In “Majic Kingdom,” Bryce and Brent ask an uncomfortably fun question: why does Disney keep showing up in the UFO story? Bryce starts with the modern reality—Disney isn’t a historical footnote, it’s the current epicenter of alien storytelling, “industrializing” non-human intelligence across Disney+ through Marvel, Star Wars, and the Fox-era franchises in its orbit. From there, they rewind to 1953’s CIA-sponsored Robertson Panel and its blunt talk about “training” and “debunking,” including the suggestion to use television and motion pictures and explicitly naming Disney as a partner. The episode then dives into the “two 1995 whoppers”: the wildly pro-UFO Tomorrowland lobby film Alien Encounters from New Tomorrowland (with lines that sound like a government briefing) and a two-week Disney UFO conference that flew in major speakers… yet apparently drew an audience of only about a dozen because Disney didn’t promote it at all, raising the question: what was it really for?

Then Bryce opens a personal Hollywood door: his mentor Bill Asher—TV comedy legend who unexpectedly directed the 1957 Cold War saucer morality play The 27th Day, built around abductees from rival nations handed world-ending capsules and forced into an “if they push first, do we?” dilemma. Asher’s Rat Pack proximity becomes more than name-dropping when Bryce recounts Bill’s firsthand JFK/Marilyn Monroe story: a July 1960 party at Peter Lawford’splace, JFK and Marilyn disappearing to the pool house for hours, returning with Marilyn wearing JFK’s shirt, and later JFK—drunk—stopping traffic on PCH shouting he’s going to be President, with Bill dispatched to haul him back inside before it hit the papers. Layered on top is the UFO whisper: Bill’s account of Sammy Davis Jr. describing “small silver discs” that hovered, darted, and then—Bill’s word—“poof!” vanished.

Finally, the episode lands on one of the strangest broadcast moments in UFO history: Major Donald Keyhoe on CBS’s Armstrong Circle Theatre in 1958, starting to “disclose” something never disclosed—only to have his mic cut while the camera stayed on him, leaving America watching his lips move in silence. Bryce reads what Keyhoe later said he’d been about to reveal—claims of working with a congressional committee on official secrecy and that open hearings would prove UFOs are “real… under intelligent control”—and then shares CBS’s chilling justification: the program had been “carefully cleared for security reasons,” and the network had to enforce “predetermined security standards.” It’s a perfect capstone for an episode about Disney, narrative power, and the eternal question: when it comes to UFOs, who gets to tell the story—and who gets to turn the sound off?

