Brothers Discovery to form next-generation global media and entertainment company.
That headline comes to us by way of PR Newswire, because this is a literal press release from
Paramount Skydance Corporation.
And if you don't understand the significance of this headline, or why I might refer to
it as world-shaking, well, I guess I could defend that epithet by pointing to such
things as Larry Ellison, the father of Paramount Skydance CEO David Ellison, and his
obvious political proclivities and attachments that make it extremely worrying that he is now
in a position of such media dominance, also being positioned in the newly-acquired, spun-off
American TikTok, and, of course, the whole CBS takeover that has happened recently and
all of that shake up.
So we now have someone with some very interesting political connections in an incredibly influential
seat of media power.
We can also talk about David Ellison, the CEO of Paramount, who has talked about the merging
of technology with creative content in order to create the next generation of filmmaking
experience and has, of course, floated the thought, the idea, the concept of AI-generated
movies.
So I could talk about that, but I think if I have to explain all of that, well,
then probably we have to get to an even more fundamental layer of this, which is something
that hopefully everyone in my audience is at least somewhat familiar with at this point.
But let's put it out on the table.
Media shapes our reality.
And if you need more explanation about that concept, I would highly recommend the Media
Matrix documentary.
Obviously, I think that is my most in-depth exploration of this concept of how we, in
this media saturated world that we're living in, are influenced and have our
narratives, our worldviews shaped by propagandists that we don't even know,
don't see, don't think about, couldn't even name, but who are incredibly important
and sitting in seats of media power that ultimately reflect on the world that we're
living in, not only reflect that world, but also work to shape it.
So that is the launching point for today's exploration.
And if you are interested in the Ellison's and their political connections that I'm
alluding to and the media consolidation that they're involved in right now, well,
it's your lucky day because I have much more to say on that coming in the very
near future. So stay tuned to corporate report.com for more on that.
But today we are not going to be dwelling and fixating on the problem
of that media control that's consolidating in the hands of people like the Ellison's.
Today, we're going to talk about at least one possible path forward, a solution,
if you will, the decentralization of the media production process, which has become
more and more feasible in this world of technological development that we have
seen over the past few decades, the fact that I am sitting here in my room,
here in Japan, talking to you wherever you are and engaged in whatever activity
you are listening to me on your phone or watching me on a screen or whatever it is
that itself speaks to the power of this technology to decentralize and make it
so that the average person can put out messages that will be listened to
tens of thousands, hundreds of thousands, even millions of times.
That is a remarkable thing if we embrace that that power and take it
seriously, it is a power to be able to speak to people in that media
environment like that. And there are people who are, I think, are good examples
of taking that and doing something productive with that.
We do not have to give our time and attention to the Paramount Skydances,
Warner Brothers, Netflix's, Hulu's, CBS news or anything else.
We don't have to give all of our time, attention and ultimately energy
to those media conglomerates.
We can support independent filmmakers, independent documentary producers,
independent media production experts.
Well, anyway, amateurs if need be.
So let's take a look at some examples of ways that people are doing this.
And we can get a couple of birds with one stone here by going to
www.readingtheworldmovie.com where you will find the homepage for a new
documentary that is forthcoming, but you can watch the extended trailer.
It is called Reading the World, the Life and Times of Mark Crispinmiller.
And if you go to that website, you can watch the 11 minute extended trailer
for that documentary production to get an idea of what it's about.
But spoiler, of course, it is about Mark Crispinmiller as in previous
Corbett Report guest, Mark Crispinmiller.
So please look in the archives for my previous conversations with Mark where
we talked about, of course, his cancellation from NYU over his verboten
Covid anti-propaganda that he has been talking about on his sub-stack.
And hopefully people are familiar with news from underground and the list
of died sudden leads that he's been keeping track of for years now.
Hopefully you are familiar with that.
Please go to the show notes if you are not.
But here is a documentary film that is being produced and directed by Amy
Smiley about Mark Crispinmiller's work and it is being done on a shoestring budget
as a outside of the studio system.
