Tuesday, July 12, 2011

'The Thing' prequel poster


By Robbie Graham Silver Screen Saucers

The prequel to John Carpenter's 1982 sci-fi/horror masterpiece, The Thing - also entitled The Thing - is due for release in the U.S. this October.

The new film's plot will not differ significantly from that of the 1982 version, which saw a group of American scientists at a remote research outpost in the Antarctic stumble across a parasitic alien with the ability to mimic any living creature. The prequel will show what happened at the neighboring Norwegian research outpost shortly prior to the events of Carpenter's movie.

The sense of dread and paranoia conjured by Carpenter in his original The Thing arguably has not been matched since in the genre (or, indeed, in any genre), so this winter's offering - directed by Matthijs van Heijningen Jr. and starring Mary Elizabeth Winstead - has much to live up to.

Monday, July 11, 2011

UFO movie box-office update, plus 'Space Invaders'

By Robbie Graham Silver Screen Saucers

The public's fascination with the idea of alien visitation continues to be evidenced this week as three alien/UFO movies occupy top-ten positions at the worldwide box-office.

Currently topping the charts, Transformers: Dark of the Moon has now taken a massive $557.3m. Meanwhile at #7, the Spielberg-produced Super 8 has pulled in $166.4m; and, at #9, the alien-themed comic book movie Green Lantern has managed a slightly less impressive haul of $143.0m. Naturally, these figures will continue to rise in the coming days and weeks. Indeed, due to staggered release schedules, Super 8 has yet to hit cinemas in at least 14 countries (including the UK, France, Spain, Mexico and Brazil), and Green Lantern has yet to arrive in at least 24 countries (including Italy, Germany and Japan).

In just a few weeks time, the box-office is set to be stormed by yet another UFO movie - Cowboys and Aliens.

In other news, Transformers producer Lorenzo di Bonaventura is to oversee the Hollywood adaptation of the 1970s video game, Space Invaders, which required the player simply to use their tanks to defend against an advancing alien hoard. This sounds almost as imaginative as the forthcoming board game adaptation, Battleship.

Friday, July 8, 2011

Transformers 3: Silver Screen Saucers review


TRANSFORMERS: DARK OF THE MOON:

A UFOLOGICAL REVIEW

By Robbie Graham Silver Screen Saucers

NOTE: CONTAINS PLOT SPOILERS

As a child of the 1980s, I cherished my Transformers. So much so, that when my parents had friends with brattish toddlers over to visit, I would hide those wondrous transforming robot toys in a box in my cupboard – comfortably out of reach of clumsy little fingers. While the man-brat that is Michael Bay managed to behave himself – just about – with the first Transformers movie (2007), apparently he was left to play unsupervised with its sequel, Revenge of the Fallen (2009) and, predictably, he broke it.

Transformers: Dark of the Moon is Bay’s first “threequel” and yet another stark reminder why big-budget movie franchises should be kept well out of reach of Michael Bay. Indeed, from this point on, the warning *KEEP OUT OF REACH OF MICHAEL BAY* should mandatorily be stamped in bold on any movie script based on childhood playtime experiences. Hell, the warning should be stamped on all movie scripts, full-stop.

But enough Bay-bashing. The former Playboy videographer’s shortcomings as a big screen director – and they are many – have been catalogued at length elsewhere. Suffice to say, Transformers: Dark of the Moon had me staggering from the movie theatre feeling cinematically violated; which is to say, it’s at least as good as Bay’s previous movies. But really, enough with the Michael-mashing and on to the movie’s UFOlogical talking points – of which there are a great many indeed.

The movie’s needlessly convoluted plot (come on, it’s about giant transforming robots!) concerns the U.S. government’s ongoing alliance with the noble Autobot aliens whose love of “freedom” and loathing for “tyranny” has by now firmly entrenched them at the centre of America’s national security infrastructure. Having had no Deceptions (evil Transformers) to fight since Revenge of the Fallen, The U.S./Autobot alliance now busies itself by dispatching black-ops military teams around the world to assist in solving human problems, with “the world” being represented onscreen by “the Middle-East”, and “human problems” taking the form of an “illegal nuclear site” in the Middle-East – specifically, Iran.

Michael Bay directs military extras at the highly sensitive Holloman Air Force Base during the filming of Transformers (2007).

If you hadn’t guessed, Dark of the Moon “benefited” from the full cooperation of the U.S. Department of Defence. This means that, in exchange for the free use of U.S. troops and expensive military hardware – including jets, tanks, helicopters, and even sensitive military bases – in line with its standard operating procedure, the Pentagon's entertainment liaison office contractually is granted considerable control over a movie's content, from start to finish. This contractual control even extends to Pentagon staffers writing dialogue for a movie and advising on how its narrative should develop. Wonderful for the Pentagon – which walks away with a supremely glossy piece of Hollywood propaganda – less so for the cinema-going public, most of whom are blissfully unaware that the seemingly innocent piece of fluff they are watching in fact is an officially sponsored military recruitment campaign, carefully constructed to bolster the U.S. military image and, simultaneously, to manipulate public perception of hot-button national security issues – not least of all in this case, the UFO phenomenon.

