kind of like so of its time and ridiculous there.

Yeah, maybe I was just like hyper autistic, but I was in Silicon Valley looking around at people with like ipods and Steve Jobs Turtleneck and jeans. And somehow that song seemed like a poignant mockery of everything going on, in a sense. And I felt like it was. Yeah, I don’t think people get what they’re. I think that’s also why some people were upset about it because it kind of mocks us by depicting us. It’s telling us, like, this is who we are, right? And we’re supposed. I don’t know, but that’s. I’ve been on a kick lately, rewatching the whole silicon Valley series and even, even being like, kind of in the thick of software development as that was going on.

So, like, I felt like I was in on all the jokes, but rewatching it, it’s amazing how far ahead of its time even that was. And, like, Mike judge or whoever he had on the writing team was nailing stuff left and right, especially when it came into, like, the neural net and, like, all the machine learning stuff. Like, he kind of had a lot of that on the nose. So he must have been talking to, like, the actual people that were in and out of, like, the highest rings of that. Yeah. I would also say, like, with Treasure Planet, it’s underrated because they didn’t tell people who the people were in that movie.

Like angels in the outfield kid. They should have been like, you know, because George Joseph Gordon Lovett is the kid in Treasure Planet. Right. That’s. So that would have been kind of an interesting spot in his career because he had, being a big animated movie, he had recorded it two years later, but by this point, he had already kind of started moving on to his adult acting phase because he made a pretty seamless. I didn’t even pick up on the voice. Yeah. Oh, yeah. Filled with celebs. Yeah. No, I mean, yeah, it’s crazy. Like, Ed Martin Short, I think, is in there.

Right. Not annoying me nearly as much as David Spade and Emperor’s new grief. Possibly because Martin Short had done some voice acting before that. That helps. I love Martin short, but I have also bias for Canadians. I can’t help it. I have to shout out Patrick McGooin. This is his final film role as Billy Bones, just because I had done a prisoner podcast last year. Wow, that is Patrick mcGooin. Yeah, it’s his last role. So I was like, that’s kind of cool. Last time you get to hear him scream a bit. Yeah, yeah. Danger man, the prisoner.

There’s a lot, too. I want to make my case that this is a Mormon movie, and I’d like to hear if it’s a masonic movie and vice versa. So I guess the very rough cut of all this is that we’ve got celestial ships that are powered by crystals and that those crystals are being used by neophytes in search of treasure. And every bit of that sounds like early mormonism to me. Joseph Smith navigating, using crystals and seer stones looking for treasure. The Liahona. They have the liahona, which is like, what they used to cross the seas with, you know, essentially.

And it’s the same thing. Which also makes its way into Titan Ae. Right. The map system that he has, which is also in Lensman, which I think. Who did Lensman again, DF Jones this is new to me. Lensmande Lensman by edoc Smith Edoc Smith’s lens man series. A triplanetary. Well, like, so that’s like kind of the origin point for Titan Ae. Just don’t tell anybody. But I don’t think anybody cares. They’re not suing over it. But Lensman was a book series. I think they made a great anime in the eighties that’s so weirdly not related to it, but awesome at the same time.

But it has the idea of that. Liahona, because again, all Mormons, like Mormons in Sci-Fi yeah, clearly, you know, but uh, I don’t know. I mean, I don’t know the answer on John Musker or anything like that. Like, I don’t know if he’s a, he’s an Irish Catholic, apparently. So how. How do Mormons feel about transhumanism? Because it feels like that’s like an element of this future that they paint in treasure planet, that you would just have robot appendages and then that turns you into a cyborg. But they kind of exist, you know? Pull up my screen for just one frame.

1 second. Go to. Go to the Mormons website about it. Yeah, that’s what they feel about humanist association. Or is this a site that you created for? I didn’t make this website. There’s actually a huge association of LDS that are at least a thousand, like, people contribute to like this in general from Salt Lake City. You know, I guess that makes it official. There’s a bunch of reasons why it makes sense that you would try to elevate yourself, right? Because the idea of bridging heaven to earth with Zion is a very lds concept. So transhumanism does appeal to a lot of Mormons, I would say.

Some people also would say that there’s two kinds. There’s definitely a secular, satanic, evil, post humanist thing, and I would disassociate that from the idea of, you know, eat your vitamins and live forever. Like, being like an immortal is totally fine. Like if you, I mean, could fall into like, its logical conclusion. Could it be replace your appendages with these things that are more efficient and can make your heart last longer because it doesn’t have to circulate and, you know, these things can take over muscle tip. Like, like, I think that question is a major question asked not just by Mormons, but any gnostics or theosophics.

That’s what Darth Vader is, a very theosophic question. Like, Mormon, the machine. But, of course, so is long John Silver at that point. And it’s also long John Silver, I forget. But doesn’t he have, like, a. Like, a computerized eye underneath his patch in this situation so that he can, you know, acclimate different light and see? Like, because a lot of pirates did that. Like, they actually had both eyes, but they would wear a patch so they could acclimate the eye to lower and higher light for seeing further. Right. So I don’t know. I feel like the idea of being a bionic man, you’re questioning whether or not you’re making something that’s different separate.

Again, it’s a Darth Vader question. Do you still have the human spirit? There’s a difference between transhumanism and post humanism that I think is the main one. The idea to a Mormon is that God is okay. God is basically a man in the sense that every possibility that you can think of, we can do just throttled. So if you maxed out all of our scores, that would be essentially what God has the power to do. It’s almost to the point that anything is conceivable. We have some range of capacity for, but it’s limited. So it’s really just about.

We’re not even thinking about God having abilities beyond what we have. So if we’re in the image of God, we just have to become full. To become complete and become completely ourselves is to become like God. Right. So that is kind of transhumanism, I would say. Okay, well, that’s a very. Yeah, very Mormon take on that, though, right? Is that you could eventually elevate yourself into being a God. But I don’t know. Like, because they’re already kind of worried. Well, I mean, I guess when I think of God, like, omnipotent, omniscient, but also, like, I could just blink and make your head explode.

Like, if I was God, I could do that because I could do anything. And that’s like, does anyone have that on their stat scale? Is anyone greater than a zero on the stat scale of, like, I can concentrate on you and your head explodes? Oh, I mean, Matt, I’m pretty sure, you know, like, you’ve seen that movie the mini stare at goats, right? Like, you’re probably. Oh, yeah. So, yeah, I would say that that’s, again, these are capacities which are throttled, right? And so at a certain point, like, there are just. There are unlimited apex limit.

That’s all it is. These are not separate from things that we could do. Like, you could fly just not perfectly. And something else could fly perfectly. So all of these are ideas that exist, but they’re basically defined by human condition. So our idea of God is a humanized idea is kind of my saying, so really. So if we, if we follow the end of, like, this movie is about mormonism, I guess the ultimate metaphor would be that the treasure planet, which is literally a planet that has treasure filled up inside of it, but they let it go at the end.

That would have to be like the mormon godhood or their equivalent of complete nirvana, enlightenment. Right? Yeah. I mean, what’s the movie with Nick Cage about the same thing, though, right? Like national treasure. Right. So it’s not just the Mormon thing. Like, it’s an objectively. The idea to a Mormon is that this is the objective thing, right. That this has been just rediscovered, that cultures all around the world have had some part of it, but there really is just one true objective thing, and that is apotheosis. Right. Which is a very masonic idea, too. The idea that apotheosis.

So you can achieve apotheosis through following this path to where the gold of Solomon has been hidden. But also, this is Stevenson. So the idea of Treasure island, this is the Berber Barbary wars and all of these different pirate islands that had bases and had kind of sovereignty to trade with each other and to tariff anything that was passing through their seas. Right. So there’s also that aspect of it where there really is something probably that idea of, like the. What’s it called? The Oak island or something like that. There is that. There’s a metaphor there, I think, to this.

To this idea of the treasure planet. Right? I mean, because clearly not space. So in this case, the treasure is not the friends you made along the way. Okay, well, it might be because, like, it’s a brotherhood of men, so. And literally the movie ends on that. Like, he sacrifices his ability to go and capture the treasure planet because he made a friend. So it is kind of that story. Yeah, yeah. I made a note here about the Star Trek two vibes. Just to get back to the trekkiness. I’ve been and shall always be your friend.

Oh, this is funny. Just last Saturday, there are a couple small kids leaving the school I work at, and they were doing that at the door, and I was like, it looked like they’re recreating, like, three year olds creating a Star Trek two moment. That was pretty fun. They were doing it to mimic Star Trek. No, no, that’s just what I was thinking, because that’s what it looked like. But yeah, I am thinking about the other, like you mentioned a bit of nirvana and stuff. And you know, there’s also kind of the, you know, tibetan monk thing to enlightenment where you might, some of them not claim, but there’s legends of people out there having slight being a little higher than zero on some of these things.