But it looks and sounds incredible already.
I'll just play a little bit of that trailer so that you get a sense of what
this documentary is about.
Democracy depends on a certain rational
skepticism throughout the public.
That that is that is not a sign of pathology.
That is a civic necessity.
It is a journalistic requirement.
It is also a basic scientific principle.
You don't just accept what you're told.
You look into it yourself.
And if you notice problems with the story you're being given,
you speak out about it loud and clear.
We're joined in our studio here in New York by New York University Professor Mark
Crispinmiller is the sharpest critic of television we have.
He's a modern propaganda
frequent contributor to Harper's magazine.
He is known for his writing on American media and for his activism on behalf
of Democratic media reform.
Henry James says the ideal critic
should be someone on whom nothing is lost.
And I think of Mark that way.
You closed just then by saying you're a journalist a moment ago.
You said you were a commentator.
I just said you can be both.
Whether it was reading an ad or talking about a TV program,
the approach was just original and exciting.
Once again, that is just a small clip from the extended trailer,
the 11 minute extended trailer of the Reading the World documentary.
You can go watch that entire trailer.
And I suggest you do so at www.readingtheworldmovie.com.
And when you do so, you will have an even better sense of some of the people
that have are participating in this documentary project and some of the
well, the incredible work that has gone into editing and putting together
and collecting the archival clips, etc., to put together this documentary
production. And it's the type of thing that we might take for granted because
we are in this media saturated environment where we're constantly being
bombarded with these million dollar or multi-million dollar Hollywood style
projects, and it's generally being streamed to us for free or for little
cost directly onto our devices.
And we don't think about the amount of work that goes into something like
this, but in order to create a slick and polished media product like that,
it takes effort, it takes time, it takes people and resources, and we need to
support independent filmmakers who are putting projects like these together
so that we can counteract the propaganda that comes from the
Ellison's and others of this world who do not want us to know this information.
So it's in that regard that I had the great honor of talking to
both the director and producer Amy Smiley and her husband,
Mark Crispin-Miller, about the reading the world movie documentary,
how it's coming together, the work that has gone into producing it,
and where it is going from here.
Well, the most important part of my work, I think, has been
my own rereading and sometimes reading for the first time.
All the work that Mark has done, Mark has written many essays on film.
That is very exciting to me, like people don't necessarily know him for that,
but he has a real eye for film, and that's very exciting to me.
And he's written countless essays that were put together in the bookboxed in.
He's written very long studies, very long essays about TV, about elections,
et cetera, et cetera, even about rock and roll.
So it's been thrilling for me to read these essays and I
appreciate the development of his voice over time and his extraordinary
grasp of the material.
I used to say to myself, it's not
humanly possible to read as many books as Mark reads.
I used to think he ate them like you only see a little bit.
We have like a 10,000 book collection.
I think he ate books like I don't know how he did it otherwise.
But he has a library in his mind.
And that that's what attracted him to me in the first place.
So it's the mind and his way of thinking, the originality of the thought
that that really is very compelling.
And then on the next level, it's
having conversations with people who have collaborated with Mark, who have either,
you know, published his work or participated.
You know, he had,
he created something called the forbidden bookshelf books that were never really
allowed to see the light of day because they were too controversial.
So looking at all of those books, trying to contact the authors and see if they'll
be interviewed, you know, just in the different iterations of Mark's work,
you know, sitting down with people and asking them what influence Mark had on
their lives and vice versa.
And then, of course, putting together the trailer.
You know, 11 minutes, it may not seem like very much, but you have to practically
work night and day to edit something together because the material is vast
and you want it to be stimulating, visually interesting.
You want people to get drawn in.
You don't want it to be too didactic, but you don't want to simplify.
It's really daunting work, but I was so lucky to be work like the
Jonathan Arthur Ashley, who does the animation, who did the animation,
who also designed the website.