HISTORY AS IT MIGHT HAVE HAPPENED

But let’s back-up a little, plot-wise. Because the aforementioned “Team Ame-robot: World Police” sequence is preceded by a rather more intriguing one: it’s 1961, and the Very Large Array (VLA) radio astronomy observatory in New Mexico is tracking an unidentified object as it ploughs into our moon. In the White House Oval Office, President Kennedy’s National Security team tells him: “We believe a UFO has crashed on the moon.” Fearing the Russians might reach the UFO first, Kennedy declares a manned moon-mission to be America’s number one priority. The space race of the 1960s is now underway.

Cut to: eight years later, and the Apollo astronauts are making their historic lunar landing. We cut between fictional sequences on the moon – where Armstrong and Aldrin secretly are examining the crashed UFO – and authentic historical footage shot inside NASA mission control where ground specialists watch with bated breath – this subtle mix of historical fact and speculative fiction exploiting real-life conspiracy theories about what the Apollo astronauts may have encountered while on the lunar surface.

Apollo 15, 1971. A UFO in the background?
Up on the moon, the astronauts make a shocking discovery in the dusty ground beneath their feet: a giant metal face, clear as day, staring back at us through Michael Bay’s camera lens. “My God. It’s some sort of… giant metal face!” declares Neil Armstrong, just in case we were unclear. “We are not alone, after all, are we?” he asks. Back on the ground, President Nixon makes his historic long-distance phone call to Armstrong and Aldrin: “Hello, Neil and Buzz. I'm talking to you by telephone from the Oval Room at the White House. And this certainly has to be the most historic telephone call ever made. I just can't tell you how proud we all are of what you've done…”

The inclusion of the Nixon phone call in the movie serves to blur even further the line between official history and history as it may have transpired behind the dark veil of national security. Nixon’s image onscreen in this context also brings to mind the longstanding rumour that Tricky Dicky himself had come face-to-face with dead extraterrestrials on at least one occasion: in 1973, Nixon allegedly took his good friend and UFO enthusiast Jackie Gleason to Homestead Air Force Base to see the bodies of “aliens from outer space.” “It’s Top Secret,” Gleason told his wife “Only a few people know. But the President arranged for me to be escorted in there and see them.”

Kennedy’s onscreen involvement in a UFO conspiracy may also lead one to contemplate the mysterious circumstances in which the real JFK died, and whether or not his assassination might in some way have been related to the UFO issue.

1963 memo written by JFK to the CIA director asking for a report on UFOs to be shared with NASA. The document is dated Nov. 12, 1963 - ten days before Kennedy's assassination.


Upon their return to Earth, the Apollo crew bring with them a case of lunar samples marked: “Top Secret SAP.” The “SAP” term – a genuine military-intelligence term standing for Special Access Program” – was brought to prominence in the UFO research field in 2001 through Steven Greer, whose Disclosure Project whistleblowers claimed that certain government and military SAPs serve as cover for highly classified and compartmentalised UFO research and development projects.

In 2010, the Washington Post ran a detailed expose of the spiralling costs and purposely confusing and labyrinthine structure of the post-9/11 US national security state. In a rare example of a mainstream news outlet drawing attention to SAPs, the Post noted that, “the Pentagon's list of code names for them [SAPs] runs 300 pages. The intelligence community has hundreds more of its own, and those hundreds have thousands of sub-programs with their own limits on the number of people authorized to know anything about them. All this means that very few people have a complete sense of what's going on.”

But back to the “threequel.” Following the movie’s prelude of alternative history, we are transported to the present day where we catch up with our everyman hero, Sam Witwicky (Shia Labeouf) and his new girlfriend, Carly (played by British underwear model Rosie Huntington Whiteley, whose performance in this movie is more robotic than those of the Transformers themselves). Thanks to his heroics in Revenge of the Fallen, Sam now has a ‘Thank-You-For-Saving-The-World-From-Aliens’ medal from President Obama and is in search of the high-powered corporate job to which all true men in Michael Bay’s universe must aspire. Tedium follows, blah, blah, awkward Michael Bay “humour,” blah, blah, more tedium, more awkward attempts at humour, and then it gets interesting…

LEGALISING THE COVER-UP

At the “NEST” human/Autobot allied headquarters in Washington D.C. (NEST standing for: “Networked Elements: Supporters and Transformers”) we are introduced to Director of National Intelligence (DNI) Mearing played by Frances McDormand. As an aside here, it is perhaps interesting to note that the real-life director of National Intelligence currently is James R. Clapper, a man who in 2010 said regarding the extreme secrecy surrounding Special Access Programs: “There's only one entity in the entire universe that has visibility on all SAPs - that's God.”