Well, there were three main things that I guess is why I kept leaning towards Mormon in particular out of anything else and not just regular enlightenment. And that was the reference to neophyte, which is, granted, that could just be fun, steampunky sort of language, but at the very end, in order to find the treasure, they had to find a golden looking glass. And then when they did find the treasure, it was all written in hieroglyphics, in gold, like these big gold plates full of hieroglyphics. And I can’t think of a lot of other sort of enlightenment stories outside of ancient egyptian, but which specifically have white caucasian people finding golden hieroglyphics in order to unveil some kind of magic treasure that’s out of this world into a celestial realm.

Well, it’s kind of like the epic of Gilgamesh also. And he’s got his friend who’s half man, right. The idea that’s kind of Gilgamesh is more God than man, but also his friend is half man. And they have to go on this great broad adventure which leads to essentially apotheosis. And they don’t understand it at first because I think they’re just going, that’s almost, again the Star wars thing. Like, if money is all you’re looking for, then money is all you’ll receive. There’s other things along the way that are more valuable, and the thing that’s most valuable is to become a God.

If you’re more treasure planet is essentially the story about trying to become a God. I think a lot of stories are. Again, I don’t think that this is such an exclusively lds thing. This is a very gnostic thing. Apotheosis is in the gospel of Thomas and the apocalypse of Adam. All of these ideas that Yaldaboff has basically trapped us. And you’re dying, you’re a God soul that’s dying, right. And you’ll be recycled all the time. And there’s a fault. I would wonder that, like, did he do it intentionally or just because he kind of sucks at his job? Well, do you care when your parents are fighting if it’s Sofia or Yaldaba’s fault? I mean, like, that’s kind of the thing.

So the idea of becoming free of that, like that’s associated with the accuser. And the accuser, it’s only the Lucifer of Cagliari in Italy during the arianist period, and he’s an anti arianist that they start mis associating phosphorus, phosphore, like the Venus Morning Star with this name Lucifer, which is the latinization of the Greek. And so then they have a proper title. So Lucifer is introduced because of drama going on in the catholic church, right, which has nothing to do with Shaytan. So all of those earlier ideas, I mean, a lot of those earlier traditions are that apotheosis is achieved by escaping Yaldabaoth, right? That’s not just a mormon thing.

That’s like manicheanism too. I guess it gets back to there’s what, like they say, how many, eight or twelve different basic archetype stories anyway. Like, it’s very difficult to make a new narrative of anything. True, dad. I feel like there’s really like three. There’s like man versus man, man versus the world, man versus himself. Right? That’s kind of. Yeah, that’s probably why I’m saying eight to twelve. I think I’ve seen it done both ways. Would man versus AI count as man versus the world at this point? Maybe. Or himself? You know, I mean, you know, we track those stories back to, oh, it’s some seventies stuff, but, you know, I guess Terminator is where we really starts entering the mainstream for that storyline.

But it’s, it’s not really a new storyline, is it? So it’s just a new, it’s a new flavor. No. Yeah. DF Jones and Doc Smith, like we were talking about earlier, DF Jones did Colossus, the forbidden project. I think that’s pretty, like, poignant, that idea of building an AI super machine. And then the Soviet Union has one too. And then they start talking and they’re like, what were you built for? Wait, to stop wars. Me too. What the heck? And then they, you were saying, like, how weird it was that these animated Sci-Fi movies didn’t take off as much as maybe they should.

And I think that also between the nineties or even the early two thousands and now, you know, like mid two thousand twenty s, the, like, the culture maturity around animation has advanced to the point where we can actually handle violence without it having to be heavy metal. Like, like during the two thousands, right. It was either you were making fritz the cat in heavy metal that was like going to be over the top and nipples blasting all over the place, or you were making Disney, and there really was not a huge gap in between those four, like, hard, PG 13, Terminator style animation.

But if someone were to make treasure Planet today as an animation, or Titan ae today as an animation, and they have the flexibility to reach into that, like, PG 13 plus category, I feel that all these stories would do phenomenally better. And that might have been part of the death knell to some of these. Was just neutering it too much. Yeah. Unfortunately, though, like, I don’t feel like Titan a would. I feel like Titan e was perfect, and I don’t think it would have benefited from being more, like, obscene or gratuitous or in any way. Nipples and blood, that’s all we’re talking about.

Yeah, I just feel like that particular movie didn’t need it. And so there was a problem maybe just with the audience in general, where you have a saturation of so much that’s out there that you can watch. And if you want Sci-Fi, there are so many sci fis that are so adult, like the Matrix and everything else like that. Why would you bother with a kid’s Sci-Fi or something that could be watched by everybody? But there’s something about that universal appeal and the fact that if you show a kid a movie, it’s formative. Right? And I feel like Titan Ae is one of those movies which is very formative in the way that it helps you understand alchemy, the way the world works, cosmogenesis, man’s place in making worlds.

I think that’s pretty cool. I wish more kids got to see it. I’m also thinking just how space is in this movie. The plan was to have it be 70% old stuff, 30% new stuff. So by the year 2002, I mean, every kid has been like, you know, just like, I think most kids have a, like, NASA’s awesome phase, you know, somewhere in single digits. So you’re thinking of space as what, at least, you know, NASA is going to say spaces. Absolutely. Such a weird, you know, other, you know, now they’re in the ether and, well, how does gravity work? But there’s still a black hole.

When. When does the air stop? When you fall off the ship? You know, questions like these, it could be impressionistic and cool. Speaking of the pg 13 vibe, we just did spirited away, where a lot of anime was hitting that space. That one, of course, is in Sci-Fi, but there are some sci fis that do that. Attack on Titan would be a pretty successful one that. Yeah, anything from the east was allowed, but that’s only because people in Japan are like 80, you know what I mean? Like there’s a bunch of people who still watch cartoons who used to watch Tekkermanda, you know.

Oh, yeah, my father in law go down in the morning, he’s often on his phone reading manga on a app. Yeah. Japanese people are just exceptionally based people, so it’s just harder for us to compare. But yeah, you have manga and animes for all ages. I just watched Perfect Blue, which is definitely not for kids without, without being gratuitous, without being heavy metal. Although I think it does have a nip shot, but it’s a fast one. I mean, it kind of proves the point too that like, culturally they were already receptive to, you know, cartoons that didn’t have to be overly all, you know, audiences.

We have a smaller audience. They can saturate their audience and then also find other audiences around the world. So they’re able to find that audience wherever that audience exists. And that’s already more than people that are in Japan alone. So they’re usually content in that sense. Plus the paying of artists and anybody in Japan has pretty much been stable for a long time. So it’s cheaper to do that to make art in Japan. Yeah. Now when you consider the hours they’re working, though, you get that paycheck, but now you’re working 16 hours days to hit that deadline, so.

Yeah, yeah, that’s true. That is true. But there is a reason why anime and video games, like, there’s a quality and a quantity of them that come out of Japan, which is such a small country. It’s incredible. This is the point. Treasure Planet being the point where Disney proper is fully tripping and falling on its face. And again, I don’t think it’s a quality of this movie that’s not the problem here. But yeah, it’s amazing quality. Within three years, they’re basically going, once Iger takes over from Eisner, he’s bowing down to Steve Jobs saying, name your price.

Because we can’t survive without Pixar at that point because this is the start of Disney getting that, oh, we can’t make a successful movie. If you look at their top movies for like, you know, 20 00 20 01 20 02 it’s like, you know, dinosaur and just stuff where you’re like, what? Really? They’re cursed. Yeah, yeah. But this movie, it’s like 40 million less. Well, I don’t know because treasure Planet, it’s, it’s like Tron. Like it’s a new idea. It’s a bright idea. Again, you’re right. Like, it’s at a time that’s kind of scary because people are so obsessed with their NASA belief of the universe at this point.

And these kids, the kids and kids are the ones who are being beaten over the head with scholastic magazine ever since the Columbia shuttle explosion. So of course they’re going to continue to think that this is real and it’s going to ruin their ability to be interested in metaphysics and ether. So maybe there should have been something that was clear about it being meta space or something like that. But I think it’s just, it’s one of the most original Disney movies at its time. Right. And it’s scary. It’s sad when the answer is, oh, never be original.

Never do anything that’s outside of the box or creative. Right. Well, it was. I mean, it was still based on Treasure island, so, I mean, it was original to the extent that they’ve based it upon like a, like a long pre existing, you know, I guess it can call ip. But like, like the archetypes have been established. The actual characters that we even see are very like one for one in ways that I don’t think Disney has reached in previous movies. Because even the ones where they’re like, directly based, Cinderella, Beauty and the Beast, Little Mermaid, Jungle book, all those were always like, had that Disney twist, right? It was never that story.

And that’s how they got away with it. They’re like, look, we can make it, like, different because it’s so identical that they’re able to make it so different. And they’re like, they’re like, okay, that’ll be fine because it is still that character, you know? And that perfect inversion process makes this movie. I mean, it’s something that I think is also more timeless than the other Disney movies. I don’t know if I care as much to watch, in a way. I don’t know. I think that might be up for debate just because the next thought that I had was that in this, like, late nineties, early two thousands, another very strong archetype slash trope was this, like, steampunky future retro feel.