John Kirby and Libby Handros of the Press and the Public Project,
they put together, you know, they came in on the final cut.
It looks absolutely amazing.
I had a great editor, Michelle Yoon, my stepson, Louis, Mark's son worked on it.
My other son, Billy, he is helping me produce this.
So it's it's really and it's an act of love.
You know, it truly is.
And then I can't even begin to tell you all the conversations Mark and I have had
together about this, like night after night, going back over things that he thought
about, how does he think about them now?
What has changed this kind of thing?
Well, I can definitely appreciate how difficult it is to take that much
information and try to condense it into an 11 minute package that will
entice people to want to see more.
It's incredibly difficult to do.
So my hats off to you for putting together such a compelling trailer.
But of course, that's the trailer.
That's just the beginning.
Tell us where you're going with the production from here.
What is the what is the game plan?
Well, I have about 15 more interviews
ahead of me, and the goal is to finish them by the summer or the end
of the summer.
Then there is some pre-editing work to do to get the subject reels together
and get the archival reels together.
I'm hoping that work will be done by the end of the year or the very beginning
of 2027, then I need to hire an editor, which is everything.
And hopefully during that year of 2027, really put the long,
you know, the long feature together so it'll come out in 2028.
We also have an archivist working for us who is going through my voluminous papers.
One document that I hope she finds because I'm so proud of this.
I wrote an essay in the 90s on the Kubrick's 2001 for a sight and sound.
And I got a cold descent.
Yes, 2001, a cold descent that was not my title, but that's the title they put on it.
And I got a letter from the editor of sight and sound informing me that Stanley
Kubrick's office had written to them requesting four copies of that issue.
I mean, I thought I had died and gone to heaven.
You know, I think very highly of him.
You know, there are things like that.
Have you seen Bullworth with Warren Beatty?
Did you ever see that movie?
I know of it. I have not seen it.
Well, you know, it's it's a political comedy of sorts.
Warren Beatty plays a Democratic
senator who becomes sort of disillusioned with the whole system.
And he becomes a kind of homeboy, you know, a rapper, you know, dresses like a rapper.
For reasons too complicated to go into.
Anyway, there's a scene where he's being interviewed live by a newswoman on a stage
and he launches into this riff on media consolidation.
And I happen to meet the screenwriter, Jeremy Pixar, and I asked him, you know,
the stuff that he says in that scene sounds so familiar to me.
Is it possible that you guys read my issues of the nation?
And he said, oh, yes, oh, yes.
Now, it remains to be seen whether Jeremy
Pixar is one of those who will be interviewed.
One never knows, especially with Hollywood people.
But, you know, we're we're we're trying to, you know,
recreate moments like that and make them as fun to watch as they were for me to live.
And there's also a dimension of Mark's work that we haven't mentioned,
which is his teaching, which is very sacred to Mark.
And so we're, you know, interviewing some of the students.
And I think we also have a tape of a class, you know, that there's
some very lively things going on in within those kinds of exchanges that we also want
to bring to light, too lively for NYU, as you may recall, James,
you had me on to talk about that.
We're going to go over all that in the film.
Excellent.
Very much looking forward to it.
And I didn't expect you to put Bullworth on my list of two watch movies,
but I guess it is there now.
And perhaps this is the time for me to admit that I think Dick Tracy is one
of the best films of the 1990s.
But let's not go there.
Let's not go there.
Anyway, Warren, another Warren Beatty movie to add to my list.
Let's let's talk to people about how they can support this work,
because it is a work in progress and obviously is going to take a lot more
work from here forward.
Obviously, they can go to readingtheworldmovie.com to see the extended trailer.
But how can they actually help support and make this film come to fruition?
So I would like to just add that they must type in www.readingtheworldmovie.com
in order to get to Aging Court Productions website where they can click
on the trail or watch the whole thing.
And then if they would like to support the project, which would be so moving
for us, there is a donate button, which will take them to Give, Send, Go.