For more information: SoundLightFrequency.com

In&nbsp;&ldquo;Majic Kingdom,&rdquo;&nbsp;Bryce and Brent ask an uncomfortably fun question:&nbsp;why does Disney keep showing up in the UFO story?&nbsp;Bryce starts with the modern reality&mdash;Disney isn&rsquo;t a historical footnote, it&rsquo;s the&nbsp;current epicenter&nbsp;of alien storytelling, &ldquo;industrializing&rdquo; non-human intelligence across Disney+ through&nbsp;Marvel,&nbsp;Star Wars, and the Fox-era franchises in its orbit. From there, they rewind to&nbsp;1953&rsquo;s CIA-sponsored Robertson Panel&nbsp;and its blunt talk about &ldquo;training&rdquo; and &ldquo;debunking,&rdquo; including the suggestion to use&nbsp;television and motion pictures&nbsp;and explicitly naming&nbsp;Disney&nbsp;as a partner. The episode then dives into the &ldquo;two 1995 whoppers&rdquo;: the wildly pro-UFO Tomorrowland lobby film&nbsp;Alien Encounters from New Tomorrowland&nbsp;(with lines that sound like a government briefing) and a&nbsp;two-week Disney UFO conference&nbsp;that flew in major speakers&hellip; yet apparently drew an audience of only about a dozen because Disney&nbsp;didn&rsquo;t promote it at all, raising the question:&nbsp;what was it really for?
Then Bryce opens a personal Hollywood door: his mentor&nbsp;Bill Asher&mdash;TV comedy legend who unexpectedly directed the 1957 Cold War saucer morality play&nbsp;The 27th Day, built around abductees from rival nations handed world-ending capsules and forced into an &ldquo;if they push first, do we?&rdquo; dilemma. Asher&rsquo;s Rat Pack proximity becomes more than name-dropping when Bryce recounts Bill&rsquo;s&nbsp;firsthand JFK/Marilyn Monroe story: a July 1960 party at&nbsp;Peter Lawford&rsquo;splace, JFK and Marilyn disappearing to the pool house for hours, returning with Marilyn wearing JFK&rsquo;s shirt, and later JFK&mdash;drunk&mdash;stopping traffic on PCH&nbsp;shouting he&rsquo;s going to be President, with Bill dispatched to haul him back inside before it hit the papers. Layered on top is the UFO whisper: Bill&rsquo;s account of&nbsp;Sammy Davis Jr.&nbsp;describing &ldquo;small silver discs&rdquo; that hovered, darted, and then&mdash;Bill&rsquo;s word&mdash;&ldquo;poof!&rdquo;&nbsp;vanished.
Finally, the episode lands on one of the strangest broadcast moments in UFO history:&nbsp;Major Donald Keyhoe&nbsp;on CBS&rsquo;s&nbsp;Armstrong Circle Theatre&nbsp;in 1958, starting to &ldquo;disclose&rdquo; something never disclosed&mdash;only to have his&nbsp;mic cut while the camera stayed on him, leaving America watching his lips move in silence. Bryce reads what Keyhoe later said he&rsquo;d been about to reveal&mdash;claims of working with a congressional committee on official secrecy and that open hearings would prove UFOs are &ldquo;real&hellip; under intelligent control&rdquo;&mdash;and then shares CBS&rsquo;s chilling justification: the program had been &ldquo;carefully cleared for security reasons,&rdquo; and the network had to enforce &ldquo;predetermined security standards.&rdquo; It&rsquo;s a perfect capstone for an episode about Disney, narrative power, and the eternal question: when it comes to UFOs, who gets to tell the story&mdash;and who gets to turn the sound off?
For more information: <a href="SoundLightFrequency.com">SoundLightFrequency.com</a>

Has the U.S. government been conducting a slow-drip UFO disclosure campaign through Hollywood movies and television for more than 70 years? The new podcast Sound, Light & Frequency tackles that mind-blowing question through an ongoing investigation hosted by two Hollywood insiders: Bryce Zabel and Brent Friedman, both successful writer/producers with hundreds of credits. Bryce and Brent publicly share, for the first time, the full account of their surreal encounter with a “Man in Black” who offered them a deal to use their primetime alien-invasion drama series, Dark Skies, to spread UFO truths. Each episode takes listeners behind the scenes of iconic films and TV series, connecting what’s been portrayed on screen to what might be happening in real life—and asking whether other creators were offered “the deal,” too.

Has the U.S. government been conducting a slow-drip UFO disclosure campaign through Hollywood movies and television for more than 70 years? The new podcast Sound, Light &amp; Frequency&nbsp;tackles that mind-blowing question through an ongoing investigation hosted by two Hollywood insiders: Bryce Zabel and Brent Friedman, both successful writer/producers with hundreds of credits. Bryce and Brent publicly share, for the first time, the full account of their surreal encounter with a&nbsp;&ldquo;Man in Black&rdquo; who offered them a deal to use their primetime alien-invasion drama series, Dark Skies, to spread UFO truths. Each episode takes listeners behind the scenes of iconic films and TV series, connecting what&rsquo;s been portrayed on screen to what might be happening in real life&mdash;and asking whether other creators were offered &ldquo;the deal,&rdquo; too.

Sound, Light & Frequency 

Majic Kingdom

https://api.omny.fm/orgs/e73c998e-6e60-432f-8610-ae210140c5b1/clips/d09dc9e4-4639-4173-bde5-b42e00c45f2c/transcript