And I do think that they did a very great job of not letting this get into, like, the steampunk territory. It’s nasty. It was pirate punk. It’s like, it’s, well, yeah, it’s pirate punk, but it is a close cousin. It feels like it came from a very specific time period. Punk genre punk is like cyberpunk, atom punk, solarpunk, diesel punk. All these things were amazing worlds that we could look. I mean, this is howl’s moving castle. All the anime was doing the same thing. So I think it’s, again, Disney trying to do things like, look, if the japanese can do it, that’s a cool thing.

If they’re like, I want to be creative. I want to be an artist. And Disney tries to do something because your next thing you’re saying is the dinosaur. And that’s a great example of where Disney’s trying to play it safe, like a weirdly safe, and it’s boring because of that. It’s not a good. And dinosaur is a terrible ripoff of land before time. This is interesting. I just brought up a list of 1995 to 2024, which is the top grossing movie that the Disney corporation put out in each year. Dinosaur is the only Disney animated movie to make the list.

Everything else is Pixar or marvel or something else. Even frozen sound. The list. When did Frozen come out? 2014, to be fair, knocks it out. Yeah. Out of the park. And we’re not talking about the good dinosaur. We’re talking about dinosaur. Like the kind of photorealistic dinosaurs. Not the sitcom. Yeah, not the sitcom. Sitcoms. Great. No. Yeah, it was amazing. But I think, yeah, that’s. It’s a tragedy that the. That that would be the movie that is such a popular movie because it’s such a. It’s such a horrible ripoff of Lamb of four time, and they didn’t get any kind of permission for it.

Also, lamb before time is about, you know, the more. When you said popular, though, the Mormon truck after they kill Joseph Smith and they have to go across the desert. Right. Lamb of war time is about that. That’s clearly what Don Booth is doing. That top ten list, though, that was gross. Right? And are we directly equating, like, gross ticket sales with it being popular? Because. Because a little voice in the back of my head says, well, dinosaur being fully 3d animated and almost no real lip syncing required probably meant they could also go to market way faster in different languages and appeal to a much wider audience than if you were to try and, like, re sync the hand done animations with the actual, you know, like.

Like, mouth lip sync action. I don’t know. I’m just. I’m trying to find a rationale behind why dinosaur had outperformed every other Disney animation. It was also, I think, the first movie that had, like, real life backgrounds or something that were being affected by the CGI. So it was kind of I mean, it was a technical achievement. It was big time. Yeah. But this treasure plant is definitely a technical achievement that is more entertaining. I. Yeah, dinosaurs. Kind of a drag, if I remember correctly. No, no, this. What I’m looking at is also, like, listing, like, live action things, too.

So 2002, the year of treasure Planet signs, is actually the top movie for Disney that year, so. And the 6th sense was three years earlier. Wow. It’s. It’s crazy how much stock Shaman used to have. Wow. So the movie. Been a long time since this. All signs. I hate M. Night Shyamalan. I really like his movie. Oh, don’t say that, man. I honestly have loved pretty much every movie, even going back to devil, the one that’s inside the elevator. Like, I love all of those. Well, I fell off the wagon after the village, which I didn’t hate.

I mean, the twist was stupid and he didn’t need it, but otherwise. I remember the village, but after that, just never watched another one. My favorite one is a lot of people’s most hated, which was lady in the water that has Paul Giamatti living in that weird condo with all the people. And the guy’s got, like, the huge arm and that, like, to me, that is truly a masterpiece for rubes like myself. Like, it’s. It’s my version of what, like, a truly deep movie is. Even though I know it’s very surface level more hated than that one.

Yeah, it’s pretty. What, are they done? I don’t know. My dad ruined it for me. I was like nine or ten years old. 6th sense was coming out. Everyone’s like, the greatest movie of all time. The most genius invented producer. And my dad and I, he’s like, all right, we should watch this stupid thing. We put it on, and as we’re, like, watching it, Bruce Willis comes on. Dad’s like, what do you bet this guy’s dead, right? Like, the kids just talking to him. I was like, yeah, I guess so. And then it’s like, yeah, it’s pretty obvious now.

And then he finally says, like, all right, we get it. And then that was kind of. That was kind of the end of me ever liking any of his movies. That’s the problem. Depending that much on the twist, unfortunately, yeah. Opening night, I wasn’t smart enough to get it straight away, so I had the proper sense. I feel like my dad might have seen that one before. That’s the other thing. If you’ve seen enough reruns, it’s probably, like something like, he probably picked up on whatever he got it from. Because he probably saw some seventies movie or something or read some comic book that that was from or something.

And it’s like, okay, you can do that with a lot of new. For a kid. Yeah. Like the original scream. You could do that with too. You could be like, up. That’s the murderer. And it kind of like a lot of it, but that’s like, yeah, kids. Now you can’t show them Star wars, like, because they’re like, oh, Luca, I’m your father. And then they see like, oh, that’s what that means. Because, like, the whole time they know oilers. Well, yeah. Back when turn air two is released, it’s like in the tv commercials. It’s in the trailer that Arnold’s gonna be good this time, which, you know, it’s.

It’s done well on the movie when you see the turn, but no one was surprised by it because of how pervasive the media was. But you had to do that because you’re. Otherwise, I couldn’t have been like, mom, mom, the Terminator is going to be good this time. I promise. They promise. Look, look, look. I swear. He doesn’t kill anybody. He doesn’t kill anybody. I’ve literally had this conversation with someone’s mom recently. For the kid. He doesn’t kill anyone. But the t 1000. Don’t tell anybody. Don’t tell. I don’t want to. I don’t want to curse.

But I remember I was like, Freddie got fingered, came out, and my mom didn’t know any better, and she’s gonna take my brother and I to see it. And then the person who was selling the tickets, and I was like, ten or eleven, he’s like, I don’t know if you want to take your kids to see this movie, ma’am. And I just started, like, letting loose on this guy at, like, eleven years old. You need to shut the fuck up. Just, like, just pour this. And he just, like, was freaking out and he’s just like, scared of this little kidde.

But then I. We didn’t get to see that movie until the next day with somebody else. Oh, well, yeah, I like that movie. It’s a good absurd every eight minutes past where it ever should have been, which I think is genius. Absolutely. It’s one of. It’s one of the greatest absurd comedies of our. Of our generation. It’s weirdly underrated. It’s weirdly. It’s so, like, it depicts society so clearly. I feel like that’s, like, the answer to why people didn’t get treasure planet, because that’s who they are. You know, the flesh of a bear. That’s the people that didn’t go to see treasure planet.

I mean, that itself is just another Star wars reference, is it not? Probably, but that is the thing. This is Disney trying to homegrown the boys, market this in Atlantis, not doing well. And, yeah, I mean, within ten years, they’re just gonna, you know, pony up the cash to do that instead and go for the existing options. So now we have. Go ahead. Cause I forgot the word I was about to say. Well, they were leaning really hard into, like, appealing to, like, the bad boys, because they start this one out, and the protagonist, they basically show him, like, trespassing.

He’s skateboarding, but it’s like a space skateboard, and he’s got an earringen. He breaks his probation, because even after he gets caught, it’s like he was already on probation for sneaking in these places. And so, like, he definitely is sort of the black sheep in a way. And it’s got that Disney proxy element, too, where the dad, like, dad is missing, and he’s got, like, a mom that is so, you know, overworked at her job that he’s kind of has that same orphan backstory that a lot of the Disney scoundrel street ratified. Yeah, he’s got that.

He’s got that classic archetype, and that is Disney really trying to lean hard into, like, please, like, our bad boy. Like, relate to our bad boy. What’s kind of interesting, since we’ve already been talking Star Trek 2009 Star Trek, not Disney. But that’s paramount. Right. But it kind of takes the same tact towards their version of Jim Kirk in there, where in the original tv show, he’s kind of a button up by the rules guy. He becomes a little looser in the movies. But the 2009 movie is like this, you know, this. This bad boy street rat again, you know, they’re trying to recast James Dean.

Yeah, yeah, yeah, yeah. Which he does like. He does like to break the. He does like to be like, you know, to reinterpret. He likes to. Solomon. Reinterpret the prime directive. That’s kind of the whole goal with Kirk’s character, is that he’s whatever the prime directive is, is probably not the dao of the prime directive. So we have to, like. Yeah, we have to, like, probably reinterpret it in some way. I think that’s in the main universe. He doesn’t really become a rebel till he hits his fifties, you know, where they got to do it from the get go in the.

In the Kelvin verse. That’s true. Yeah. And it just. I’m thinking that’s almost the same character as we start off with Treasure Planet with Dad’s gone. Maybe mom’s not overworked in the Trek movie, but we don’t see mom after the first scene, you know? And he’s kind of shown to be more of an orphan type, so he’s got to take on. You know, I like to imagine everyone in Star Trek or overwork secretly. I like to think of it like it’s really starship troopers, and they like that. They’re just the. The propaganda is so good that you keep missing it, you know? Oh, the shows you’re watching is propaganda.

