For thirty years, Bryce Zabel and Brent Friedman have held onto a mysterious artifact from the night Dark Skies premiered: a formula written on the back of a bank deposit envelope by a party crasher who said he was from the Office of Naval Intelligence. He called it “Sound, Light & Frequency” — the “Secrets of the Universe.” Now, for the first time, they are releasing the original Formula publicly.

In this landmark episode, Bryce and Brent retrace how the Formula came into their possession, reveal it in full, and explain where their investigation has led them — what they believe the symbols may represent, why someone claiming to be from Naval Intelligence might have wanted them to see it, and whether understanding the Formula makes that extraordinary encounter seem more or less credible. Then the investigation changes hands. The Formula is now available for anyone to examine, analyze, challenge and interpret. After thirty years, the wait is over — and the larger conversation can begin.

To learn more: www.SoundLightFrequency.com

For thirty years, Bryce Zabel and Brent Friedman have held onto a mysterious artifact from the night&nbsp;Dark Skies&nbsp;premiered: a formula written on the back of a bank deposit envelope by a party crasher who said he was from the Office of Naval Intelligence. He called it &ldquo;Sound, Light &amp; Frequency&rdquo; &mdash; the &ldquo;Secrets of the Universe.&rdquo; Now, for the first time, they are releasing the original Formula publicly.
In this landmark episode, Bryce and Brent retrace how the Formula came into their possession, reveal it in full, and explain where their investigation has led them &mdash; what they believe the symbols may represent, why someone claiming to be from Naval Intelligence might have wanted them to see it, and whether understanding the Formula makes that extraordinary encounter seem more or less credible. Then the investigation changes hands. The Formula is now available for anyone to examine, analyze, challenge and interpret. After thirty years, the wait is over &mdash; and the larger conversation can begin.
To learn more:&nbsp;<a href="http://www.soundlightfrequency.com/" data-ogsc="">www.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

Secrets of the Universe: The Formula Reveal

https://api.omny.fm/orgs/e73c998e-6e60-432f-8610-ae210140c5b1/clips/a244fdcd-eb18-415a-8488-b4c6015ffdeb/transcript

What happens when the creators of two UFO television series compare notes on how to turn the phenomenon into drama? Bryce Zabel and Brent Friedman welcome their friend David O’Leary, creator, writer and executive producer of History’s Project Blue Book, for a conversation about two shows that feel almost like secret-history bookends. Project Blue Book lives in the 1950s; Dark Skies begins in the 1960s. Both combine real people, authentic UFO cases and government secrecy with dramatic license—and, strangely enough, both produced exactly twenty hours of television. From J. Allen Hynek and Edward Ruppelt to Majestic-12, Roswell and the Washington UFO wave, three UFO TV creators finally get to talk shop. 

O’Leary also reveals just how personal his interest in the unexplained has always been. Long before creating Project Blue Book, he studied cognitive science at Vassar and conducted a sensory-deprivation telepathy experiment for his thesis. After selling the series, he had his own startling UFO sighting—a glowing green object moving through the trees above his Los Angeles neighborhood—and says strange synchronicities continued throughout production. He takes Bryce and Brent inside the making of the show: its balance between authenticity and accuracy, the decision to dramatize real cases without pretending to be a documentary, Robert Zemeckis’s involvement, Steven Spielberg’s notes on the Close Encounters episode, and the remarkable access O’Leary had to Hynek’s family and the last surviving director of the real Project Blue Book. 

Then the conversation moves from television history into the mystery itself. O’Leary discusses what he now believes the real Project Blue Book represented, why Roswell still convinces him, his views on Majestic-12, Foo Fighters and UFO interest in nuclear weapons, and why he suspects there may be several different intelligences or mechanisms behind the phenomenon—from extraterrestrials and artificial intelligence to interdimensional contact, time travel and consciousness itself. He also reveals where an unproduced third season would have gone: a global 1954 UFO wave, Stonehenge, Europe and the recovery of Michael Quinn after his extraordinary underwater encounter. It’s Project Blue Book and Dark Skiessharing the same table—and discovering just how much strange territory they have in common. 