Director of National Intelligence Mearing (Frances McDormand) speaks with Optimus Prime in Transformers: Dark of the Moon


DNI Mearing reveals to Autobot leader Optimus Prime the true purpose of the 1969 Apollo moon landing and what the astronauts had seen while on the lunar surface. Optimus quickly surmises that the “giant metal face” from the movie’s opening sequence was none other than Sentinel Prime - Optimus Prime’s predecessor - and is outraged to learn that the U.S. government had kept this information from its Autobot allies. The government’s present-day secrecy on this matter, however, quickly is attributed to the policies of the past as Buzz Aldrin himself – yes, the actual Buzz Aldrin – is ushered into the room and explains to Optimus – and to us in the audience – that “we were sworn to secrecy by our Commander in Chief!” Don’t blame us, and don’t blame the military-intelligence community – blame Nixon!

There is a comparably self-serving scene for the DoD in the first Transformers movie in which the Pentagon is absolved of complicity in what we learn has been a decades-long cover-up of alien visitations. Blame for the conspiracy is instead placed at the doorstep of the extra-constitutional “Sector 7,” a “special access division of the government” established under President Hoover over 80 years ago. Crucially, the cover-up in the first movie has been conducted without the knowledge or consent of the Secretary of Defense (played by Jon Voigt), who is outraged when the truth is finally revealed to him: “And you didn’t think the United States military might need to know that you’re keeping a hostile alien robot frozen in the basement?” Significantly, Sector 7 is shut down by the Secretary of Defense at the end of the first movie for being undemocratic and dangerous. Shortly thereafter in the Transformers timeline, Sector 7 was replaced by the more democratically acceptable NEST, which is comprised of “veteran intelligence officers and special forces.”

ASTRONAUT CONFESSIONALS

Buzz Aldrin’s presence onscreen blurs further still the boundaries between UFOlogical fact and fantasy, nudging the audience firmly into the realm of hyperreality. Aldrin raised eyebrows in 2009 when he drew attention on live television to a “structure” on the surface of Phobos, one of Mars’s moons. In an interview for C-SPAN, Aldrin spoke enthusiastically about what wonders our solar system might hold for future space travellers:

“We should go boldly where Man has not gone before. Fly by comets, visit asteroids, visit the moon of mars – there’s a monolith there, a very unusual structure on this little potato-shaped object that goes around Mars once in seven hours. When people find out about that they’re going to say ‘who put that there? Who put that there??’”

Perhaps realising he was treading into dangerous territory, he then paused briefly and answered the question himself, somewhat cryptically: “Well... er, the universe... put it there. If you choose... God put it there.”

It has often been said that the best place to hide the truth is in plain sight. Better still is to hide the truth in plain sight within a fictional context. Is Aldrin – and by extension NASA and the Pentagon – attempting to alert us to a hidden truth behind America’s space program, as many would no doubt like to believe? Or, to the contrary, is Aldrin’s “confession” in Transformers an attempt to hide the truth of the moon landings – and of a related government UFO cover-up – in plain sight in what, for the most part, is an outrageous science fiction movie?

Shia Labeouf and Buzz Alrdrin
Intriguingly, Aldrin’s isn’t the only onscreen UFO confessional from a legendary space pioneer. In 2001, former senator and astronaut John Glenn – the first American to orbit the Earth – made a bizarre guest appearance in an episode of the popular sitcom Frasier, entitled “Docudrama,” in which he “admitted” in semi-comical fashion that he, as well as other astronauts, had seen “strange things” while out in space, but that he and his colleagues had been sworn to secrecy. The scene in question sees Glenn sat in a radio booth preparing to be interviewed by radio host Frasier Crane (Kelsey Grammer), who is stood in a separate, sound-proofed room in conversation with his producer, Ros Doyle (Peri Gilpin) - both oblivious to the fact that their famous guest has begun to spill his guts about NASA and UFO secrecy. Glenn is talking to Frasier and Ros (who can’t hear him), to himself, and, seemingly, to the television viewers at home:

“Back in those glory days, I was very uncomfortable when they asked us to say things that I didn’t want to say, and deny other things. Some people ask, you know, were you ‘alone’ out there? And we never gave the real answer, and yet we’ve seen things out there - strange things. But we know what we saw out there, but we couldn’t really say anything. And the bosses were scared of this - they were afraid of ‘War of the Worlds’ type-stuff and about panic in the streets, and so we had to keep quiet and now we only see these things in our… well, in our nightmares, or maybe in the movies - and some of them [the movies] are pretty close to being the truth.”

At the end of his confession, Glenn, realising that he was inadvertently being recorded by Frasier and Ros, confiscates the tape recording and makes a hasty exit. Naturally, all of this plays out to canned-laughter.