That’s also. I like for the Star wars idea that you’re always watching the rebel propaganda. When you watch movies, they kidnap kids, dude. It’s crazy. Yeah. You can’t have space communism without space communist propaganda. Yeah. Star wars isn’t space communism. Star wars is, like, jesuit, like, yeah, you know, liberation. Star Trek would be the Star Trek. Star Trek is fascism. It’s straight up military fascism. You have space Utah. It’s starship troopers, but more effectively illustrated because you can’t tell that it’s. I mean, it’s working. It’s like. It’s more scary than 1984 or brave new world, because it’s working, and the people are eager to put on bell bottoms and be part of the navy.

No. Right. There’s no currency. You got it. Well, like, really watch Deep Space nine. I mean, because how are you gonna deal with the Ferengi without currency? Like, it exists? They just. There’s a lot to that. Also, they just aren’t supposed to. In their own society, they’ve kind of a central planning of who gets what. Plus, they have defeated scarcity in so many levels, it doesn’t really matter. Communism in so many ways. Mining colonies where everyone is living in wonderland hung out next to the materializer or whatever the thing was called. I’m outing myself here. But the little space materializer, that would just, like, make food.

Could you just sit there and just hit that button all day? Or would someone at the replicator, the replicator needs. Well, the theory is, a replicator uses your waste. Right? It’s right. So you just sat there, and you were just, like, hitting the button over and over again. You’re like, I’m gonna feast. They’re like, whoa. Stop eating everybody’s poop, guy. Like, leave some. Well, in Voyager, they do refer to replicator rations, which is why they have to go and eat Neelix’s terrible actual food. And the. Although that maybe that’s the better food. That’s the real food.

That’s not weird. Reconstituted. That’s what we found. Does the transporter kill you every time you use it? You know? Yeah. Or it should. I mean, is it. Do it by law? Because otherwise there would be kiln people that could vote or something. Like, there’d be too many versions of people, right? Oh, yeah. If you just transport a few times, you get five more votes. Yeah. You’re a new person. There’s, like, a lot of these are obviously issues that they think have happened by that point in Star Trek, because we’ve already gone through the eugenics war and everything else by that point, right? Yeah, but, yeah, Star wars just steals your kids.

You know, like, the Jedi are just. They’re kidnappers. It’s crazy, right? You need. You need a wizard. Space wizard. Yeah, but it’s like. It’s like monarch programming, you know what I mean? This is the thing. Oh, yeah. Because, like, the Jedi, you grab them. Grab them when they’re young, right? That’s the whole thing in phantom menace, where Jake Lloyd is, what, ten years old? And they’re like, ah, he’s already too old. Yeah. And then they’re shocked when he ends up. They’re like, wait, Anakin has, like, post traumatic stress disorder from being ripped from his mother. He’s gonna destroy the universe.

Yeah. He’s gonna murder us off. Whose fault is that? Weird Jedi. I’m sure I’ve seen this comparison elsewhere, but Star wars always reminds me of, like, an Israel Palestine. Obviously, the rebel force is Palestine in this case, but it’s just that, like, it feels weird completely siding with either of the sides or with condemning either of the sides, just, like, on an absolute sense, you know what I mean? And just move off to a space island where no one’s going to bother you for 20 years. I mean, it sounds a little bit like the promised land.

Star wars is supposed to be about Cambodia and things like that. So it’s where you have the trade alliance, the techno commission, you’ve got the United States and Canada and Russia and all these things, and Lockheed and whatever, and they’re all fighting a proxy war, right? And that proxy war is making a bunch of money for the banking system, right? I think that’s the major analogy. I think Lucas specifically said in an interview, they walks for the Viet Cong. Yeah, well, he used the recordings of the Hmong. The Hmong in Cambodian China. So after the CIA had worked with the Hmong, and then they abandoned them, and they were being genocided by the PRC, and they had to be brought into the midwest and California, Minnesota, and all these places, they have a lot of Hmong refugees.

They recorded a lady telling a bunch of stories in her own language. And they use that for the Ewok voices, or at least for the original. Yeah. Like, Star wars is weirdly racist, too. Yeah. Oh, God. Watch the phantom menace again. Well, but it’s all. It’s not as a racist. It’s about racism because it’s at a point where it’s like, you have to understand, people used to look at each other like they were aliens and that you’d have to explain that to a kid. I think that’s how you’d explain racism, is Star wars use Jar Jar Binks to explain racism.

I mean, he kind of is the unsung hero of that movie, maybe in his own right, maybe not to the viewer, but he advances in such a way that he almost has, like, a machiavellian tactics where he. He perfectly acts like this complete jackass, but then somehow becomes, like, a highly ranked delegate within their entire political system. Right. He ends up with more political capital than almost any other character that you see. He gives the motion that destroys their entire society. And the second one is only seen. He’s seconding the motion or whatever. And that causes what the.

Which kind of feels like more political commentary, in a way. Yeah. Well, that’s. That’s. I mean, what, for the whole conspiracy thing? A lot of times I’m like, no, it’s not the master plan that we don’t see. It’s someone doing something stupid and trying like hell to cover it up, is, I think, the more common, you know, reality behind. I always screw this one up a little bit. But it’s. It’s based on, I think, Arthur. Arthur C. Clarke’s law, where it’s like any sufficiently advanced technology is indistinguishable from magic. There’s a version of that that is, any sufficiently advanced malice or incompetence is indistinguishable from malice.

And I kind of like to live by that one. So that even if you blame it on oops, you know, I craft the bed just cause I didn’t know what I was doing. It’s the same thing as, like, I did it on purpose. Cause you can’t really ever prove either of those two. Well, you sound smarter later if you say you did it on purpose. Right. When you were just improvising and Jerry rigging everything. Yeah, I meant to do that. Of course. It’s a master plan. What do you think? I think it’s interesting that Ron Clements, again, these guys are both Catholic.

Ron Clements is. Yeah. Yeah. I checked the other fella, and he was at least went to a catholic school. Yeah. Which, you know, they. It’s like mercury. When they get in your teeth. It hooks you young. Ain’t that right, Thomas? But the idea of Peter Pan. Aristocrats. Aristocrats. Landy the tramp being all of his apprenticeship stuff. And that he did the great mouse detective is nuts, because to do the great mouse detective, which is kind of. Wasn’t that kind of a failure. Is that correct? I feel like the great mouse. Not to the degree of this one, but it was not a runaway success or anything.

No. I can have a look at what the box office is. A victorian mouse didn’t end up, like, taking the. I guess he did, like, 38 million on a 14 budget, which is, you know, it doubles. That’s. So. That’s better than losing my lot. Better than losing millions of dollars. How did Fievel do, though? Because Fievel was a way more relatable mouse. And that one wasn’t Disney, though. Second one didn’t do so well. Fifo did amazing. Fifo was one of those things where your aunt and your cousin and everyone bought you, like, everything. They went to a grocery store.

They bought you a copy. I had, like, nine copies of american tale from different, like, family members that were, like, I saw this at the store. Right? Like, I think they’d be. So it looks like for a $9 million budget, they made 84 million at the box office. There you go. See? Yeah, we’re killing it. That’s not even. I don’t. Box office is not even counting the cassette tapes. They must have probably made triple that, I would imagine, off the cassettes. Like, that’s crazy. That that was my little kid disappointment movie. Not that it’s bad or anything, but I.

My parents wouldn’t take me a c, and they gave me the book instead to read a. And not one. Mine converts. They’re related. They’re related. That’s the thing that scares me. I mean. So I watched that second movie, american tale, faithful goes west. And my God, it is. Life is beautiful, right? I mean, it’s just internment camps. That’s just the craziest movie they could have made. I can’t. I mean, again, I don’t think they cared if people liked it. They were doing that for themselves. That movie is. And it was profitable, but definitely not a smash.

It looks like, what, 16.5 million budget and then $22 million off. I mean, that’s one of the darkest series possible. You start out with a mouse who loses his family in the pogrom and is drowning on a boat. And then he gets to New York, right? Like what? It’s like, it only gets worse. It’s crazy. It’s crazy. New York. Hell of a town. Oh, yeah. You mentioned lit earlier as Titan ae. This one has the goo goo daws, which that. That causes kind of a twitch. And me, I worked for a couple years of the Warner Brothers studio store in the late nineties, and that song Iris would just played every 15 minutes for two years.

So I remember I hear the Google dolls now. I’m going to twitch a little bit. So, yeah, I guess it’s just like putting the, you know, it’s been a long time into enterprise, right? That’s just. Everyone thought that was the rock that would last forever. I don’t know, basically. I mean, I think that they are. Maybe. I kind of feel like they kill things off on purpose. They’re like, well, we’ll just do four of them at once, and then that way people will be sick of it and we’ll get to stop doing that for a while because we.

After the challenger and things like, they were just a dissipation of space from public culture. Obviously, a lot of things were Sci-Fi based because people loved Sci-Fi. So all of a sudden, just Sci-Fi quality went down and it was oversaturated. I feel like they do that. I can’t be right. It might be that they just really want to make money and they just put that many sequels out at once and they’re not thinking about it, but it seems like a conspiracy, right? They’re just like, oh, let’s just destroy SCI-FI well, there was another conspiracy inside of the treasure planet that I thought was interesting, and it reminded me of that movie moonfall, which was like a weird collaboration between us and China.

