Art Bell announces that Bryce Zabel, the executive producer of “Dark Skies,” will be joining him. The conversation begins with a recent event where people from Los Angeles to San Francisco, including New Mexico, reported a mysterious green flash across the northern sky. Speculations range from a meteor to a reentering satellite, with no definitive answer from authorities like NASA or the FAA. The incident coincided with the show’s focus on the supernatural and unexplained, making it a fitting introduction to their guest.
Bell touches upon the reluctance to have Bryce on air during “Dark Skies” advertising, to avoid perceptions of an infomercial. With the advertising phase over, Bell feels comfortable addressing the audience’s curiosity about the show. Bryce shares the challenges of getting a TV series on air, especially one with unconventional material like UFOs, emphasizing the difficulty in maintaining a consistent vision amidst various external opinions.
The conversation shifts to the creation of “Dark Skies.” Bryce, along with co-creator Brant Friedman, decided to set the series in the past (the 1960s) as opposed to the present or future. This choice defined the show’s vision, aiming to intertwine UFO lore with historical events, offering a unique perspective on the genre.
=Bryce Zabel discusses the unification theory behind “Dark Skies,” aiming to interconnect various UFO-related phenomena like crop circles, animal mutilations, sky sightings, and abductions into one cohesive narrative. He acknowledges the show has already begun addressing these elements, such as crop circles, but admits that these episodes often raise more questions than they answer. Bryce and Art Bell emphasize that this approach has not been commonly seen in television series or films.
Art then mentions an interactive component of the show on America Online, where listeners can pose questions about “Dark Skies” in a chat room hosted by Art’s wife. This allows for real-time interaction and engagement with the audience, reflecting the show’s innovative approach to audience participation.
Bryce speaks about the extensive research that went into creating “Dark Skies.” Both he and his co-creator, Brant Friedman, have been long-time UFO enthusiasts and have a substantial collection of UFO-related materials. However, Bryce acknowledges the challenges of weaving together various theories and narratives in a coherent way, given the multitude of existing theories and counter-theories on UFOs.
The conversation shifts to Bryce’s background. He started in radio journalism in Eugene, Oregon, and was among the first correspondents for CNN, back when it was an emerging concept. He then transitioned into screenwriting, a move suggested by his wife, leading to his success in television. Bryce shares his journey from journalism to creating “Dark Skies,” highlighting the challenges and fortuitous events that shaped his career.
Bryce Zabel details the unique approach he and co-creator Brant Friedman took in pitching “Dark Skies” to NBC. They preemptively addressed potential skepticism about the longevity of a UFO-themed series by outlining five seasons’ worth of stories, dating from 75 million BC to 2008. This extensive planning was encapsulated in a classified-style briefing book, signaling their serious commitment to the project.
Zabel explains their ambitious plan to let the characters age in real time, starting from the 1960s and catching up to New Year’s Eve 1999 by the show’s end. This linear progression, unlike shows with time jumps, is designed to allow the audience to uncover the mystery alongside the characters.
Art Bell inquires about any government or military opposition to the show’s content. Bryce mentions that while there hasn’t been direct opposition, the show’s increasing profile has led to some ambiguous encounters, possibly hinting at government attention. The creators have had to navigate skepticism, particularly around their depiction of U.S. Naval Intelligence.
The discussion then turns to the portrayal of aliens in “Dark Skies.” Contrary to the friendly depiction in films like “Close Encounters of the Third Kind,” “Dark Skies” presents a more cautious and less benevolent view of extraterrestrial beings. Bryce emphasizes that, based on current UFO literature, the show adopts a stance of prudent skepticism towards these ‘visitors,’ suggesting they might be indifferent or even hostile towards humans. This perspective marks a significant departure from the more optimistic portrayals of aliens in previous media.
Bryce highlights how they prepared extensively to counter potential skepticism about the show’s viability, planning five seasons in advance and presenting a detailed timeline of events.
The conversation then shifts to a real-time event occurring during the show. Art Bell shares an unconfirmed report from Edwards Air Force Base about a green flash observed in the sky and subsequent mysterious events involving interceptors and glowing objects. Although the authenticity of the report is questionable, it adds a layer of intrigue and relevance to the discussion about “Dark Skies.”