OTHER TALKING POINTS

Aside from its NASA and National Security policy-themed introduction, Transformers: Dark of the Moon offers little extra food for thought during its epic 157 minute running time, most of which is taken up by mindless metal-on-metal battle carnage. There are, however, just a few more points worthy of note from a UFOlogical/conspiratorial perspective:

  • The movie’s plot deals with a teleportation device which is owned by the Autobots, but which is commandeered by the Deceptacons to facilitate a full scale invasion of Earth whereby Deceptacons on their home planet of Cybertron are jumped instantaneously through space-time onto our planet. It is not only the Deceptacons that make this invasive leap across the galaxy, but their entire planet also, which gets parked in Earth orbit and looms ominously over the Chicago skyline (the Deceptacons’ hostile take-over of Earth naturally begins in Illinois(!), but – thanks to yet more heroics from Sam Witwicky and his black-ops buddies – it doesn’t spread beyond Chicago). The sight of a planetary body entering Earth’s atmosphere is a  possible allusion to “Planet X” (or “Nibiru”) an alleged planet-sized object that some believe could possibly collide with or pass-by Earth in the very near future. The Planet X idea was also exploited recently in the TV series The Event.

  • Key to the initial success of the Deceptacons’ invasion of Earth is their covert collaboration with a select number of humans around the world who occupy positions of strategic influence in government and industry. This notion of human/evil alien collaboration taps into theories popular in UFO-conspiracy lore that elements within the Global Elite are actively facilitating insidious extraterrestrial activities here on Earth.

  • At one point in the film, the Autobot/Deceptacon secret “civil war” is openly discussed by former Sector 7 Man in Black, Agent Simmons and bullish TV host Bill O’ Reilly (yes, the real Bill O’ Reilly) on Fox TV’s The O’ Reilly Factor. O’ Reilly is incredulous at the claims of the publicity-seeking former Agent Simmons; nevertheless, the idea that any serious discussion of an alien presence on earth (especially one involving an ex-black-ops agent with direct knowledge of the subject) would ever be permitted on a primetime political show is, of course, laughable.

The thing to keep in mind when watching Transformers: Dark of the Moon is that all of its content was signed off on – and indeed shaped – by the U.S. Department of Defense and NASA (which also threw its full weight behind the movie). Up until a few years ago, it was typical for the DoD to refuse its cooperation to any movie that portrayed UFOs and alien visitation as real on the grounds that supporting such a movie would be in contravention of its official policy that UFOs do not exist. In recent years, however, DoD policy regarding Hollywood’s UFO movies has shifted significantly, with the Pentagon having leant its support to a number of high-profile UFO movies, including War of the Worlds (2005),The Day the Earth Stood Still (2008), the Transformers franchise (2007, 2009, 2011) and Battle Los Angeles (2010). You can read into that what you will, although it may not be as intriguing as it sounds. This shift in policy can be traced back to 1996, when the producers of the flag-waving alien invasion movie Independence Day sought cooperation from the DoD only to be turned down unexpectedly by the Pentagon’s Entertainment Liaison Office partly due to concerns about the movie’s references to Roswell, Area 51, and a government UFO cover-up. The Air Force specifically had requested that the filmmakers remove these controversial elements from the movie’s script if they wished to receive its support.

The Pentagon, Washington D.C.

The producers of Independence Day decided to stick to their guns, however, and refused to play ball with the Pentagon. Computer Generated Imagery (CGI) was, by this point, at such a stage of advancement that anything the DoD could offer in terms of enhancing the movie’s verisimilitude (such as tanks, jets, even aircraft carriers) the filmmakers themselves could now generate digitally. In other words, photorealistic CGI was threatening the DoD’s long-established role in Hollywood. It is perhaps understandable, then, that today the Pentagon finds itself backing movies that at one time it would not have touched with a bargepole.

Still, whatever their reasons for supporting Transformers: Dark of the Moon and other movies of its ilk, whenever the DoD, NASA, or any other agency of officialdom becomes involved in shaping UFO representations through media channels, it is only right that we as politically aware viewers sit up, pay close attention, and actively engage with this material, for what may have started life as an innocent entertainment product – with a firm handshake between Hollywood and Washington – becomes propaganda.

Copyright © 2011, Robbie Graham

Guest blogger exclusive #6

To tie-in with the release of the new Transformers movie - which presents an alternative history of modern human interactions with the moon - author and journalist Jim Marrs has provided Silver Screen Saucers with an abbreviated version of a chapter that first appeared in his best-selling 1997 book, Alien Agenda.

Even if you are already familiar with this thought-provoking and contentious material - given Hollywood's current fascination with our orbital chunk of cheese - now is the perfect time to ponder afresh the many mysteries of the moon. Read on...

Guest blogger: Jim Marrs

WHO PARKED OUR MOON?
By Jim Marrs

Special to Silver Screen Saucers from material originally published in Alien Agenda.
________________________
The near perfect circular and stationary orbit of the moon is impossible for a natural object to achieve. Since the moon has been recorded—and worshiped—throughout human history, its origin must date back far into pre-human history.
Earth’s only satellite, the moon orbits from west to east approximately 239,900 miles out in space. It is at just the proper distance to block out all but the sun’s flaming corona when it moves between the sun and the Earth during an eclipse. Is all this, plus many more oddities, merely some celestial coincidence or did some intelligence placed the moon where it is?
Who parked the moon in its current position? This is the real and as yet unanswered question. Despite six announced visits by US astronauts between 1969 and 1972, the moon remains a riddle to scientists in many regards. The solutions to these riddles could indicate an alien aspect of our familiar moon.