The premise was that the moon is artificial, and then it was just this huge construction that was basically all mechanical. And that kind of is exactly what treasure planet is, too. And it kind of goes into the concept of not just hollow planets, but completely artificial. And there’s even a scene in treasure planet when he’s pointing up to what looks like a crescent moon. But then as the camera zooms into this moon, you see, it’s really just like a huge dock of all these different spaceships, and they all just happen to be sort of in that configuration and hitting the light just this very way.

But again, like that, it almost felt like ahead of its time where it was talking about metaphysical space and interdimensional realities as opposed to just like, the mundane space. And this was another version of. Are they talking about, like, our moon might be artificial and just like, a collection of different ships? Was that part of, like, the metaphysical space area was just like a funny little visual nod because it almost felt. And I don’t believe in, like, the soft disclosure through Disney movies to that kind of level, but it. It does seem to real space. They’re like, no, space is fake.

This is real. Yeah, I know. I kind of got that feeling from this. Yeah, I like to follow that vibe. I am looking for. I’m currently doing another podcast on the show space 1999. So this distracted me a lot while watching. Are you getting my screen here? That’s Maya from space, 1990. 919, 76. And I thought the captain looked an awful lot like Maya in our movie today. Does this actually take place in 1999? Is that the reason for the name? Yeah. Well, here the plot of the show is that nuclear waste on the far side of the moon, we’re storing our nuclear waste, and it explodes and sends the moon careening out of Earth orbit and through the universe.

So that one also asks you to do a lot of crazy. Sort of crazy. You know, you have to assume, like, oh, the moon can do that, and it can travel to other solar systems by going through space warps and stuff. So, like this movie, there’s an awful lot of things you have to accept to even watch it, you know? But then they have this captain that looks like the character from season two of space 1999, which that might just be a visual cue. Someone just thought she looked cool, and they just, you know, kind of repeated it.

So there’s something so cool about going through what people like, this idea of a new reality. And so the way that they’re sailing through luminary realms and everything and that that’s made up, I think that is so much better than anything that they could have done by trying to make it look like they’re in rocket ships, you know? And that’s the thing. It’s definitely, like, a more beautiful movie for it. It. But I don’t see how anyone’s ever going to relate to it if the entire world around it is saying that that’s, you know, fantasy like that’s the thing that they’re saying this is a fantasy world instead of a science fiction world.

Well, that’s how this movie even starts, is that this whole world is a fantasy to this little kid, and he’s reading it in this book about treasure planet. And then he kind of ends up doing the thing that was in the book, which also, I don’t know how recently you’ve seen it, Andreas, but there was, like, when the kid was actually reading the book in the beginning of the movie, the mom keeps coming in. It’s like, put that book away. Put that book away. But when you actually see him reading the book, he’s not even reading.

It’s basically a Netflix tablet that has, like, 3d projection book and that. Yeah, it’s like a digital pop up book. But I was just thinking, like, man, is he stupid? Is that why he’s like. Like that, the street rat? Is it just because he’s literally doesn’t know how to read or write? Because in the future, Netflix just pumps everything through your iPad, and you don’t have a reason to actually read any sort of characters. I mean, doesn’t it? Later on, he’s able to help with the map and stuff, and I feel like he might know how to read, but I don’t know.

Yeah, maybe that’s kind of the point is he doesn’t need to know how to read in the future because everything is just, you know, magic. The big map reveal, it’s like, oh, it’s the hologram that takes over the room, you know, which is extremely cool looking. But you can do that and be illiterate, I guess, right? You wonder if treasure planet ever have, like, brownouts. Does anyone in that universe have brownouts? Or is that something they’ve completely advanced beyond? They’re running on crystal technology? Yeah, I think it’s. There is sort of an implied Kardashev scale thing here, right, where you’re able to, like, harness all the energy of your world, and that energy is being used by everyone, and that’s why they’re just coming and going all the time.

Right. We see all the solar sales and things. So I guess that could be solar powered. This feels like a Disneyfied and a happier version of Pirates of Blackwater. Right. There’s a way to make it so that people will accept it. But there already is a show that’s kind of a Sci-Fi pirate show that is about, like a pirate boy who’s kind of a blonde but dark, you know, character. Right? You guys remember pirates of blackwater is it dark water? I think it was dark water. Yeah. I was trying to remember there was a cartoon that had pirates and dark, and I mostly remember because of the font was so damn iconic.

Yeah, absolutely. Pirates of Darkwater is incredible. And it’s about a boy who loses his father, and he ends up with a very long John Silver character. And they have, like, weird mutant creatures. Here, check out this for a second. It. Look at this weird alien bird with a monkey head. You know what I mean? I do remember this. Although this one always felt like the thing that was on when nothing else was on. It was like, oh, all right, that’s an underrated show. And it means it’s too dark for, like, kids, I think. And so I feel like treasure island.

Treasure planet. It’s hard to make pirates, like, kid friendly and still do pirates. Right? I think. But there’s nothing really kid friendly about being a pirate. Just on its surface, even. Well, there are 1621 episodes only not so many. Yeah. Any good show gets canceled, like I said. But have you ever heard of the theory that pirates were an extension of Knights Templar and that. Yeah. How much credit do you give this? So it’s not exactly true. What it is is that the pirates flag is not a pirates flag. Pirates would use your flag if you’re trying to hide.

Why would I tell you? Hey, I’m a pirate. So you have the Jolly Roger flag, which is the banking ship for the Knights Templar. And so you have this big skull and crossbones that says, do not come near our boat. We will kill you. We have a lot of money on our boat. We have investments. So eventually, you’ve got pirates using the Jolly Roger flag because they’re pretending to be these commercial banking ships, etcetera. They’re trying, but not all the time. And for the most part, pirates were working, you know, doing smuggling. Like, hey, we have these tariffs if we go through here, if you hide things, all of a sudden, I.

And pirating and all that stuff emerges under that. But really, against the Barbary coast and the Berbers and the Barbary wars, and you see all of these different chieftains emerge. People that have their own islands, they have millions of dollars in the 1617. Hundreds. They have gold. They have everything they need for running, essentially, a small kingdom on their little island. And there’s hundreds or maybe a thousand of these guys. And then by the 19th century, we have the Barbary wars, where after the United States kind of takes over the american colonies, the first american colonies, it really pushes more towards naval pursuits than it does going west.

It’s like, yeah, we’ll give you land if you go west and kill Indians for us, but what we want to do with our money is go take over the seas so that the British and the Dutch aren’t controlling that trade route anymore. Right. And so we just start killing and taking over all of those islands, all of those pirate islands, and forcing them into working for us, too, and creating little Commonwealth kingdoms. But we’re doing that against England. And so England does that, takes over british Honduras and the Caribbean, and we see more of that. Right.

You see the British in the Bahamas and Bermuda. So there’s just a war that goes on. Right. That’s. Yeah, I think we’re the nice templar in that pick. In that scenario. The United States is. And I guess the. The implication is that you don’t really have pirates without having taxes, and that the. The pirates in this movie, it sort of is our protagonist in a way, because they’re gonna go and they’re gonna take this treasure, theoretically, and they’re just gonna take that all for themselves. They didn’t talk at any point about the paying anyone taxes or giving anyone tariffs or anyone their cut in any of this.

And I wonder, too, does this translate at all into the search for, like, a more, like, metaphysical gold? Like, if you’re a pirate and you want to steal treasure and that treasure is enlightenment, are you avoiding taxes in some way? Are you having to, like, break any sort of treaties by doing this? I didn’t have any specific take, but maybe one of you guys does, which just the design of the planet itself, kind of. That double ring looks a bit like an atom. And I was sitting there trying to work out if there was some. That being the treasure, if that has some metaphysical connotation worth thinking about.

It’s not really like, Saturn’s ring, so I guess that doesn’t factor in well. And then it’s also rigged to just explode if anyone tries to take it, even if the guy that owns it is completely dead. I. Which feels like there’s a way deeper message to that. I feel like, you know, you look at pictures of space from actual phones and things, you see they’re like luminaries, you know, and you see how, like, the light refracts, and it looks like this crazy thing. I feel like they were trying to also make it look more like something you would actually see.

They’re like, this is what people see from the earth. This is not anything influenced by NASA satellite imagery. Right. This is all based on what you would normally experience on Earth, if you use a telescope, right, which is different. You don’t see the same things as we’re told we see. I mean, if that goes to say that what was happening does reflect enlightenment and that treasured planet exploding kind of represents someone reached enlightenment. Maybe it wasn’t our protagonist in this particular movie because it exploded and he didn’t get a piece of it. It. But so maybe every time you see, like, a star or anytime a star explodes somewhere in the universe that represents someone has reached true enlightenment.

