Mallory Rubin

You know, yes, the Department of Defense is a part of this, but this is like, Wardex is like a private company, right?

And like, that all makes sense.

You know, they'd be profiting.

They're finding at these crash sites alien tech.

This is not a new thing.

It's something we're certainly very open to.

There's no trouble believing this part of the movie.

This is like fucking Spider-Man Homecoming, right?

You find the alien tech and you use it for your ads.

Of course that would happen.

No question that would happen.

They're retrofitting and reverse engineering to try to make new tech and they're using what they've discovered.

They're taking the aliens and they're holding them and they're torturing them and they're tormenting them and they're trying to learn and they're not actually learning anything of consequence.

That all makes sense.

I don't know if what Spielberg is interested in doing in this movie is possible if it's a period piece because it feels like it –

The foundation is the undeniable aspect of a period of time of withholding and obfuscating and denying the public the truth that they deserve to know.

But then it's like the response that people have

using broadcast news instead of the internet, aspects like that have to be different because they have to feel more of the moment.

It's a difficult melding attempt, I think, to say the story requires 80 years of deception, but the response does not feel like it exists in a period of time that's 80 years after Roswell.

Yeah.