And they can make any it can be a dollar, five dollars, two hundred dollars,
whatever they feel they can afford.
We're doing this through crowdsourcing.
And it's, you know, we're really trying to spread the word.
And that's the best way that people can help us with this project is by
donating and by, you know, sending the link to the trailer, to their family,
to their friends, and we feel like we're getting a lot of traction.
And it's very exciting.
Once again, that is Amy Smiley, the director and producer of Reading the World
and, of course, the documentary subject himself, Mark Crispin Miller.
And I hope that those who are interested will explore more of that
information at www.readingtheworldmovie.com, where you can find out more,
watch the full extended trailer.
But if you and when you do, I trust that you will see the relevance and
importance of the subject of this documentary, as well as the story of how
this documentary is coming together, being fund self funded and funded
crowdsource funded, not out not in the studio system, but outside of that system.
And I think that points the way forward to the way that we need to go
to this this intermediate and decentralized media production itself.
And if we do not support the independent filmmakers,
well, then what can we expect other than the A.I.
Slop that the Ellicens and their ilk are going to try to force feed down our
throats? So on that happy note, I think another relevant and important aspect
of this support of independent filmmakers is that these creative and
engaged media types are able to condense and put information in ways that
boring old Fuddy Duddy James Corbett can't do himself.
And that struck me again on a recent piece of feedback that came in through
the contact form on Corbett report dot com, where someone was telling me about
how he has been talking to his wife or was it his girlfriend for a number
of years now about these conspiracy reality subjects.
And she puts up with him, but doesn't isn't particularly interested or
quizzical, but he shared with her some sort of
crudely done animation of some sort that was several minutes long that was
condensing some information.
I can't remember if it was on COVID or what it was.
But he sent me the link and he said,
this was what got my girlfriend, my wife, interested in this material.
And she started asking me questions, is that true?
Oh, did that really happen?
And it's something that he has explained to her many, many times and
has attempted to show Corbett report material to her.
But she was not interested in that.
She was interested in this animation.
So it just goes to show the point once again that everybody has a different
style in which they like to understand and receive information.
And the more that we support different filmmakers and other people out there
that are putting this information out in different ways, the further
the information itself will spread and the more likely it will be for
that information to land on the fertile soil of people who are interested
in this information, they just need it presented in their own way.
So who else can we look at on the independent film making landscape as
an example of someone who is out there doing the hard work of attempting
to put this in a different form and format?
Well, hopefully the more astute and longer memory
people in the audience will remember my previous
conversations with Tice Snyder, a Canadian independent filmmaker.
I've talked to him a couple of times.
You'll remember way back in 2012.
I had him on Corbett Report Radio to talk about his short film at that time.
He was talking about Blindfold and I hope you have seen that short film.
We discussed that at that time and we discussed it again in his not so long
ago appearance on Solutions Watch back in 2024, when we specifically talked
about replacing Hollywood, we talked about Blindfold and what happened with that
film. We also talked about Hold Me, the independent media film that Tice Snyder
put together himself and which we talked about in that.
So if you want the details of that, you can go there.
But today I had the pleasure of talking to Tice Snyder about a different one
of his projects. It's called Conspiracy Synergy.
It's at conspiracysynergy.com.
And if you go there, you can see the various, the eight episodes of the
conspiracy synergy that have been put together, as well as several
mini-docs, profile pieces, as it were, of various people in the independent media
landscape, who you know and love as the independent media personalities.
But Tice has gone and actually filmed these people in their homes,
gotten to know these people, show what their day to day personal lives are like.
He's highlighted Derek Brows, Hervoya Morich, Mark Passio,
Ryan Christian and others.
So I would wholeheartedly suggest people take a look at that series if they're at
all interested in that, of course, once again, Tice Snyder is self-funding this,
doing it himself, editing himself, doing everything and needs your support.
So if you do appreciate this, I hope you will go and check check out
conspiracysynergy.com and hopefully contribute to the cause.