Every time a star explodes, a person achieves enlightenment. Well, and I guess I would say when the sun explodes and consumes all of us, that’s just because one person as well say only one of us. Enlightenment has to be different for everyone. So only one star per person? One person per star, I should say, say, I mean, kind of be the sun God, right? That is Jesus. That’s him coming back to Earth as the sun exploding. Everybody being a star that you’re seeing. Yeah, you might be a reflection of a star. The idea that space and arrangements that all of you know you’re seeing yourself, you’re seeing, it’s very ancient light up there.

Yeah, you start. Fantastic. Caught on that basic precipice, somebody’s precept. Somebody must have done that already. The second coming is when the sun explodes and we all die. What about his alchemical metamorphosis, friend, that, like, transforms into all kinds of weird things? Morph, which I kind of, again, if I was watching it in a one track mind, this is all Mormonism. Morph is the freaking salamander slash frog that transmutes between forms within Mormon theology. You know, the salamander letter is not a real thing, theoretically. I don’t know. It’d be cool. Maybe Mark Hoffman is. Maybe there.

Maybe the whole lie about Mark Hoffman is that Mark Hoffman’s lie is a lie speaker one. That is literally one of the theories that Heidi love shout out to monthly Mormon Monday. But one of the things that she will not drop is that the salamander letters were real, but that they were. It was basically pitched as a big hoax in order to get them, like, this weight off their shoulders. Like, man, this Mormon. The salamander papers are going to make us look kind of silly if we don’t sort of like, well, let’s interview. Let’s interview Mark Hoffman.

He’s still alive, right? Like the. The story goes that he murdered a bunch of people from the church who were trying to buy the letters and all these things from him. Because all of them got more and more interested and they wanted to buy more and more stuff. And they’re like, look, I need to get everything you have. And he couldn’t keep up with the demand. And all of a sudden, he killed the guy in a fake car accident. And so he’s been arrested, right? So you can go find him. We could interview him and see what he says.

I’m sure he would tell people if he believes. Maybe he lies and says, or it’s true that he believes the salamander letters are real, if he said that. But I don’t think he does. I think he. Unless the dudes think the church are paying him to be in jail to say that he faked the letters. That’s part of the theory, yeah, that’s a lot. That’s a lot for me. The idea that this guy is. This guy is in jail right now for the church pretending to be the bad guy. In exchange for what? I just. I don’t know.

Maybe. I don’t know. Don’t happen with the. What’s the sin eater guy? The guy that got John McTiernan into federal prison for a while, that lawyer. Anyway, once, you know, I mean, if you were convinced that was your calling, you know, I mean, going to jail for life seems like nothing compared to hide. To hide a letter from Joseph Smith from the public that isn’t going to be hidden because people have already seen it. So then all of a sudden, it’s on the public and you’re just going to discredit it. So your whole life is just.

It doesn’t seem necessary. You do it so many better ways than that that there’s a. There’s a better. There’s a better way to make the salamander letter look absurd. That it’s a fair point. But also, Betamax was better than VHS. But sometimes the market doesn’t go with what’s better. The market goes with what’s the most convenient at the time. Well, I don’t know. I don’t think that the salamander letters real, but it would be cool. I remember thinking it would be a really cool idea. Because the idea that there’s, like, this weird new teen gecko character.

I mean, sure, but there’s already enough, like, metamorphosis stuff in Mormonism, right? Like, there’s already weird enough stuff. And for the most part, the thing is you have to be able to shake the hands of a spirit or a demon, right? Because otherwise, you don’t know if it’s real. It’s like a hologram. So there’s already, like, tests there that you have to see if something is corporeal and everything like that. Anthony Pelecano was the guy was talking about wherever, pretty clearly was. You know, basically, when producers or stars had a problem in Hollywood, they go to him and just be like, can you do anything about it? Be like, yeah, he finally went to prison for 30 months, came out, and he’s just been set up since and without a clear form of income, so that, you know, he’s a sin eater.

He ate Hollywood sins, and now there he has an old fart keeping him, you know, comfortable, I guess. Yeah, maybe that’s what’s happening with Hoffman. You know, that would make sense, except Hoffman is, like, convicted. Life in prison, never gonna leave prison. In, like, a, you know, hand, too. Whatever hand he used to, like, do the transcription, whatever, like, that was broken while he was in jail as, like, a. Allegedly as a message. Yeah. So I’m just saying, I’m coming. I’m coming in with a lighter story, I guess, then. Well, you know, I mean, it could be that it’s.

It could be that it’s real, I guess. I mean, but I don’t know. I’d love to hear him say that. I’d love to hear him be like, no, seriously, dude. Like, I was really on the up and up trying to do this stuff. I mean, it looks like he’s just trying to sell forgeries, like, is all he was doing. Like, if you found this stuff and did this stuff, and you were one of these lds guys, most of them are doing this for the church for almost free. And here’s a guy who’s like, I’m selling my weird rare copy, and I have hundreds of rare copies of things that only I have have for $100,000, $250,000.

To me, it’s, like, similar to paying Michael Jackson or getting Michael Jackson to pay you if, like, he molested your kids. Like, you wouldn’t take the money. You’d want him to be in jail or dead. So I don’t have a lot of credence for people that are just looking for money. And so this guy trying to get money for his forgeries, instead of just trying to get them checked out, investigated and everything like that. Another sign to me that it’s conspicuous. He wanted it too hard. That’s the problem. Yeah. I mean, he was a little bit of a treasure hunter.

Yeah. But less. There also is, like, legit gold, though, in the treasure planet. And so I feel like, you know, the core of the world being gold, that kind of weird thing. It does look like the Titan ae thing, right? Like, it does kind of seem like the world maker. If you had to put the two up against each other, which one is walking away? Titan ae or treasure? Which is the better movie? Which is the better movie out of the Titan Ae? By a landslide. Like, Don Bluth is an incredible, incredible genius. And I think that movie is really, really deep and can.

It works on so many levels. I loved that movie as a kid. I loved it. Treasure planets, really good. But I don’t think it’s come. I wouldn’t compare it to Titan E. I think. I guess it’s having one, you know, one person. The driver’s seat where treasure planet. Well, one, two directors and a little bit more of a, you know, made by committee sort of feel. In this case, a pretty good committee. But it doesn’t seem to have that, like, singular vision. Again, with all the muddling of space and pirates and, you know, it’s like 80 different people came in with, like, different ideas that just happened to fit together seem.

And yet there’s a. There’s a cameo montage of characters in Titan II, like Janine Garofalo and Timon and Pumbaa. Right. Like, it’s weird. Like, the kinds of interesting characters that make up that story. Matt Damon, Drew Barrymore. It’s a weird cast. It works really well in its own way. I feel like, yeah, this is the. I don’t know if Golden Age is the right word, but, yeah, this is just when all the. You know, it’s like Shrek fever. So every animated movie is just getting, like, you’re putting their title. They’re put. You’re putting their names above the title, you know.

Yeah. They didn’t for treasure planet, but I know Shrek did. You know? Yeah, Shrek was. Well, I mean, God, like that. I don’t know. That’s a whole. That nightmare of. That is like a waterworld, I cannot believe it worked out for them kind of thing. Just like, I love the premise of Shrek, though, as. As being, like, the first real move at taking Disney off its pedestal. Like. Like, you don’t own folk tales. Everyone owns folk tales. Here, we’ll show you that we can still do it. Okay. I mean, lamb before, maybe in CGI, like Lamb of War Time and all.

A lot of those Bluth movies, like the Spielberg Bluth movies did, that they were rather successful and, well, they were doing the same thing that Disney was doing. But Shrek, in a way, like, like, Disney for the longest time, as, like, for the first 40 years, they were basically the same way that he bought up land in central Florida and turns out into Disney World old. He’s almost like, buying up, like, like, folklore, metaphysical real estate in that I’m gonna do every major germanic folk tale that you’ve ever heard of. And now when your kids think about Robin Hood or your kids think about the little Mermaid or any of these, like, folktales, they’re gonna have this Disney IP burn into the back of their brain, right? And that’s what they’re gonna relate to all this.

And I think Shrek was one of the first big contenders. That was like, oh, we can move into that space, too. Like, we can buy the plot of land right across the street. We’ll open up a gas station across street from your gas station. And Shrek was like, they did it very well in this case. That’s the other thing. Shrek was very massively successful until it wasn’t 2011 or so, or whenever they did the last one, they hit a wall. And that’s the last we’ve heard of it. Might be partly because it’s so tied to the actors.

Shrek five is coming out in the next six months. Is that true? There we go. I’ve been seeing the poster. Yeah. AI. Chris Farley voice makes a comeback. No. And Matt, I remember that. Sorry. Mike Myers is, like, standing around with bright white hair and everybody like, there. This is a big revival for him, a renaissance. It’ll be interesting to see how that one hits then, because it’s. I mean, it’s, I guess mostly on nostalgia thing. Some people will be taking their kids to see Shrek. It’s. Yeah, you have to wait a certain amount of time.