To learn more: www.SoundLightFrequency.com

What happens when the creators of two UFO television series compare notes on how to turn the phenomenon into drama? Bryce Zabel and Brent Friedman welcome their friend&nbsp;David O&rsquo;Leary, creator, writer and executive producer of History&rsquo;s&nbsp;Project Blue Book, for a conversation about two shows that feel almost like secret-history bookends.&nbsp;Project Blue Book&nbsp;lives in the 1950s;&nbsp;Dark Skies&nbsp;begins in the 1960s. Both combine real people, authentic UFO cases and government secrecy with dramatic license&mdash;and, strangely enough, both produced exactly twenty hours of television. From J. Allen Hynek and Edward Ruppelt to Majestic-12, Roswell and the Washington UFO wave, three UFO TV creators finally get to talk shop.&nbsp;
O&rsquo;Leary also reveals just how personal his interest in the unexplained has always been. Long before creating&nbsp;Project Blue Book, he studied cognitive science at Vassar and conducted a sensory-deprivation telepathy experiment for his thesis. After selling the series, he had his own startling UFO sighting&mdash;a glowing green object moving through the trees above his Los Angeles neighborhood&mdash;and says strange synchronicities continued throughout production. He takes Bryce and Brent inside the making of the show: its balance between authenticity and accuracy, the decision to dramatize real cases without pretending to be a documentary, Robert Zemeckis&rsquo;s involvement, Steven Spielberg&rsquo;s notes on the&nbsp;Close Encounters&nbsp;episode, and the remarkable access O&rsquo;Leary had to Hynek&rsquo;s family and the last surviving director of the real Project Blue Book.&nbsp;
Then the conversation moves from television history into the mystery itself. O&rsquo;Leary discusses what he now believes the real Project Blue Book represented, why Roswell still convinces him, his views on Majestic-12, Foo Fighters and UFO interest in nuclear weapons, and why he suspects there may be several different intelligences or mechanisms behind the phenomenon&mdash;from extraterrestrials and artificial intelligence to interdimensional contact, time travel and consciousness itself. He also reveals where an unproduced third season would have gone: a global 1954 UFO wave, Stonehenge, Europe and the recovery of Michael Quinn after his extraordinary underwater encounter. It&rsquo;s&nbsp;Project Blue Book&nbsp;and&nbsp;Dark Skiessharing the same table&mdash;and discovering just how much strange territory they have in common.&nbsp;
To learn more:&nbsp;<a href="http://www.soundlightfrequency.com/" data-ogsc="">www.SoundLightFrequency.com</a>

Project Blue Book: UFO TV Creators Talk Shop

https://api.omny.fm/orgs/e73c998e-6e60-432f-8610-ae210140c5b1/clips/e3a726a7-52a9-4842-a10e-b4c0011202ff/transcript

For more than thirty years, The X-Files has been one of the most influential television shows ever made about UFOs, alien abduction, government secrecy and the possibility that extraterrestrials are already here. In this episode of Sound, Light & Frequency, Bryce Zabel and Brent Friedman go back inside the mythology of Mulder and Scully to ask a deceptively simple question: what did The X-Files actually say was going on? The answer involves real aliens, a secret Syndicate, abductions, genetic experiments, alien-human hybrids, black oil, rival extraterrestrial factions, government infiltration—and a conspiracy so layered that even Mulder is constantly mistaking disclosure for disinformation. 

But the bigger question is the one Bryce and Brent have been asking all season: did Hollywood borrow the UFO story from UFOlogy, or did UFOlogy eventually start borrowing it back from Hollywood? Much of what The X-Filesdramatized—crash retrievals, MJ-12-style secrecy, alien bodies, implants, reverse engineering, government disinformation and abduction lore—was already circulating before the show premiered in 1993. Yet decades later, some of the same ideas are being discussed by whistleblowers, former intelligence officials and members of Congress. So was The X-Files simply a brilliant synthesis of existing UFO mythology, or did its enormous cultural impact help shape the way modern people now understand the phenomenon? 

Along the way, Bryce and Brent revisit the show's Emmy breakthrough, its influence on prestige science fiction, Chris Carter's relationship to the UFO subject, and the intriguing claims of former AFOSI officer Richard Doty about his own involvement with the series. They also compare The X-Files with Dark Skies, reflect on what each show did differently, and look ahead to Ryan Coogler's new incarnation of the franchise. In the end, one thing seems certain: with The X-Files, the truth may indeed be out there—but it has never been simple. 

To learn more: www.SoundLightFrequency.com

For more than thirty years,&nbsp;The X-Files&nbsp;has been one of the most influential television shows ever made about UFOs, alien abduction, government secrecy and the possibility that extraterrestrials are already here. In this episode of&nbsp;Sound, Light &amp; Frequency, Bryce Zabel and Brent Friedman go back inside the mythology of Mulder and Scully to ask a deceptively simple question:&nbsp;what did&nbsp;The X-Files&nbsp;actually say was going on?&nbsp;The answer involves real aliens, a secret Syndicate, abductions, genetic experiments, alien-human hybrids, black oil, rival extraterrestrial factions, government infiltration&mdash;and a conspiracy so layered that even Mulder is constantly mistaking disclosure for disinformation.&nbsp;
But the bigger question is the one Bryce and Brent have been asking all season:&nbsp;did Hollywood borrow the UFO story from UFOlogy, or did UFOlogy eventually start borrowing it back from Hollywood?&nbsp;Much of what&nbsp;The X-Filesdramatized&mdash;crash retrievals, MJ-12-style secrecy, alien bodies, implants, reverse engineering, government disinformation and abduction lore&mdash;was already circulating before the show premiered in 1993. Yet decades later, some of the same ideas are being discussed by whistleblowers, former intelligence officials and members of Congress. So was&nbsp;The X-Files&nbsp;simply a brilliant synthesis of existing UFO mythology, or did its enormous cultural impact help shape the way modern people now understand the phenomenon?&nbsp;
Along the way, Bryce and Brent revisit the show's Emmy breakthrough, its influence on prestige science fiction, Chris Carter's relationship to the UFO subject, and the intriguing claims of former AFOSI officer Richard Doty about his own involvement with the series. They also compare&nbsp;The X-Files&nbsp;with&nbsp;Dark Skies, reflect on what each show did differently, and look ahead to Ryan Coogler's new incarnation of the franchise. In the end, one thing seems certain: with&nbsp;The X-Files, the truth may indeed be out there&mdash;but it has never been simple.&nbsp;
To learn more:&nbsp;<a href="http://www.soundlightfrequency.com/" data-ogsc="">www.SoundLightFrequency.com</a>

