The December 23, 1998, episode of Coast to Coast AM hosted by Art Bell opens with the announcement of Robert Kiviat’s involvement and a fascinating focus on UFO-related content. Art discusses the debut of a UFO video from North Bay, Ontario, which he described as one of the most compelling pieces of evidence he’s encountered, now available on his website. Despite uncertainty about its authenticity, the video’s quality and accompanying audio captivate the audience. Art also highlights another UFO incident, involving a Derbyshire woman who reportedly sold footage of a flying saucer to Hollywood for $20,000, attracting attention from NASA due to similarities with earlier sightings during a space shuttle mission.
Art introduces Robert Kiviat, known for producing high-profile mysteries, including work on Unsolved Mysteries and Encounters. Robert shares his background and the journey of creating compelling UFO narratives that garnered substantial ratings and media attention.
Robert Kiviat’s discussion on this segment of Coast to Coast AM delves deeper into his storied career, highlighting the success of his productions like Alien Autopsy: Fact or Fiction and UFOs: The Best Evidence Ever Caught on Tape. These projects, which became benchmarks in reality TV specials, brought UFO phenomena to mainstream media with massive viewership. Robert explains how his company pursues unexplained phenomena and meticulously analyzes such cases, blending investigative journalism with entertainment. He mentions the Derbyshire UFO video, emphasizing the importance of evaluating the provenance of evidence and determining its authenticity, likening it to validating artwork in a museum.
Art and Robert explore the skepticism around anonymous submissions, acknowledging how the media often overlooks cases lacking solid backstories. Despite this, Kiviat focuses on extraordinary footage that provokes reactions of disbelief or awe, even when it lacks definitive proof. The Derbyshire video, he notes, emerged during a wave of sightings in the UK, aligning with patterns seen in places like Gulf Breeze and Mexico City, further underscoring its significance.
Robert Kiviat continues discussing the Derbyshire UFO video, describing its striking clarity and the sequence it captures—a structured craft seemingly approaching, retreating, and hovering in patterns that suggest intelligent movement. He emphasizes the unique visual aspects of the video, including pulsing color changes and structural consistency that challenge the notion of camera artifacts. Experts consulted so far appear unable to debunk the footage, lending it credibility.
Art and Robert delve into parallels with NASA footage previously aired on FOX, which showcased glowing, disc-like UFOs captured during a space tether incident. These objects exhibited a “bite-shaped” notch and pulsing central circle—features echoed in the Derbyshire video. They discuss the implications of these similarities, including the potential scale of the phenomena, with objects possibly miles wide based on their apparent distance and relative motion in NASA’s footage. Kiviat highlights efforts to involve NASA in addressing these unexplained sightings, pushing for transparency and a closer examination of these recurring patterns.
Art and Robert Kiviat continue discussing the similarities between NASA’s UFO footage and the Derbyshire video. Kiviat criticizes the explanations often given for such sightings, such as ice particles or camera artifacts, pointing out that many experts—both on and off the record—have struggled to explain these phenomena logically. He highlights the Derbyshire video’s remarkable details, such as structure, apparent exhaust areas, and consistency in shape and behavior, challenging the notion that it could be a hoax.
The discussion shifts to the Derbyshire housewife who captured the footage. Her account suggests she noticed something unusual while watching television, prompting her to film it with a camcorder. The resulting six-minute video documents a craft moving erratically, emitting pulsing lights. Art and Robert also reflect on past UFO-related footage, such as the “Guardian” video, which was anonymously submitted and remains a mystery despite significant research. Kiviat emphasizes the challenges of establishing provenance in such cases, but the compelling nature of the footage often speaks for itself.
Robert Kiviat reflects on the challenges of anonymous UFO submissions, stressing the importance of evaluating such footage despite its lack of provenance. He discusses the balance between skepticism and open-minded investigation, acknowledging that some cases shown on his TV specials remain unexplained while others are revealed as hoaxes. Using his work on Alien Autopsy as an example, he highlights how initial intrigue can give way to debunking when evidence points to fabrication.
Kiviat introduces another intriguing UFO case from Mexico involving a family who documented an extraordinary sighting during a road trip. The footage captures a shape-shifting object, transitioning from a plume to a rocket-like form. This case, marked by clear provenance and compelling visuals, aligns with phenomena reported in Gulf Breeze, Florida. He notes that this family also reported UFOs following them back to Washington state, suggesting a recurring, personalized aspect to these encounters.
Art and Robert Kiviat examine the potential reactions of authorities, like NASA, if confronted with clear UFO evidence, comparing hypothetical responses to real-world reluctance to engage with such phenomena. They reflect on NASA’s tether footage and its remarkable similarities to the Derbyshire UFO video. Art speculates on possible explanations NASA might provide, emphasizing the need for transparency and collaboration to demystify these sightings.
Kiviat stresses the importance of his investigative approach, including efforts to involve NASA directly in addressing unexplained similarities between space and terrestrial UFO footage. Art raises questions about NASA’s openness, referencing past controversies like the Face on Mars, where initial skepticism gave way to alternative interpretations. The pair discuss how perception can shape conclusions, with Kiviat acknowledging the ongoing ambiguity in many cases. This exchange underscores the challenge of reconciling scientific skepticism with compelling, yet enigmatic, evidence.
Robert Kiviat discusses the breadth of phenomena covered in his investigative work, ranging from UFOs to Bigfoot and other cryptids. He highlights a new Bigfoot video captured in the Everglades, comparing its potential significance to the Patterson film. This footage, supported by good provenance and corroborating accounts of the “skunk ape” legend in Florida, adds another layer of intrigue. Kiviat notes that skepticism persists but emphasizes the importance of presenting evidence for viewers to decide.
The conversation touches on other cryptic cases, including a sea monster in Australia and a purported Loch Ness-like creature in Turkey, demonstrating the global scope of mysterious sightings. Art and Kiviat reflect on the enduring challenge of separating genuine phenomena from hoaxes, emphasizing the importance of detailed investigation and clear documentation.