In this follow-up to “Missing Time It Was,” Bryce and Brent welcome documentary producer and filmmaker Dean Alioto, a longtime friend from Bryce’s UFO lunch club and a guest who lives at the exact intersection of Hollywood, UFOs, and experiencer testimony. Dean is the director of the new documentary The Experiencers: Full Disclosure, which takes the UAP conversation beyond lights in the sky and into the more difficult territory of abductions, contact, hybridization, screen memories, and the people who say the phenomenon has entered their lives directly. The conversation asks why the official world can now talk seriously about craft, pilots, and national security — but still struggles to face the human beings who say they have been taken, changed, warned, or contacted.

The episode’s centerpiece is an exclusive, never-before-aired excerpt from Dean’s interview with Travis Walton, the Arizona logger whose 1975 abduction case became one of the most famous in UFO history and inspired Fire in the Sky. In this clip, Walton reveals that he had an encounter as a child, long before his famous disappearance, raising a startling new question: was Travis a one-time abductee, or a lifelong experiencer whose 1975 ordeal was only the most public chapter of a much longer story? Bryce, who first reported on the Walton case as a young radio newsman, and Brent, who brings his own experiencer perspective, unpack what this revelation does to one of the most argued-over cases in ufology.

In the second half, the conversation turns to Alioto’s own strange place in UFO movie history as the creator of The McPherson Tape, the 1989 alien-abduction film that helped pioneer the found-footage genre before The Blair Witch Project made the form famous. Dean explains how his low-budget “War of the Worlds on videotape” became a cult object, how stripped-down versions were circulated as possible real evidence, and why he eventually had to publicly debunk his own movie. From there, the episode becomes pure Sound, Light & Frequency: does Hollywood borrow from the phenomenon, does the phenomenon borrow from Hollywood, or are both caught in the same uncanny feedback loop where fiction and testimony keep reshaping each other?

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