But I did have the chance to talk to Tice about this series,
what it is, how it came together and why he's doing it.
So conspiracy synergy is a show that I came up with to try and emotionally calibrate
very painful and depressing information for people who haven't come across the
fact that much of the world is in fact a conspiracy and that is a reality,
not a theory. So conspiracy synergy is how can I use my media skills to
create something that addresses the emotional side of information?
Because we think of information as if it's, oh, well,
I'll just think about that.
Oh, no, no, no, no, how you feel determines whether or not you're able to think.
And so conspiracy synergy, the original curriculum, first eight episodes,
was built around doing just that, allowing people to calibrate their feeling
so they could enter the point of thinking.
And you talk about the first eight episodes, I guess, to differentiate it
from the Minidocs you're doing.
Tell us about the Minidoc idea, how that came about and who you've talked to.
So the miniature documentaries were actually originally a byproduct
of a feature film script that I had done as a project that I had wanted
to move into as an extension of a short film that originally saw me on Corbett
report something like 13 or 14 years ago, and that's called Blind Bolt.
And there was a portion of that script where it was dialogue from a variety
of different content creators that were being interviewed within that film.
And so I thought that, well, that's something that I can just actually go
out in the real world and do, I can go and meet these people and I can make
documentaries telling their story while on the back end, I'm basically
fundraising or building up to the point of making a movie.
Now, at this point, I'm not particularly interested in making that movie anymore.
I'm really more interested in trying to stabilize the geopolitical state
and get people up to the place where they understand what we're facing.
So I'm all in in that regard, but the people that I've spoken to on that
note are Mark Pasio.
Most recently, prior to that was Charlie Robinson from macroaggressions.
I've also talked to Darren and Graham from Grimerica of Herbohemoric
from Geopolitics and Empire from Ryan Christian, Steve Bacoin and Seven Seas,
Sam Tripoli, Kurt Metzger in the Vagabond Union episode.
And there might be one I'm leaving out, but that gives you a sense
of some of the cast characters.
Yeah, I think there's a third gross.
Yeah, there you go.
There it is. OK.
Yeah, so OK, you seem it seems to me like these are one man run and gun productions.
But what about editing?
What about post production?
Do you have any help with that or is it all you know?
I'm very poor, underfunded and underrepresented because in the decentralized
model of media creation, by and large, we're struggling to really
get the headway that we need in a concerted way to be able to have our work
reach the people who need it most.
So I'm a one man show who does everything on my own.
I only survive off of the volunteerist value for value model.
And through the hosting of A.M.
Wake Up, I've been able to scrape by on that.
But insofar as actually being able to like afford or fund anyone other than
myself, no, that's not in the cards.
Well, hopefully it's in the cards, but maybe just not here yet.
But you know what, that's that's simultaneously depressing,
but also somewhat hopeful, because honestly, it gives I think it would
should give sucker to those out there who are in a similar position to not
have the funds to not be funded by million millionaire Hollywood producers
and not to have some great staff behind them, but still able to produce
things that still have emotional resonance with people.
Obviously, I would imagine that you are
aware of in tune with in and working with and knowing other filmmakers,
aspiring would be filmmakers.
Talk about that world and how how that world is surviving in our current
economic situation.
So I actually wouldn't be the best person to be
able to comment on that world in an in-depth way.
And that's because where I live, like I've
sat on the Edmonton Arts Council board before in order to determine
and who gets grants for a particular issuance.
And that's because for my first feature film,
I had been the recipient of one of such grants.
And what I came to realize very quickly in that environment is that it's
who's friends with whom sort of thing and that much less
built around the actual meritocracy and much more who does favors in a.
Do you believe what I believe?
Do you support what I support?
That sort of thing.
So imagine how much worse that environment got come lockdowns or vaccines
or anything like that.
So I have not necessarily been excommunicated.