Le Voyage dans la Lune (1902)
Called “the Rosetta Stone of the planets” by Dr. Robert Jastrow, the first chairman of NASA’s Lunar Exploration Committee, scientists had hoped by studying the composition of the moon, to resolve some of the mysteries of how our planet and solar system came into existence.
However, six moon landings later, science writer Earl Ubell declared, “...the lunar Rosetta Stone remains a mystery. The moon is more complicated than anyone expected; it is not simply a kind of billiard ball frozen in space and time, as many scientists had believed. Few of the fundamental questions have been answered, but the Apollo rocks and recordings have spawned a score of mysteries, a few truly breath-stopping.”
Among these “breath-stopping” mysteries or anomalies as scientists prefer to call them is the fact that the moon is far older than previously imagined, perhaps even much older than the Earth and sun. By examining tracks burned into moon rocks by cosmic rays, scientists have dated them as billions of years old. Some have been dated back 4.5 billion years, older than the Earth and nearly as old as the solar system.
Destination Moon (1950)
The moon has at least three distinct layers of rocks. Contrary to the idea that heavier objects sink, the heavier rocks are found on the surface. And there is a definite disparity in the distribution of minerals. Ubell asked, “If the Earth and moon were created at the same time, near each other, why has one body got all the iron [the Earth] and the other [the moon] not much?” asked Ubell. “The differences suggest that Earth and moon came into being far from each other, an idea that stumbles over the inability of astro-physicists to explain how exactly the moon became a satellite of the Earth.”
Moon rocks were found to be magnetized—not strong enough to pick up a paper clip, but magnetic nevertheless. However, there is no magnetic field on the moon itself. So where did the magnetism come from?
The presence of maria, or large seas of smooth solidified molten rock, also presented a mystery. These maria indicate nothing less than a vast outpouring of lava at some distant time. It has now been confirmed that some of the moon’s craters are of internal origin. Yet there is no indication that the moon has ever been hot enough to produce volcanic eruptions. Another puzzle is that almost all—four-fifths— of the maria are located on the moon’s Earthside hemisphere. Few maria mark the far side of the moon, often erroneously referred to as the “dark side.” Yet the far side contains many more craters and mountainous areas.
In comparison to the rest of the moon, the maria are relatively free of craters suggesting that craters were covered by lava flow. Adding to this mystery are the mascons— large dense circular masses lying 20 to 40 miles below the center of the moon’s maria. The mascons were discovered because their denseness distorted the orbits of our spacecraft flying over or near them. One scientist proposed that the mascons are heavy iron meteorites which plunged deep into the moon while it was in a soft, formable stage. This theory has been discounted since meteorites strike with such high velocities, they would vaporize on contact.
First Men in the Moon (1964)
Another mundane explanation is that the mascons are nothing more than lava-filled caverns, but skeptics say there isn’t enough lava present to accomplish this. It would seem these mascons are huge disk-shaped objects possibly of artificial construction. It is unlikely that large circular disks located directly under the center of the maria like a giant bulls-eye happened by accident or coincidence.
Between 1969 and 1977, Apollo mission seismographic equipment registered up to 3,000 “moonquakes” each year of operation. Most of the vibrations were quite small and were caused by meteorite strikes or falling booster rockets. But many other quakes were detected deep inside the moon. This internal creaking is believed to be caused by the gravitational pull of our planet as most moonquakes occur when the moon is closest to the Earth.
An event occurred in 1958 in the moon’s Alphonsus crater which shook the idea that all internal moonquake activity was simply settling rocks. In November of that year, Soviet astronomer Nikolay A. Kozyrev of the Crimean Astrophysical Observatory startled the scientific world by photographing the first recorded gaseous eruption on the moon near the crater’s peak. Kozyrev attributed this to escaping fluorescent gases. He also detected a reddish glow characteristic of carbon compounds, which “seemed to move and disappeared after an hour.”
Some scientists refused to accept Kozyrev’s findings until astronomers at the Lowell Observatory also saw reddish glows on the crests of ridges in the Aristarchus region in 1963. Days later colored lights on the moon lasting more than an hour were reported at two separate observatories.

A lunar colony in 2001: A Space Odyssey (1968)











