Mike Corey

And we started working with a filmmaker in taking some of our articles and our research, making them into movies.

And this filmmaker is really good.

And we made like probably 20.

And along the way, I've always had the desire to try to like create the alien store or put the research I had done into a more dignified, rigorous skin, like skin suit.

Like try to find a way to give it more expression.

And I had spent about two years trying to come up with a script and it was all very rigid.

It was all very much rooted.

It was very much rooted in the CIA side of like the PSYOP, the, you know, what was it about?

I think I was bringing up J. Allen Hynek, you know, one of the key patrons or teachers of valet and his work with Grudge and the Robson panel and Project Sign and the National Enquirer, you know, operation on the project, the blue.

Yeah, the CIA funded the National Enquirer.

Well, it shaped the National Enquirer.

It was Frank Costello who gave the seat capital to the National Enquirer, but Generoso Pope Jr., who founded it, was working under the Office of Policy Coordination of the CIA, which is the Psychological Warfare Department, in 1951.

And he did that for 14 months before then immediately going out and creating the National Enquirer.

And then that created the Blue Ribbon panel on UFO research.

sort of creating monetary incentives that lasted for a few years, co-sponsored by the NYSEP.

Why would they fund the National Enquirer?

I think to blur people's idea of reality and fiction, because there was a lot of like useful, there were useful articles and investigations often published in the pages of the National Enquirer infused in with total creative writing and fiction.

Bigfoot and shit.

Yeah.

And yeah, Lemurians from like Shasta and stuff.