I have excommunicated myself from a brown nosing swampy environment that
undermines the artistic integrity, not simply of the city nor the nation,
but so too of the world, because that is the cultural backbone that has
swallowed our ability to tell stories and share them with each other.
So I'm not really in a position to talk about that world other than to
speak ill of it.
Fair enough, fair enough.
But yeah, I mean, and combine that with just sort of the natural
tendencies of the art space in Canada, I can imagine not generally receptive
to conspiracy reality.
So yeah, you have your work cut out for you, trying to forge friendships
and meaningful relationships in that community.
But who does support you?
Who have you hooked up with?
Tell us about some of the connections that you've made through your work.
The most supportive people that I've met have been people who actually
understand the truth and prioritize how important that is in a life and death
way in this, the Third World War being fought by unconventional means.
So the most support I've received has been from the sane and the sane,
unfortunately, have spent a disproportionate amount of their life
studying the insane.
And so I am trying to speak to the insanity of the time in a way
in which I can depict that story accurately from a variety of different
cultural lenses, and I've done just that.
As far as the like Drew Tregli is great.
I was on his podcast recently, he directed Jones Plan Station.
I mean, all of the people who I got to meet,
Steve Aquinin, who I co-host and wake up with,
you know, he's been really great in having me on that.
You have appreciated your support, being able to go on Grand Theft World
and co-host that a number of different times after Richard Grove
being a seminal pillar in my development of understanding the insanity
to try and come to a point where I don't lose myself in the midst of it.
And so it's one of those things where the truth movement has been
an online friend environment that unfortunately has been lacking in my direct day to that.
Yeah, well, let's let's speak to that.
The people that are the target audience of your work are the type of people
that you're trying to reach out to.
As you say, the sane who have been studying the insane,
but also the people who are just dipping their toes in this water,
there must be a wide range of people who encounter this work and encounter
it from vastly different perspectives.
How can they, should they, would they, would you like them to support
the work that you and other people in the space are doing?
Well, so the first thing is that people don't understand
how much work goes into film or media construction because we exist
in a media environment where we get everything for free.
And it's usually on a caliber where it costs multiple millions of dollars,
but we just expect it for a Netflix level of subscription.
So whoever you are and whatever you do,
you are uniquely situated with your skill sets, your friend network,
your geographical location and your ability to take action.
One of the things that a lot of people do is that they'll think that
someone else is going to come along and magically solve their problems for them.
And so it's one of those things where in the time treasure and talent or sorry,
the basically the value for value model is the idea that there are
a variety of different ways that support someone like myself.
What I'm trying to do right now is to create the tools that I can offer you
to be able to reach out to your friends and family who might still be a little bit confused.
What are things that you can do with your unique skill sets to offer the world
that in turn might benefit me?
And I offer that because some people might not be financially OK.
If you don't have time for any of that and you want to send me 50 bucks or something,
it would be very much appreciated and needed.
But if conversely, you find yourself facing the problems
that we're looking at right now with a glimmer of hope
than that means that you're in a position to provide a solution and 10 or 20 or 15
years down the line, maybe that's a solution that me and a lot of other people will need.
So I'll say that it's two different ways to support me.
Now, with some sort of monetary contribution would be great via ConspiracyCentergy.com
or now and later through your own contribution into an ongoing movement
in order to change the world at large.
That's something that I'd like to see so that it's not just Corbett and it's not just me.
OK, Tisse, well, today's your lucky day.
I'm your fairy godmother and I am just magically bestowing on you
your multimillion dollar budget and as much staff as you want.
And in such a scenario, what would be your dream project?
What would you like to put together?
So my dream project in the sense of just telling a story for myself
isn't actually priority number one.
I'd really rather see the entire landscape of storytelling change
because right now it is built in a way in which it is poisoning our souls.
Not only is it acclimating us for media intake that is repugnant
and mediocre at best, you know, we're looking at the kind of thing
where people when we're watching a film will have to say what they're doing
because people are looking at multiple screens while they're watching a film.