That was the thing with the Ninja Turtles, where they did the late two thousands, but maybe, like, not quite enough time had passed. So I call it weaponized nostalgia, in a way. Yes. Yes. Shrek is interesting because there’s, like, this inception version of nostalgia, because the original Shrek is based on folktales. And you’re like, oh, I like folktales. I like this. But now people watching Shrek five, for example, there’s a large portion of them that are going back because the Shrek series itself is the folktale and no longer, like, the proxy to the real folk. Like, there’s probably a lot of people that maybe have never even heard or even know that, like, puss in boots was, like, its actual own story.

And to them, puss and boots is just the character from the Shrek movie. And then that’ll just, like, keep repeating itself to a certain point where someone’s like, oh, yeah, puss and boots, the. The Shrek character, and having, like, no real recollection. And that for every one of the characters in Shrek, well, Shrek. Shrek’s William Steig and William Stieg from the New Yorker. He did New Yorker comics from 1930 till 19, like, till like the sixties or seventies. And he made Shrek sold it in 88 or 89 to Spielberg. Spielberg had it for a few years, and then they started doing the Chris Farley version.

Chris Farley finished recording it and died. And so then they started recording it again. Mike Myers gets the role, records it, and then finishes recording it and says, I should have done it in a scottish accent. Starts it over again. I mean, it’s just crazy. Like, it took literally, like eight or something years of paying people. And then, like, people lived and died over this movie. It’s crazy to think about that with Shrek. This is where some of, like, my rational thinking goes out the window. Because when it comes to moo, like, this example in particular, right.

Michael Myers and the amount of money that got wasted in three different voice overdubs, essentially by huge names. But how important was, how important is William. How important is William Stig to these people, though? Like, that’s the thing. Like, William Stig’s, like, vision. For whatever reason, they really wanted to put out his. His little kids novel from 1980s, right. He wanted people to see that. That’s weird to me, that that’s the same kind of thing with treasure planet. I guess if you’re going to make. Make a hundred million dollar movie, you better be that obsessed with it.

You better think that it has to be life changing for everybody. Yeah. You got to, like, room it. You know what I mean? Like, obsess over to. And I, and I was. I was going to say that I think that there’s something that’s legit magical about imbuing a movie with just straight up capital or just having people working on it nonstop, even if it’s just constantly be redoing it, because all that energy still goes somewhere. And if there’s like some woo woo version of redirecting it, so it isn’t just like, go back out into the market and just become wasted money.

But if you’re making a movie and you’re like, crap, we’re going to have to re record this three times. I want to imagine they’ve got, like, some wizard alchemist in the back. That’s like, I know how to redirect this and invest it into, like, the reception of the movie. So it’s not just wasted financial capital, dude. Everything about Shrek, smash mouth. Like, there’s just. There’s some dark magic in Shrek. I am looking at how treasure Planet, you know, affected these guys, the directors of Treasure Planet’s career. So after this, what they do, they do the princess and the frog, which also does not that great.

It basically ends Disney animation, although they did just make a ride out of it. And then it’s after. That’s milanous, huh? Yeah. So. And there’s something in the works now. Princess and the Frog is like the Mario movie. You know, it’s just like. It’s just so. I don’t know. It makes me so sad that they did that. It’s just so not the good Mario one from the nineties. I mean, like the empty one, like the one without a soul homunculus. We will get to that one. But, uh, yeah, princess and the frog is like, you took.

You got to understand, like, the song of the south is such a pinnacle, important movie where Disney refused to air it in the south, if they refuse to have the african american actor who played Uncle Remus, like, go to the premieres there in Georgia and things like that, and they wanted him protected. Right. And so you have to think this is not just that they made a biracial film in the. In the times when that was socially unacceptable. They put it in people’s faces in ways that today we associate that with the way Disney does things with the trans movement.

Right? They’re like, Disney is constantly saying, we’re going to have a trans character in Star wars, and we’re going to continue to be open minded and things like that. And a lot of the conservative public is super upset about it. So it’s weird to me that Disney doesn’t latch onto their roots and be like, song of the south is this great movie that we’re proud of that is about racial and socioeconomic disparities in the United States that needs to be, you know, witnessed and needs to be remembered. And also, how awesome is Uncle Remus, this character who is teaching this kid all of these stories, right? Because these are akanian afro mystical myths that exist.

Like, Brer Rabbit comes but goes back to Africa. It’s not from Georgia. It’s not from Irish Americans, right? It goes back to Africa. So some of these are the earliest american afro american stories that we have. And Disney just throws this away to create this ridiculous show made by white males, you know, by the way, that isn’t any better than song of the south. In fact, it’s so much worse. And it’s all about racial stereotypes. Where this woman is working in, you know, small diner because there’s, like, racial discrimination and blah, blah, blah, blah, blah. The entire thing is just constantly berating you with contemporaneous racial stereotypes.

Whereas, I mean, this is ridiculous. Like a movie movie that doesn’t let you find your freedom. And it is a ripoff of Shrek because it’s right after that logic of, oh, yeah, we should totally have the princess become the frog, right? That’s the vibe that we want to go for. Oh, go ahead. I would say I think Disney is a little bit ingenious in the way that they do this princess and the frog thing, the same way that we. I don’t know if it’s worrying joking anymore, but it’s like the reason they released a the Lion King, you know, re like, live action redo isn’t because they’re trying to milk the lion that lion King as much they’re trying to milk the old one.

So you see the new one, you say, oh, that was crappy. I remember the old one being better. Let’s go watch the old ones. So now they sold two movie tickets instead of one. I think that the princess and the frog, and not that Disney sandbags themselves, but they can say, like, well, that was the last classic animation movie ever. Like, that was your chance. If you want to see what Disney does when they do hand animation, there it is. There’s the last one. But all they have to do is just come out with another one, and then that’ll be the last one up.

This is the last one we’re ever doing. It’s just too expensive, and people don’t like it enough. So they can always kind of keep that. That card up their sleeve of being like, oh, my God. Disney just went back to doing traditional animation. We have to go and see this one. It’ll kind of pull people the same way that I guess maybe dinosaur pulled people, where it’s like. Like, oh, my God. The first ray traced fully 3d animated movie ever. Like, we have to see it just for that alone. Are they going to have the know how to do that, though? Say, like, comes in ten years.

It’s been like an AI model boom, bang bomb. Well, Disney has studios outside of America, so, like, extremely goofy movie was done in France. The Atlantis two was done in Australia. Right? They have teams in other places. There’s like a Hong Kong team as well. Well, so as long as they don’t have to rely on Cowarts anymore. And they just use Cowarts to, like, get the. Get the guy who has the idea. Apparently that’s what their plan is now. But I mean, say what you want about princess and the frog friends on the other side is a jam, probably.

Honestly, like, aesthetically, I liked the movie a lot. Especially, like, all the voodoo scenes with like, the black light and uv colors and stuff. Like, to me, that probably rivals the pink elephant sequence in the original dumbo. Visually, like, it stands out that much. Yeah, there’s some good stuff. Admittedly, there are. There are some things that are, you know, redeeming about it. I just think that they can’t. Don’t throw away a song in the south song. The south is such an important movie. It’s just so weird to me when you brought, and I agree with you, especially because Splash Mountain was my favorite ride.

Oh, God, I won. I’ve gone. I’ve gone on that all day long, multiple days, just for like. And just be like, can I just sit in here and not get back on the line? They’re like, sure. And I just. It’s one of those days. Like, yeah, okay. My wife hates that ride because. Not because she just doesn’t like thrill ride. So after a drop, she’s screaming, the animals. You kept saying everything was going to be okay, and it wasn’t. After a hundred drops, it’s different, I promise. Oh, I loved it. Hey, I can still do it.

We still got it in Tokyo. Wow, there’s a flex now. I really like it. What’s the other big flex about? Like, the cool rides that you have? There’s one where you go back to the future. Don’t you have the back to the future too? Right? It was gone in 2017. I think we had. But it is now. Dumbo wasn’t Dumbo. That was one of the weird ones that you’ve got. Oh, no, we got. We got Sinbad or Yogi or no freaking yogi. You said there was like some. Oh, we got great. We got the great honey hunt.

Yeah. Yeah, Sinbad. Yeah, there should be more sin. Bad stories. I just went to my daughter’s school festival in Japan. They do like, kind of crazy. Like, they basically made a bunch of fake theme park rides and the senior class had made, like a fake honey hunt. So while you’re riding, you do a spot the difference. And then they’re like, they open a curtain and do we get in those chairs? Yeah, you get in the chairs. It’s two classroom chairs put on, like, a roller, you know, for boxes. And there’s, like, two students, like, pushing you around.

Like, it’s a trackless ride through their, uh, through their classroom, which they made. Every high school should have, like, a dark ride class. Like, just imagine how many engineering, science, math, mythology. Like, it’s all there combined into this one experience. That’s what my daughter school did. They had a fake pirates. They had a fake monsters, Inc. Ride and seek, a couple other fake rides. Lots of fake rides. So, yeah, they’re honestly one of the. The better experiences to go with in, like, VR, too. Um, because you can just, like, put it on and kind of do, like, that dark ride style where you’re just, like, seated and you’re just looking around seeing things happen, like, in a cult.