Art plays a promotional advertisement for “Dark Skies,” emphasizing the show’s portrayal of a UFO crash and its impact on human history. The ad suggests that the series is revealing hidden truths through the medium of television. Bryce comments on this marketing strategy, noting that while the show is entertainment, it touches on themes of truth and government secrecy, resonating with the audience’s curiosity about UFOs and conspiracies.
Bryce reflects on the challenge of balancing dramatic storytelling with the pursuit of truth in a TV series. He acknowledges the limitations and responsibilities of a creative team in conveying complex and speculative topics like UFOs while maintaining a compelling narrative. This discussion highlights the fine line “Dark Skies” walks between fiction and the exploration of real-world mysteries.
Bryce Zabel emphasizes the entertainment aspect of “Dark Skies,” while acknowledging the potential truth underlying the UFO and alien interaction themes. He believes in the reality of events like Roswell, but clarifies that the show takes creative liberties, especially in episodes involving historical events and figures.
Bryce discusses the challenges of handling show spoilers and leaks in the digital age. Instead of being secretive, they choose to be more open about upcoming content, believing that this approach is more engaging for the audience. This attitude reflects their confidence in the show’s narrative and its ability to captivate viewers without relying on secrecy.
The conversation also touches on the difficulty of distinguishing fact from fiction in the UFO field. Art Bell and Bryce discuss how modern technology, like digital manipulation, makes it even harder to discern the truth, with Bryce citing examples from the show where they have used such techniques for storytelling purposes.
Furthermore, Bryce explains the creation of the character John Loengard, the protagonist of “Dark Skies.” This character has been in development since 1991, envisioned as a lone figure dedicated to uncovering and protecting the truth about UFOs. The character’s evolution and central role in the series highlight the show’s focus on a continuous narrative exploring UFO phenomena.
A fan’s fax expressing admiration for the show leads to a discussion about the ‘ganglion’ concept in “Dark Skies,” where parasites control the Grays and are now affecting humans. This idea adds a fresh and provocative twist to the alien narrative. Bryce acknowledges the mix of fact and fiction in the show, with each episode varying in its adherence to real events and reports.
Bryce explains how the show incorporates real events and people, like Betty and Barney Hill, into its narrative, adding a layer of authenticity to the fictional storyline. The show aims to fill in historical gaps with its interpretation of UFO-related events, without contradicting known facts.
Bryce addresses concerns about potentially muddying the waters of ufology with the show’s fictional elements. He believes that the series adds to the diverse perspectives on UFOs and encourages public dialogue on the topic. While acknowledging the potential for confusion, he feels that stimulating thought and discussion about UFOs is beneficial.
The decision to start the series in the 1960s, rather than immediately following the Roswell incident, was strategic. The 1960s, according to Bryce, offered a more colorful and respected context for discussing UFOs, transitioning from “flying saucers” and “little green men” to more serious discussions about extraterrestrials.
A significant fictional element in “Dark Skies” is the portrayal of a level three scenario at Roswell, where the U.S. government supposedly had a hostile encounter with extraterrestrials. Bryce admits there’s no factual basis for this narrative but emphasizes that the series explores alternative history as a dramatic genre, using creative license to propose different possibilities and provoke thought.
Bryce Zabel discusses the necessity of evolution and change in television series, using “Star Trek” as an example of a successful evolving series. He emphasizes that “Dark Skies” is designed to evolve, with growth and change built into its framework. The series is expected to adapt over time, with the characters developing and the storyline progressing.
Art Bell and Bryce then discuss the ganglion, a metaphorical and physical element in “Dark Skies” representing mind control. The ganglion, a creature effect in the series, symbolizes more than just a physical entity; it can also be interpreted as a representation of the manipulation and control that are central themes in the show.
The conversation shifts to real-time events happening alongside the show. Art Bell updates listeners on reports of a mysterious green flash seen across the sky from Los Angeles to San Francisco, and even as far as Fairbanks, Alaska. This real-world phenomenon parallels the themes of “Dark Skies,” blurring the lines between the show’s fiction and real-life mysterious events.
Bryce reflects on how the series begins with the Roswell incident, highlighting the public’s skepticism towards official explanations of such events. He notes the public’s readiness to question and doubt official reports, a theme that resonates with the series’ exploration of government secrecy and UFO phenomena.
Bryce Zabel discusses aspects of “Dark Skies,” including the alien rejection matrix and HRT (Human Rejection Technique), which are fictional elements within the series. He also expresses his interest in incorporating real-life mysteries, such as the face on Mars, into the storyline.