Something was going on inside the volcanically-dead moon. And whatever it is, it occurs the same way at the same time. As the moon moves closer to the Earth, seismic signals from different stations on the lunar surface detect identical vibrations. It is difficult to accept this movement as a natural phenomenon. For example, a broken artificial hull plate could shift exactly the same way each time the moon passed near the Earth.
There is much evidence to indicate the moon may be hollow. Studies of moon rocks indicate that the moon’s interior differs from the Earth’s mantle in ways suggesting a very small, or even nonexistent, core. As far back as 1962, NASA scientist Dr. Gordon MacDonald stated, “If the astronomical data are reduced, it is found that the data require that the interior of the moon be less dense than the outer parts. Indeed, it would seem that the moon is more like a hollow than a homogeneous sphere.”
Apollo 14 astronaut Dr. Edgar Mitchell, while scoffing at the possibility of a hollow moon, nevertheless admitted that since heavier materials were on the surface, it is quite possible that giant caverns exist within the moon. M.I.T.’s Dr. Sean C. Solomon wrote, “The Lunar Orbiter experiments vastly improved our knowledge of the moon’s gravitational field...indicating the frightening possibility that the moon might be hollow.”
Why frightening? The significance was stated by astronomer Carl Sagan way back in his 1966 work Intelligent Life in the Universe, “A natural satellite cannot be a hollow object.”
Moon (2009)
The most startling evidence that the moon could be hollow came on November 20, 1969, when the Apollo 12 crew, after returning to their command ship, sent the lunar module (LM) ascent stage crashing back onto the moon creating an artificial moonquake. The LM struck the surface about 40 miles from the Apollo 12 landing site where ultra-sensitive seismic equipment recorded something both unexpected and astounding—the moon reverberated like a bell for more than an hour. The vibration wave took almost eight minutes to reach a peak, then decreased in intensity. At a news conference that day, one of the co-directors of the seismic experiment, Maurice Ewing, told reporters scientists were at a loss to explain the ringing. “As for the meaning of it, I’d rather not make an interpretation right now. But it is as though someone had struck a bell, say, in the belfry of a church a single blow and found that the reverberation from it continued for 30 minutes.”
It was later established that small vibrations had continued on the moon for more than an hour. The phenomenon was repeated when the Apollo 13’s third stage was sent crashing onto the moon by radio command, striking with the equivalent of 11 tons of TNT. According to NASA, this time the moon “reacted like a gong.” Although seismic equipment was more than 108 miles from the crash site, recordings showed reverberations lasted for three hours and 20 minutes and travelled to a depth of 22 to 25 miles.
Subsequent studies of man-made crashes on the moon yielded similar results. After one impact the moon reverberated for four hours. This ringing coupled with the density problem on the moon reinforces the idea of a hollow moon. Scientists hoped to record the impact of a meteor large enough to send shock waves to the moon’s core and back and settle the issue. That opportunity came on May 13, 1972, when a large meteor stuck the moon with the equivalent force of 200 tons of TNT. After sending shock waves deep into the interior of the moon, scientists were baffled to find that none returned, confirming that there is something unusual about the moon’s core, or lack thereof.
Dr. Farouk El Baz was quoted as saying, “There are many undiscovered caverns suspected to exist beneath the surface of the moon. Several experiments have been flown to the moon to see if there actually were such caverns.” The results of these experiments have not been made public.
Apollo 18, now scheduled for
release Sept., 2011 
It seems apparent that the moon has a tough, hard outer shell and a light or nonexistent interior. The moon’s shell contains dense minerals such as titanium, used on Earth in the construction of aircraft and space vehicles.
Many people still recall watching our astronauts on TV as they vainly tried to drill through the crust of a moon maria. Their specially-designed drills could only penetrate a few inches. The puzzle of the moon’s hard surface was compounded by the discovery of what appeared to be processed metals.
Experts were surprised to find lunar rocks bearing brass, mica and amphibole in addition to the near-pure titanium. Uranium 236 and neptunium 237—elements not previously found in nature—were discovered in moon rocks, according to the Argone National Laboratory. While still trying to explain the presence of these materials, scientists were further startled to learn of rust-proof iron particles in a soil sample from the Sea of Crisis. In 1976, the Associated Press reported that the Soviets had announced the discovery of iron particles that “do not rust” in samples brought back by an unmanned moon mission in 1970. Iron that does not rust is unknown in nature and well beyond present Earth technology.
Undoubtedly the greatest mystery concerning our moon is how it came to be there in the first place. Prior to the Apollo missions, one serious theory as to the moon’s origin was that it broke off of the Earth eons ago. Although no one could positively locate where on Earth it originated, many speculated the loss of material explained the huge gouge in the Earth which forms the Pacific Ocean. However, this idea was discarded when it was found that there is little similarity between the composition of our world and the moon.
A more recent theory had the moon created out of space debris left over from the creation of the Earth. This concept proved untenable in light of current gravitational theory which indicates that one large object will accumulate all loose material, leaving none for the formation of another large body. It is now generally accepted that the moon originated elsewhere and entered the Earth’s gravitational field at some point in the distant past.
Here theories diverge—one stating that the moon was originally a planet which collided with the Earth creating debris which combined forming the moon while another states the moon, while wandering through our solar system, was captured and pulled into orbit by Earth’s gravity. Neither of these theories are especially compelling because of the lack of evidence that neither the Earth nor the moon seem to have been physically disrupted by a past close encounter. There is no debris in space indicating a past collision and it does not appear that the Earth and the moon developed during the same time period.