Disney VR dark ride. That would be cool. Ooh, yeah. No. The first day, my daughter’s class had some problems with theirs. They were doing it based on an anime, but she stays up all night trying to change their fastpass system for the second day of the festival, which I was like, well, I guess that’s learning something. You know, I don’t have that skilled. I don’t know how to work out that kind of a system. So I guess we’re winding down on treasure planet. If anyone else had a bag. I know. We kept jumping into, like, every other thing.

We’re extremely tangent ii around here. I’m a good. I’m ADhd. Seem a fan of that. I know. I think the treasure planet, though, is one of those stories where as long as everyone has the basic version of the story, it’s gonna be different. Like it. So they were hoping that all these are, as people watching this, it’s the first time they’re hearing it and they’re like, okay, well, this is all new to a ten year old. They haven’t seen Treasure island yet, and so that’ll be, you know, their first in with this. It’s a great story, and it’s a hook.

Right. I think that Disney doesn’t like to do that anymore. They don’t like to rely on legacy stories. And this was one where they’re like, well, it’s safe if we rely on a legacy story. The same model is like Disney on ice. Like you’re saying, like, doing the theater plays a. But we know lion King works. We’ll put that on Broadway. That way we don’t have to worry about anything. Like that logic. I think kind of dies with the treasure planet. Yeah. There’s definitely a different media world where this movie was successful. I mean, this being Sicil or Atlantis being successful would have very much changed the trajectory of what we got afterwards.

So, you know, always an. It’s definitely a Nexus point for which way these movies go. What about treasure planet versus Atlantis? I was thinking about that. I think this one looks better, but I like Atlantis better. Yeah, that’s probably the best way to put it. There’s something about the Atlantis story that’s really cool and the levels of conspiracy that are happening and that it’s so connected to our world in a way that if you’re into conspiracy, you can be like, wow, this is literally what’s real. But with treasure. Yeah, treasure planet is so beautiful. It’s like.

It’s. I remember seeing it on a big screen and just. It was really avatar level impressive as a child to see, just, like, the. The hand animated space stuff. And I remember really loving animation almost because of it thinking, like, this is so different than CGI stuff because you can see in every frame how it’s shifting. And I remember thinking that was so important, you know, that it’s definitely one of the more beautiful movies that Disney’s done. This is one of those movies that even if you don’t pay attention to the story that much with. And you have your own soundtrack, it could go.

You could put it on the background, like, with fantasia kind of a thing. Yeah, it’s a good lava lamp movie. Yeah, I’ll do that. I’ll do that with a metropolis a lot. Another good one. Well, also Metropolis. You can still follow the story because it’s silent, so it doesn’t matter. Yeah, I love Metropolis, one of my favorite favorites. I’m still trying to find a good copy that comes with the subtitles, though. I can’t find it. YouTube’s got some good ones. Yeah, they got the full edition with the deleted scenes, the lost scenes found in Argentina. The eight millimeter copy that’s been cleaned up.

Right? So you can watch that version, which has the Babelsberg orchestra playing live with it. That’s probably, like, the. One of the better versions. I think it’s also upscaled, too. Okay, I guess. Yeah. Yeah. I guess we’ll wind this one down for the day, then. Andreas, you want to give the folks your plugs? Oh, next for us is. Sorry, that’s me looking for things song. I think it’s Jungle Book two. It is Jungle Book two, which did get a theatrical release, and thus we will be returning to the Jungle Books verse. Jungle book verse. I was just listening to Rudyard Kipling’s Jungle Book through and then thinking about, you know, like a few.

They didn’t read that book for the movie, so I was pretty shocked by how close that it can be, though there are some aspects about it that are, that are pretty good. And it is also interesting that the Jungle Book is about, like the. It’s like the first gay, Disney, like, male parents raising a child movie, right? You’ve got this majira and Mo and what’s the name? I mean, you’ve got sword and the Stone, which is kind of like a gay mentorship movie. That’s fair. That’s fair. I guess it is kind of just, like, pervasive in all Disney.

But there’s something about the Jungle Book. No, like, it’s just the way it is. Especially because, like, the call of the wild, the sixties, and everything like that. Well, we’ve talked about the Jungle Book being, like, the. The first entry point into, like, the you will eat bugs and be happy sort of mentality that is Baloo. Baloo’s entire song is basically, take ubi, take whatever the government gives you and just enjoy that. Be happy that you’ve got that alone. Yeah. I think it’s interesting if you read the book, because that part he’s talking about, like, how to not upset the bees, how to get just enough honey, how to be respectful to these animals, how to be careful about monkeys, because monkeys are the most, like the.

He’s very racist against monkeys, basically. I mean. But, yeah, there’s a lot to the Jungle Book. I wouldn’t say it’s. I would say more that people used to think being raised. There’s a french idea that being raised by wolves makes you a savage, but then there’s the idea of the noble savage, and then there’s this british indian colony and Rudyard Kipling saying, wow, you know, if I were raised by wolves, if only to be raised by wolves instead of british men, because british men are so much worse cowards than the wolf. I wish to God that I was raised by wolves because the wolves love each other.

And that’s jungle book. I think that’s the inverse of Tarzan, which basically says, if you take a british man and put him in the middle of the wilderness, then he will not only thrive, but he’ll elevate everything around him and also cause them to thrive, because that is the greatness of the british mind. Man, if only your rice burrows with Mormon, the poor guy he didn’t know any better. Anyway. Wow. That was a wild tangent. But yes, I wanted to give you the floor to plug there. If you got some stuff going on on the Internet or otherwise, go to the exertus.

X I r T U S. I do a show with Thomas every Tuesday. Think tank. Matt, let’s do another show sometime. Please come on our show anytime. Love to talk to you about Japan and the way the world’s going over there. That sounds like a fun thing, too. Thanks for having me. Yeah, definitely invited to for you would be Tuesday. Well, for me, it’s Tuesday’s nine Eastern, so I don’t know if you can squeeze that at any point. I might be coming in from a phone if I do that, but, yeah, might be possible. My other big plug is we are finally, and I know Andres has been hearing me say this for, like, two years, so he rolls his eyes, but we’re watching.

It’s for real this time. Trust me. This time, guys. But on July 16, I believe, is the 55th anniversary of the Apollo eleven mission launch date. I think it goes to the 20. Well, it was the official, you know, propaganda version of it. So what better day than to launch the NASA comic on the launch day of. And since it’s the 55th anniversary special, I got a whole, like, $55 pledge package that’s got, like, a bunch of cool stuff and, like, a foil cover and all that. So that’s the next really huge one at NASA comics.

You need to make, like, a launchables box. Hate you for saying that, because now I do have to make a launchables box. I’ve been super freaking busy because after I wasn’t allowed to set up new Kickstarter campaigns because I had to fulfill the last two. So as soon as I finish filling those last ones, I’ve been, like, just setting up Kickstarter campaigns left and right. So nasacomic.com is launching in, like, a week from now. After that, I’ve got one called Illuminati comic.com. you’ll sense a theme with the domain names. That one’s a pamphlet that I did with donut on the bavarian Illuminati, Rosicrucians, alumbrados, the Mozart Beethoven connection.

It goes deep. We go deep. Envoy like, as far as you possibly can into the very illuminati. And then I also got one@secretmysterieschool.com, which will be a whole campaign to bring that one as a trade paperback. And I got my new stickers in birds are not real which, you know, you can’t trust birds. Man, oh, man. As for me, I do a lot of podcasting. You can check out the nexus for those on Patreon podcastio podcast. I talked about the Twilight Zone Time Enough podcast space 1999 at podcast 1999 and what are supposed to be really good movies and really bad movies according to IMDb users on films and filth base.

Okay, I guess I’m going to blast off into the ether and jump into a black hole, because you can do that in this. This space. What does it sound like when you do that? Ready for a cosmic conspiracy about Stanley Kubrick, Moon landings, and the CIA? Go visit nasacomic.com nasacomic.com stanley Kubrick put us on this. Wow. Singing this song. I’m Nasacomic.com Go visit nasacomic.com Go visit NASA comic comic.com nasocomic.com CIA’s biggest con Stanley Kubrick put us on that’s why we’re singing this song about nasacomic.com go visit nasacomic.com Go visit nasacomic.com yeah, go visit NASA comic doc Never a straight answer is a 40 page comic about Stanley Kubrick directing the Apollo space missions.

Yeah, go visit nasacomic.com this is the perfect read for comic Kubrick or conspiracy fans of all ages. For more details, visit nasacomic.com. spread the word with propaganda packs, all for just $40 shipped@paranoidamerican.com. dot we got facts on these speaker slaps so grab yourself a stack and go attack with these paranoid propaganda packs. These huge all weather slaps will last in public for years to come. Remind citizens that birds are not real. Self immolation is an option and might make you magnetic. Do your part and get a propaganda pack today from paranoidamerican.com. so grab yourself a stack and go attack with these paranoid propaganda packs.

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