Listeners call in with questions and comments, showing their engagement with the show. One caller from Victorville, California, inquires about a military installation in Winnemucca, to which Bryce doesn’t have any information. Another caller from North Carolina mentions the unfortunate timing of a hurricane affecting the show’s premiere in his area, leading to a discussion about rerunning episodes and accessing them online.
A caller from Los Angeles congratulates Bryce on the success of “Dark Skies” and suggests he look into a segment from the “Century of Warfare” series for potential inclusion in the show. These interactions highlight the show’s resonance with viewers and their eagerness to engage with its content, blending real-world events and conspiracy theories with fictional narratives.
Art Bell and Bryce also discuss practical aspects of television production, like ensuring viewers can catch up on missed episodes through saga cells (recaps) and reruns. This reflects the show’s commitment to maintaining accessibility and continuity for its audience.
Zabel discusses various aspects of “Dark Skies,” including the special effects and the show’s title. He explains the complexity and time-consuming nature of creating the ganglion scenes, which involve a mix of puppets, computer-generated effects, and practical effects. These scenes are crucial to the show’s narrative and aim to provide a realistic portrayal of the fictional alien entity.
The conversation then shifts to the origin of the show’s title, “Dark Skies.” Bryce credits his partner, Brant Friedman, for the idea. The title signifies the resistance that forms in 1996, coinciding with the airing of the TV series, and serves as a code word within the show’s narrative.
Art Bell shares his personal UFO sighting, describing it as a life-changing experience. Bryce responds by discussing the dichotomy in UFO sightings: either they are advanced government technology or extraterrestrial in origin. He mentions that while he hasn’t had a significant UFO sighting himself, he knows credible individuals who have had such experiences.
Listeners call in to share their thoughts on the show. One caller from Denver compliments the intelligent nature of “Dark Skies” and its similarity to the faction style of the JFK movie. These interactions illustrate the audience’s engagement with the show and their appreciation for its thoughtful approach to the subject matter.
Bryce Zabel discusses the progression of “Dark Skies” through the 1960s and plans to move into the 1970s. He mentions the possibility of incorporating the UFO influence on disco music, reflecting the show’s intent to blend historical events and popular culture with its UFO narrative.
Zabel talks about the show’s ratings and demographic success, particularly among adults aged 18 to 49, indicating NBC’s satisfaction with the show’s performance. He also notes the multi-generational appeal of “Dark Skies,” with different age groups finding various aspects of the show appealing, from special effects and historical settings to more profound thematic elements.
The conversation shifts to the show’s use of music and other period-specific elements like clothing and cars to authentically represent the 1960s. This attention to detail helps transport viewers to that era, whether they experienced it firsthand or are learning about it through the show.
Art Bell and Bryce then discuss the upcoming portrayal of significant events like the Watergate scandal in future episodes. Bryce hints at revealing the identity of “Deep Throat,” a key figure in the Watergate scandal, in the show. He acknowledges the blend of truth and fiction in the series, leaving it to viewers to discern the elements of truth in their fictional depiction.
Bryce Zabel emphasizes that while it’s impossible to feature high-profile events like Roswell and JFK every week, the development of the show’s world and characters will keep viewers engaged. Zabel shares plans to cover the late sixties through the end of Watergate in future seasons.
Zabel also addresses the show’s ratings, demographic success, and the importance of appealing to multiple generations. He highlights how “Dark Skies” uses music, set decorations, and period-specific elements like clothing and cars to authentically represent the 1960s, enhancing the viewer experience.
A caller from Redding, California, asks about Zabel’s background, leading to a discussion about his early career as a TV weatherman and his work on the “Lois & Clark: The New Adventures of Superman” series. Zabel shares insights into the creative process of television, including the development of scripts and the difficulty of getting a show on air.
The conversation shifts to the financial aspects of TV production, with Zabel explaining the budget constraints and challenges faced by “Dark Skies.” He notes that while successful shows may have more leeway with budgets, “Dark Skies” currently operates within a fixed budget.
Zabel comments on recent developments in the Superman comics, specifically Superman’s marriage to Lois Lane. He reflects on the need for characters in TV and comics to evolve and grow, underscoring the importance of character development in storytelling.