As for the “capture” theory, even scientist Isaac Asimov, well known for his works of fiction, has written, “It’s too big to have been captured by the Earth. The chances of such a capture having been effected and the moon then having taken up nearly circular orbit around our Earth are too small to make such an eventuality credible.” Asimov was right to consider the moon’s orbit—it is not only nearly a perfect circle but stationary, one side always facing the Earth with only the slightest variation. As far as we know, it’s the only natural satellite with such an orbit.
This circular orbit is especially odd considering that the moon’s center of mass lies more than a mile closer to the Earth than its geometric center. This fact alone should produce an unstable, wobbly orbit, much as a ball with its mass off center will not roll in a straight line. Additionally, almost all of the other satellites in our solar system orbit in the plane of their planet’s equator. Not so the moon, whose orbit lies strangely nearer the Earth’s orbit around the sun or inclined to the Earth’s ecliptic by more than five degrees. Add to this the fact that the moon’s bulge—located on the side facing away from Earth—thus negating the idea that it was caused by the Earth’s gravitational pull—makes for an off-balanced world.
Transformers: Dark of the Moon (2011)
It seems impossible that such an oddity could naturally fall into such a precise and circular orbit. It is a fascinating conundrum as articulated by science writer William Roy Shelton, who wrote, “It is important to remember that something had to put the moon at or near its present circular pattern around the Earth. Just as an Apollo spacecraft circling the Earth every 90 minutes while 100 miles high has to have a velocity of roughly 18,000 miles per hour to stay in orbit, so something had to give the moon the precisely required velocity for its weight and altitude....The point—and it is one seldom noted in considering the origin of the moon—is that it is extremely unlikely that any object would just stumble into the right combination of factors required to stay in orbit. `Something’ had to put the moon at its altitude, on its course and at its speed. The question is: what was that `something’?”
If the precise and stationary orbit of the moon is seen as sheer coincidence, is it also coincidence that the moon is at just the right distance from the Earth to completely cover the sun during an eclipse? While the diameter of the moon is a mere 2,160 miles against the sun’s gigantic 864,000 miles, it is nevertheless in just the proper position to block out all but the sun’s flaming corona when it moves between the sun and the Earth. Asimov explained: “There is no astronomical reason why the moon and the sun should fit so well. It is the sheerest of coincidences, and only the Earth among all the planets is blessed in this fashion.”
Is it merely coincidence? How does one explain this and many other moon mysteries?
In July 1970, two Russian scientists, Mikhail Vasin and Alexander Shcherbakov, published an article in the Soviet journal Sputnik entitled “Is the Moon the Creation of Alien Intelligence?” They advanced the theory that the moon is not a completely natural world, but a planetoid which was hollowed out eons ago in the far reaches of space by intelligent beings possessing a technology far superior to ours. Huge machines were used to melt rock and form large cavities within the moon, spewing the molten refuse onto the surface. Protected by a hull-like inner shell plus a reconstructed outer shell of metallic rocky junk, this gigantic craft was steered through the cosmos and finally parked in orbit around the Earth.
In their article Vasin and Shcherbakov wrote, “Abandoning the traditional paths of `common sense,’ we have plunged into what may at first sight seem to be unbridled and irresponsible fantasy. But the more minutely we go into all the information gathered by man about the moon, the more we are convinced that there is not a single fact to rule out our supposition. Not only that, but many things so far considered to be lunar enigmas are explainable in the light of this new hypothesis.”
Outrageous as the spaceship moon theory might first appear, consider how all of the mysteries of the moon are reconciled by this model. It would explain why the moon gives evidence of being much older than the Earth and perhaps even our solar system and why there are three distinct layers within the moon, with the most dense materials in the outside layer, exactly as one would expect of the “hull” of a spacecraft. It could also explain why no sign of water has been found on the moon’s surface, yet there is evidence it exists deep inside. This theory also would explain the strange maria and mascons, perhaps the remnants of the machinery used to hollow out the moon. The idea of an artificial satellite could explain the odd, rhythmic “moonquakes” as artificial constructs reacting the same way during periods of stress from the Earth’s pull. And artificial equipment beneath the moon’s surface might be the source of the gas clouds which have been observed.
Intelligent “terraforming” of the moon could prove the solution to the argument between “hot moon” and “cold moon” scientists—they are both right! The moon originally was a cold world which was transformed into a spacecraft by artificially heating and expelling vast quantities of its interior. This theory also could explain the seeming contradictions over the question of a hollow moon. If the moon originally was a solid world which was artificially hollowed out, there would be evidence of both phases—exactly what we have with current moon knowledge.
An artificially hollowed-out moon would explain why the satellite rings like a bell for hours after struck and why specimens of tough, refractory metals such as titanium, chromium and circonium; “rust-proof” iron; uranium 236 and neptunium 237 have been found there.
In fact, the spaceship moon theory may come closer than any other in reconciling the questions over the origin and amazing orbit of the moon.
But we are not supposed to consider this thesis. The circular logic of modern science regarding the origins of the moon runs something like this: We know that extraterrestrials don’t exist but we do know that the moon exists and has been mentioned throughout human history. We humans did not create it or place it in Earth’s orbit, so it must have been done by extraterrestrials. But since we know they don’t exist, we will simply call it an anomaly and will not publicly say anything more about it.
Jim Marrs is an award-winning journalist and author. After graduating from the University of North Texas with a degree in journalism, Marrs worked for and owned several Texas newspapers before becoming an independent journalist/author. Marrs is the author of the New York Times bestsellers, Crossfire: The Plot That Killed Kennedy, the basis for the Oliver Stone film JFK, and Rule by Secrecy. His in-depth overview of the UFO phenomenon, Alien Agenda, is the best-selling non-fiction book on UFOs in the world, having been translated into several foreign languages. He is a frequent guest on several nationwide radio talk-show programs and television programs. Jim Marrs can be contacted through his website: http://www.jimmarrs.com