The X-Files: The Truth Is Complicated

https://api.omny.fm/orgs/e73c998e-6e60-432f-8610-ae210140c5b1/clips/fd391299-b9bb-430e-8a72-b4b9012b5bc9/transcript

What happens when ET walks into a bar—and everybody laughs? Bryce Zabel and Brent Friedman set out to explore the history of aliens as comedy, only to make an unexpected discovery: some of the funniest extraterrestrials in television and movies have been carrying surprisingly serious UFO ideas with them for more than sixty years. It begins with the 1963 sitcom My Favorite Martian, whose pilot contains an Air Force aerospace test, an anomalous radar encounter, official suppression, a crashed spacecraft, a living non-human occupant, telepathy and an alien hiding in plain sight. Even stranger, Bryce discovers that the fictional X-15 encounter followed only months after a real X-15 pilot reported seeing something unexplained at nearly 60 miles altitude.

From there, Bryce and Brent follow the alien comedy trail through Mork & Mindy, ALF, the Coneheads, 3rd Rock from the Sun, Men in Black, Paul, People of Earth, Resident Alien and SNL’s hilarious alien-abduction sketches. Along the way, a pattern emerges. Early alien comedy made extraterrestrials safe by turning them into eccentric houseguests and cultural anthropologists. Later stories became increasingly comfortable with the real language of the Phenomenon: abductions, missing time, Grays, government investigators, crash retrievals, memory suppression, secret programs and entire taxonomies of non-human beings.

So was Hollywood merely reflecting a growing UFO mythology—or helping create the vocabulary through which we now understand it? From My Favorite Martian giving America permission to laugh at aliens during the era of Betty and Barney Hill, to Men in Black turning secret-keepers into heroes, to Paul literally joking that an alien has been feeding UFO lore to Hollywood for decades, this episode asks whether comedy may be the perfect delivery system for extraordinary ideas: the truth, wrapped in a joke.

To learn more: www.SoundLightFrequency.com

What happens when&nbsp;ET walks into a bar&mdash;and everybody laughs?&nbsp;Bryce Zabel and Brent Friedman set out to explore the history of aliens as comedy, only to make an unexpected discovery: some of the funniest extraterrestrials in television and movies have been carrying surprisingly serious UFO ideas with them for more than sixty years. It begins with the 1963 sitcom&nbsp;My Favorite Martian, whose pilot contains an Air Force aerospace test, an anomalous radar encounter, official suppression, a crashed spacecraft, a living non-human occupant, telepathy and an alien hiding in plain sight. Even stranger, Bryce discovers that the fictional X-15 encounter followed only months after a real X-15 pilot reported seeing something unexplained at nearly 60 miles altitude.
From there, Bryce and Brent follow the alien comedy trail through&nbsp;Mork &amp; Mindy,&nbsp;ALF, the&nbsp;Coneheads,&nbsp;3rd Rock from the Sun,&nbsp;Men in Black,&nbsp;Paul,&nbsp;People of Earth,&nbsp;Resident Alien&nbsp;and SNL&rsquo;s hilarious alien-abduction sketches. Along the way, a pattern emerges. Early alien comedy made extraterrestrials safe by turning them into eccentric houseguests and cultural anthropologists. Later stories became increasingly comfortable with the real language of the Phenomenon: abductions, missing time, Grays, government investigators, crash retrievals, memory suppression, secret programs and entire taxonomies of non-human beings.
So was Hollywood merely reflecting a growing UFO mythology&mdash;or helping create the vocabulary through which we now understand it? From&nbsp;My Favorite Martian&nbsp;giving America permission to laugh at aliens during the era of Betty and Barney Hill, to&nbsp;Men in Black&nbsp;turning secret-keepers into heroes, to&nbsp;Paul&nbsp;literally joking that an alien has been feeding UFO lore to Hollywood for decades, this episode asks whether comedy may be the perfect delivery system for extraordinary ideas:&nbsp;the truth, wrapped in a joke.
To learn more: <a href="http://www.soundlightfrequency.com/" data-ogsc="">www.SoundLightFrequency.com</a>

ET Walks Into a Bar

https://api.omny.fm/orgs/e73c998e-6e60-432f-8610-ae210140c5b1/clips/d4510648-425f-482f-8f4a-b4b10113877f/transcript

Secrets of the Universe: The Formula Reveal

Sound, Light & Frequency

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