A caller from Portland inquires about the JFK-Roswell connection and Dorothy Kilgallen, a journalist who reported on the UFO crash and the Kennedy assassination. Zabel reveals that Kilgallen is a significant character in “Dark Skies,” tying her mysterious death to a larger conspiracy within the show’s universe.
Zabel also discusses the challenges of developing a TV series, including casting decisions and developing storylines. He shares that Jack Ruby, known for assassinating Lee Harvey Oswald, has become a more prominent character in the show, exploring his mysterious actions and statements.
The conversation then shifts to potential storylines for future episodes. Zabel expresses interest in exploring the Apollo space program, specifically a fictional Apollo 18 mission. This is in line with the show’s theme of blending historical events with speculative fiction. He mentions a planned episode titled “Mercury Rising,” dealing with secret operations within NASA and a secret moon base, reflecting the show’s commitment to intriguing and unconventional narratives.
A caller from Wichita asks about incorporating events like the Apollo 13 mission into the show. Zabel explains that while “Dark Skies” seeks unique angles for well-known historical events, they are more likely to explore lesser-known aspects, like a hypothetical Apollo 18 mission, to maintain originality and intrigue.
A caller from Portland, Oregon, brings up the JFK-Roswell connection and journalist Dorothy Kilgallen, who will be a significant character in the show. Zabel reveals plans for a storyline involving Kilgallen’s investigation into JFK’s assassination and her mysterious death, linking it to the New York power blackout and a UFO crash.
Zabel discusses the challenge of maintaining viewers’ interest, emphasizing the need for unpredictability and variety in the show’s narratives. He hints at exploring more than one alien species and delving into the idea of a creator or higher power in relation to the alien presence.
A caller from California asks about the possibility of divine beings being mistaken for aliens. Zabel expresses that the show will tackle questions about God and creation, suggesting that the series will explore profound existential themes alongside its sci-fi and historical elements.
The conversation also touches on practical aspects of TV production. Zabel talks about the two-week hiatus for “Dark Skies” due to baseball broadcasting, acknowledging NBC’s support despite the scheduling conflict.
Art Bell brings up his recent experience receiving potential extraterrestrial artifacts, and Zabel expresses interest in this, noting the importance of such discoveries. Zabel teases that there are significant developments related to “Dark Skies” that he cannot yet discuss.
Bryce addresses the challenges and decisions involved in creating a TV series that blends historical events with science fiction elements.
Zabel talks about the use of special effects in the show, particularly the creation of the ganglion, and the reactions it has elicited from viewers. He emphasizes the importance of balancing what the audience wants with the creative vision of the show.
A discussion ensues about the authenticity of the Alien Autopsy film, with Zabel sharing an anecdote about encountering someone who claimed to have been approached to work on the special effects for the film. This leads to a broader conversation about the capabilities and limitations of special effects in television.
Listeners call in with various questions and theories. One caller from Kansas City brings up George Adamski and the possibility of a connection to the Nazi regime. Zabel responds by sharing that one of the backup scripts for “Dark Skies” explored the idea of a Nazi connection to a UFO sighting in New Mexico, but this idea was ultimately deemed too outrageous by studio executives.
Zabel also provides insights into the production process, mentioning that they are currently shooting the sixth episode of the series. He explains the post-production work required for a show like “Dark Skies,” which involves extensive special effects.
Bryce Zabel talks about the difficulty of creating a TV series that balances audience expectations with creative vision. Zabel highlights the effort to produce high-quality episodes quickly, noting that they had to rewrite and reshoot an episode to ensure it met their standards.
The conversation also touches on the broader cultural context in which “Dark Skies” exists. Zabel points out that there’s been a growing interest in paranormal and conspiracy-related content, partly due to increased public skepticism towards government actions and disclosures. This atmosphere makes shows like “Dark Skies” particularly relevant and intriguing to audiences.
Listeners call in with various questions. One caller from Sacramento asks about incorporating figures like Billy Meier and topics like the Great Pyramids into the show. Zabel confirms that they plan to include these elements, expanding the show’s focus beyond the United States to a global perspective. He also assures that the show will address the phenomenon of crop circles, acknowledging their complexity and the challenge of providing a unique explanation within the show’s narrative.
Another caller questions the show’s portrayal of the crop circle phenomenon. Zabel shares his experience of creating a crop circle for the show, emphasizing the difficulty and time it took, which lends credence to the mystery surrounding real crop circles.