Monday, July 4, 2011

'Transformers 3' tops box-office


UPDATE: Tuesday 5 July - Transformers: Dark of the Moon has now grossed upwards of $400 million worldwide.

Transformers: Dark of the Moon has taken $162.1 million at the global box-office since it hit theatres last Tuesday (June 28th) in what is already the third biggest global movie launch in history behind Harry Potter and the Half-Blood Prince and Spider-Man. Clearly, the critics' reviews haven't made a dent.

Friday, July 1, 2011

'Alien' prequel to explore Ancient Astronaut theory

By Robbie Graham Silver Screen Saucers

NOTE: ARTICLE CONTAINS POTENTIAL PLOT SPOILERS

Ridley Scott's forthcoming movie Prometheus - scheduled for release June 2012 - is inspired by the UFOlogical theory of 'Ancient Astronauts', the director has revealed.

Prometheus is to be a prequel of sorts to Scott's classic movie Alien (1979), which is widely regarded as one of the best sci-fi/horrors ever made and which spawned three sequels as well as the Alien Vs. Predator spin-off franchise. The alleged plot for Prometheus was leaked online recently and is described by io9.com as follows:

"Earth. Year 2058.

Archaeological digs in Africa reveal alien artifacts that humans were genetically engineered by a[n] advanced alien race (space jockeys). These “Alien Gods” also terraformed Earth in order to make it habitable for their human creations. Amongst finds are coordinates to the Alien God’s home-world, to Paradise. Months later the Weyland Corp launch the spaceship PROMETHEUS and his crew, into deep space to make first contact. Thanks to faster than light travel a few years later the PROMETHEUS enters the Zeta Riticuli [sic] star system. Humans are greeted by their makers, then transported further into space to a scary yet fascinating world. The Alien Gods are proud of their “children”, their first creation to reach such levels of intelligence.

The 'Space Jockey' of Scott's original Alien movie, as
conceptualised by H.R. Giger
As a reward they share bits of their astonishing bio-based technologies with the humans. But for one crew member of the Prometheus it’s not enough. In a treacherous act he steals the “bio-source code” to Terraforming, a technology at the origin of all Gods’ power, that could make humans equal to the gods. The Alien Gods may be scientists but are also ruthless conquerors, destroyers of worlds who will not accept humans as equals. They unleash on the escaping human crew their favorite bio-weapon, a creature used to “clean up” worlds before colonization. But something goes wrong in the process and humans manage to turn the bio-weapon against their makers. Giving birth to a smarter, nastier, bigger breed of gut eating creatures. Creatures that will be the demise of Paradise. What’s left of the Prometheus crew manages to escape the doomed planet.

On their trail a survivor Alien God in very familiar ship with one ultimate mission.

Bring the wrath of the Gods to Earth."

It should be stressed, however, that the studio behind the film - 20th Century Fox - has insisted that the above plot description is "way off" and, in an effort to quell continuing rumours, has released its own official description of the movie, which reveals almost nothing about its plot:

"Visionary filmmaker Ridley Scott returns to the genre he helped define, creating an original science fiction epic set in the most dangerous corners of the universe. The film takes a team of scientists and explorers on a thrilling journey that will test their physical and mental limits and strand them on a distant world, where they will discover the answers to our most profound questions and to life’s ultimate mystery."

Von Daniken's 1968 book
However, recent statements from Ridley Scott himself strongly indicate that the leaked plot description may in fact be accurate. While at the CineEurope expo Scott confirmed that his film will indeed see the Weyland Corporation launch a spacecraft called Prometheus. More revealingly, Scott added:

“The (space) journey, metaphorically, is about a challenge to the gods... NASA and the Vatican agree that is almost mathematically impossible that we can be where we are today without there being a little help along the way. That’s what we’re looking at (in the film), at some of Eric van Daniken‘s [sic] ideas of how did we humans come about.”

Erich von Daniken, of course, is best known for popularising the 'Ancient Astronaut' theory, which posits that advanced extraterrestrial intelligences played an instrumental role not only in the development of human civilisation, but of the human race itself.


Such ideas already have been successfully incorporated into movie narratives (in Stargate (1994) and Indiana Jones and the Kingdom of the Crystal Skull (2008), for example). Now, with master sci-fi director Ridley Scott at the helm of Prometheus (Scott also directed the classic Blade Runner (1982)), Hollywood looks set to explore the Ancient Astronaut theory in its most spectacular fashion yet.