So the environment of storytelling is atrocious right now.
What I'd want to do is actually create a open source film school
in a decentralized way as kind of a parallel to the curriculum
that I'd receive going to New York Film Academy, which is a hands on learning
environment so that people could in an iterative process of observing that online,
try it for themselves, share that with each other, refine that process.
And within a few years of trial and error,
you would have a viable platform for people who are able to simply
go out there and tell the stories that they think are most important.
I think that allowing other people or enabling other people
to reach a position where they champion their storytelling
power really is more important than me sinking a huge amount of money
into one singular film in order to get people to rally around any issue.
And so I see this as a seminally important time in the transition
of filmmaking and storytelling itself because we're coming out
of a Viper's Den that has been built so that we're wrapped up in it.
And I want to see the species move as far away from that as we possibly can
in every way, and that would be much more meaningful to me
than than just creating a singular project or film in itself.
Once again, that is independent filmmaker, Teess Snyder,
and you can find out more about Teess and his work generally at teess.ca.
But you can go to conspiracysynergy.com for more
about the Conspiracy Synergy series in particular, including those many
documentaries that we're talking about there featuring and profiling
some of the independent media podcasters and hosts that you know only
for through their work, but you can get to know them on a more personal level.
And I think I think Teess has done a very remarkably good job,
especially considering he was doing that all by himself,
completely self-funded, completely self-run.
That's honestly quite an achievement and something that we should be supporting
even if you are not particularly compelled with this or that particular piece.
I think the idea of supporting real actual art from real humans,
from a human perspective with a real vision,
is the obvious counter to the soulless, ugly brutality
of the corporate slop, increasingly AI generated slop
that is being fed to us through our content feeds.
And if we want to counter that, how can we do so?
Unless we support the independent filmmakers.
And on that note, I think that's an excellent answer that Teess gave there to the,
you are a multi-millionaire, what are you going to do with it?
Idea, coming up with an idea for an open source, decentralized film school
to encourage and foster the young and budding visionaries of tomorrow,
who will be the ones who create the new places,
the new imaginariums that we can explore together,
rather than the corporate soulless Marvel comic slop
that most people are watching these days.
So the obvious question becomes, who should we be supporting?
Who should we be looking into?
Well, obviously Amy Smiley in the work she's doing with Mark Crispin Miller,
obviously Teess Snyder in the work he's doing,
conspiracy synergy and elsewhere.
But how about Drew Treglia?
You'll hopefully have picked up on Teess's mention of Drew Treglia.
And I hope my listeners are familiar with Jones Plantation,
the film that he made off of Larkin Rosa's infamous viral video
for many years ago that became a full feature length independent film.
We've talked to Larkin and Amanda Rose about that film
and how it came together and what went into it.
And hopefully you have seen that movie by now.
If not, I would be remiss in my duties,
if I did not direct you to jonesplantationfilm.com,
where you can go and watch and support that independent filmmaking.
I think that's an excellent example of exactly what we are talking about.
The way to undermine the credibility and the power of the elisons
and people of that ilk is to stop giving them our time,
our attention, our eyeballs.
Stop paying them to propagandize to us
and directing our time, our energy, our resources
to the independent filmmakers out there.
So here is a call to the Corbett Report members out there.
Who else is a good independent filmmaker
who deserves more people's support?
I'd be very interested to hear about that.
So I would highly recommend that interested Corbett Report members
go to corbettreport.com, log into the website,
leave your comment, your suggestion in the comment section for this post.
Who are the underappreciated independent filmmakers of today
that we should be supporting if we want to see something different in the media space?
Having said that, that's just some food for thought for today.
I hope you will check out all of the links to all of the various
films and filmmakers that I have talked about today.
They will of course be in the show notes as always,
but that's going to do it for today.
I am James Corbett of corbettreport.com,
looking forward to talking to you again in the very near future.
But it wasn't always this way.
So how did we get here?
And where is the media technology that increasingly governs our lives taking us?