Bryce Zabel shares that an episode focusing on Kennedy was initially rejected due to concerns about audience interest, leading to the creation of a different episode. However, the team eventually revisited the Kennedy theme, merging it with the Roswell situation in a later episode.
Zabel also addresses the possibility of a crossover with other series like “The Pretender” and “The X-Files.” He notes that while NBC has considered such crossovers, practical and creative challenges, including different production companies and networks, make them unlikely. He mentions that “The X-Files” had a successful crossover with “Picket Fences” because both were produced by Fox Television.
Listeners call in with various questions, including one from Spokane who expresses appreciation for both “The X-Files” and “Dark Skies.” The caller inquires about incorporating sightings reported by astronauts into the show. Zabel confirms that such events will be included, indicating that the series will explore a wide range of UFO-related phenomena.
Another caller asks about actor J.T. Walsh, who plays a character in “Dark Skies.” Zabel praises Walsh’s performance and notes his two-year contract with the show, expressing hope that Walsh will continue beyond that period.
The conversation also touches on recent news of a mysterious flash seen in the sky, possibly a reentering satellite or comet fragment. This real-world event parallels the themes of “Dark Skies,” highlighting the show’s relevance to contemporary astronomical and extraterrestrial phenomena.
Bryce Zabel discusses the creative choices and challenges faced while producing “Dark Skies.” He mentions the need to adapt and rewrite scripts based on network feedback, like altering an episode about Kennedy due to concerns about audience interest.
Zabel also touches on the possibility of incorporating themes like remote viewing into the show. He notes the challenge of staying true to the series’ time frame (the 1960s) while exploring concepts that became more prominent in later decades, like remote viewing, which gained public attention in the 1970s. He suggests that they might introduce these concepts earlier in the show’s timeline for narrative purposes.
A caller from Tucson asks about a specific scene in the first episode of “Dark Skies,” where the main character John finds a gold plate in a crop circle. Zabel explains that the plate contains a symbol significant to the show’s storyline.
Another caller points out a potential continuity error regarding a character’s background and his relationship with President Eisenhower. Zabel clarifies this by explaining the different contexts in which the character was appointed and the evolving power dynamics within the show’s narrative.
Zabel also discusses the broader implications of keeping secrets like the existence of MJ-12 (Majestic 12), especially in the context of historical events like World War II and the Cold War. He reflects on the difficult decisions that leaders might face when dealing with unknown extraterrestrial phenomena.
Zabel discusses the philosophical and ethical considerations behind keeping secrets like those allegedly held by Majestic 12. He expresses a personal belief in the public’s right to know, acknowledging that others might argue the public can’t handle the truth, as seen in reactions to the Orson Welles “War of the Worlds” broadcast.
The conversation also delves into whether “Dark Skies” is helping or hurting the public’s perception of extraterrestrial life. Zabel believes the show and discussions like the one on the radio contribute positively by advancing dialogue beyond just the storyline to broader discussions about the reality of UFOs.
Listeners call in with various questions. One inquires about the influence of Art Bell’s guests on “Dark Skies.” Zabel indicates an openness to incorporating elements from Bell’s show into “Dark Skies.” Another listener from Florida asks if there will be an episode featuring a radio talk show host, to which Zabel responds positively, seeing it as a flexible and interesting concept.
Zabel also mentions an upcoming web project called “The Dark Site,” which will allow users to explore Majestic 12 and UFO analysis, further blurring the lines between the show’s fiction and real-world UFO lore.
A caller from Fresno highlights the show’s connection to his city, noting that “Dark Skies” character John Loengard is from Fresno and discussing other pop culture references to the city.
Bryce Zabel addresses a caller’s query about the show’s treatment of topics like genetic manipulation and ancient alien theories, indicating that the show will explore a broad framework that extends into the past and future.
Zabel also responds to a caller from Los Angeles who witnessed a fireball in the sky, reflecting the show’s alignment with real-world astronomical events and public interest in such phenomena.
The discussion then turns to audience interaction and feedback. Zabel emphasizes the importance of engaging with the show’s viewers, noting the potential for feedback through the NBC website and other channels. He, however, expresses caution about accepting story ideas due to legal concerns.
Art Bell and Zabel discuss the upcoming launch of “The Dark Site,” an interactive website related to “Dark Skies,” which will allow users to delve into the world of Majestic 12 and UFO analysis. Zabel stresses his openness to feedback while being mindful of the litigious nature of receiving unsolicited story ideas.
As the conversation concludes, Art Bell expresses interest in having Zabel return to the show as “Dark Skies” develops, highlighting the strong connection between the series and the themes explored in Bell’s program.
A caller claiming to be an alien from 175 light years away engages with Art Bell, discussing their purpose on Earth. According to the caller, their mission is to explain human existence and aid in humanity’s spiritual development. They claim that humanity was genetically manipulated by extraterrestrials and talk about the importance of the Amanita Muscaria mushroom in human history.
The caller also mentions specific upcoming events, such as landings and gatherings, supposedly part of their extraterrestrial agenda. They suggest that humans should seek high ground on specific dates for significant occurrences.
Art Bell responds to this narrative with a mix of intrigue and skepticism, reflecting on the caller’s claims in light of previous discussions on the show. He links these claims to other callers’ predictions about water problems along the West Coast.
One caller, who didn’t adhere to the ‘alien-only’ line, describes seeing a fireball in Hawaii.
The discussion shifts to more down-to-earth matters, with callers asking about “Dark Skies” and its portrayal of UFOs and the Kennedy assassination. One caller appreciates the show’s entertainment value, while another emphasizes the importance of not taking it too literally in terms of UFOlogy.
Art Bell and his callers also discuss the idea of humanity’s destiny among the stars and the philosophical implications of such a future. The conversation reflects a mix of belief systems and viewpoints, ranging from scientific to spiritual.
One caller, ostensibly from Mars, claims to be on Earth to “straighten out things.” This caller humorously refers to themselves as “Purvis” and says listeners can call them “God,” which Art Bell responds to with skepticism.
Art Bell also fields calls from listeners discussing Giant Rock in California, a location with a history of UFO activity and significance in UFO culture. One caller reminisces about visiting the site and its association with the Integratron structure, known for its connections to ufology and George Van Tassel.
The show continues with more callers on the alien line, including one who asserts they are writing about Earth and its inhabitants from an extraterrestrial perspective. This caller, claiming to have written over 250 books, says they plan to leave all the profits to people on Earth after they pass away, as they don’t know how to return to their planet.
One caller, claiming to be an alien, asserts they are stuck on Earth and can’t return to their planet. They describe themselves as half human and half alien in spirit. The caller’s use of the term “earther” prompts a humorous exchange with Art Bell about the political correctness of the term.
Another caller, also claiming to be an alien, says they are here to “straighten out things on Earth.” This caller introduces themselves as “Purvis” but also says they can be called “God.” Bell responds with skepticism to these fantastical claims.
Further calls include an alien discussing encrypted messages sent in crop circles and the pyramids of Giza, suggesting a hidden communication with Earth’s governments. Another caller claiming to be an alien promotes their philosophy and books, insisting they take no compensation for their work.
One caller provides a 20-year-old story about witnessing a green flash in the sky, similar to recent sightings discussed on the show. This story adds to the ongoing discussion about mysterious aerial phenomena and their potential connections to extraterrestrial activity.
One caller discusses sleep paralysis in relation to UFO encounters, asserting that extraterrestrials induce a sleep state in individuals during abductions. This caller claims to be a contactee who has had multiple encounters with human-looking extraterrestrials.
Another caller claims to receive knowledge through mind implants from alien cultures. This individual discusses their interpretation of the Book of Ezekiel and the Book of Revelation, suggesting a simple understanding of these texts.
Art Bell also speaks with a former dispatcher from Chico, California, who recalls an incident where a woman reported a plane going down, linking it to missile launches from Vandenberg Air Force Base. However, the dispatcher clarifies that this particular incident involved an object coming down, not a missile going up.
A caller corrects Art Bell on how the rock was proven to be from Mars, explaining that it was identified based on its chemical composition, which matched samples from Mars obtained during earlier missions.
The conversation then delves into the Hollow Earth theory, with speculation about beings living beneath the Earth’s surface. A caller suggests that these beings might not come to the surface due to their body density being different from ours, potentially making it uncomfortable or impossible for them to exist on the surface.
Art Bell also talks to a ham radio operator who communicates with the Mir space station. This caller discusses the enjoyment of speaking with astronauts aboard Mir and the possibility of observing future celestial events.
The show concludes with Art Bell mentioning an upcoming segment on reverse speech, continuing the theme of exploring various unexplained phenomena and theories.