➡ Paramount is set to acquire Warner Bros. Discovery, creating a powerful global media and entertainment company. This move places David Ellison, CEO of Paramount and son of Larry Ellison, in a dominant media position, raising concerns due to his political connections. The article also discusses the potential of AI-generated movies and the influence of media on our reality. However, it suggests a solution in the form of media decentralization, encouraging support for independent filmmakers and media producers.
➡ The text discusses the creation of a compelling trailer for a documentary about Mark, a man with a vast knowledge of books. The process involves interviewing people who have interacted with Mark and exploring his controversial book collection. The goal is to complete more interviews and pre-editing work by the end of the year, with the final feature expected to be released in 2028. The project is crowd-funded and seeks support through donations.
➡ Canadian independent filmmaker Thiece Snyder is creating a series called Conspiracy Synergy, which aims to present complex and often distressing information in a way that is emotionally digestible. The series includes eight episodes and several mini documentaries featuring various independent media personalities. Snyder, who is self-funding and producing the series, hopes to help viewers understand the world’s realities through his media skills. He encourages those interested to support his work at conspiracysynergy.com.
➡ The text discusses the importance of supporting independent filmmakers and their work. It highlights the hard work that goes into creating films and media, and how the audience can support these creators in various ways, including financial contributions or by using their unique skills to contribute to the movement. The text also emphasizes the need for a change in the storytelling landscape, suggesting the creation of an open-source, decentralized film school to empower more people to tell their stories. Lastly, it encourages the audience to redirect their attention and resources from mainstream media to independent filmmakers.
➡ We organize our lives around media technology, but it wasn’t always like this. The documentary ‘Media Matrix’ on corbettreport.com explores how we got here and where this technology is leading us.

Here’s a world shaking headline that you probably didn’t read over this past week because of that whole, you know, Iran war. Paramount to acquire Warner Bros. Discovery to form next generation global media and entertainment company. And that headline comes to us by way of PR Newswire because this is a literal press release from Paramount Skydance Corporation. And if you don’t understand the significance of this headline or why I might refer to it as world shaking, well, I guess I could defend that epithet by pointing to such things as Larry Ellison, the father of Paramount Skydance CEO David Ellison and his obvious political proclivities and attachments that make it extremely worrying that he is now in a position of such media dominance also being positioned in the newly acquired spun off American TikTok and, and of course the whole CBS takeover that has happened recently and all of that shake up.

So we now have someone with some very interesting political connections in an incredibly influential seat of media power. We get also talk about David Ellison, the CEO of Paramount who has talked about the merging of technology with creative content in order to create the next generation of filmmaking experience and has of course floated the, the, the thought, the idea, the concept of AI generated movies. So I could talk about that, but I think if I have to explain all of that, well then probably we have to get to an even more fundamental layer of this which is something that hopefully everyone in my audience is at least somewhat familiar with at this point.

But let’s put it out on the table. Media shapes our reality. And if you need more explanation about that concept, I would highly recommend the media Matrix documentary. Obviously, I think that is my most in depth exploration of this concept of how we in this media saturated world that we’re living in are influenced and have our narratives, our worldviews shaped by propagandists that we don’t even know, don’t see, don’t think about, could even name, but who are incredibly important and sitting in seats of media power that ultimately reflect on the world that we’re living in, not only reflect that world but also work to shape it.

So that is the launching point for today’s exploration. And if you are interested in the Ellisons and their political connections that I’m alluding to and the media consolidation that they’re involved in right now, well, it’s your lucky day because I have much more to say. Well, on that coming in the very near future. So stay tuned to corporate report.com for more on that. But today we are not going to be dwelling and fixating on the problem of that that media control that’s consolidating in the hands of people like the Ellisons. Today we’re going to talk about at least one possible path forward, a solution, if you will, the decentralization of the media production process, which has become more and more feasible.

And in this world of technological development that we have seen over the past few decades, the fact that I am sitting here in my room here in Japan, talking to you wherever you are and engaged in whatever activity you are listening to me on your phone or watching me on a screen or whatever it is that itself speaks to the power of this technology to decentralize and make it so that the average person is can put out messages that will be listened to tens of thousands, hundreds of thousands, even millions of times. That is a remarkable thing if we embrace that, that power and take it seriously.

It is a power to be able to speak to people in that media environment like that. And there are people who are, I think, are good examples of taking that and doing something productive with that. We do not have to give our time and attention to the Paramount Sky Dances, Warner Brothers, Netflix’s, Hulu’s CBS News or anything else. We don’t have to give all of our time, intention and ultimately energy to those media conglomerates. We can support independent filmmakers, independent documentary producers, independent media production experts, well, anyway, amateurs if need be. So let’s take a look at some examples of ways that people are doing this.

And we can get a couple of birds with one stone here by going to www.readingtheworldmovie.com where you will find the homepage for a new documentary that is forthcoming. But you can watch the extended trailer. It is called Reading the the Life and Times of Mark Crispin Miller. And if you go to that website you can watch the 11 minute extended trailer for that documentary production to get an idea of what it’s about. But spoiler of course it is about Mark Crispin Miller as in previous Corbett Report guest Mark Crispin Miller. So please look in the archives from my previous conversations with Mark where we talked about of course his cancellation from NYU over his verboten Covid propaganda, anti propaganda that he has been talking about on his substack.

And hopefully people are familiar with news from underground and the list of died suddenlies that he’s been keeping track of for years now. Hopefully you are familiar with that. Please go to the Show Notes if you are not. But here is a documentary film that is being produced and directed by Amy Smiley about Mark Crispin Miller’s work and it is being done on a shoestring budget as a outside of the studio system. But it looks and sounds incredible already. I’ll just play a little bit of that trailer so that you get a sense of what this documentary is about.

Democracy depends on, on a certain rational skepticism throughout the public. That is not a sign of pathology. That is a civic necessity. It is a journalistic requirement. It is also a basic scientific principle. You don’t just accept what you’re told, you look into it yourself. And if you notice problems with the story you’re being given, you speak out about it loud and clear. We’re joined in our studio here in New York by New York University professor Mark Crispin. Miller is the sharpest critic of television we have. He’s a modern propaganda maven, frequent contributor to Harper’s Magazine.

He is known for his writing on American media and. And for his activism on behalf of democratic media reform. Henry James says the ideal critic should be someone on whom nothing is lost. And I think of Mark that way. You closed just then by saying you’re a journalist. A moment ago you said you were a commentator. I just said you can be both. Whether it was reading an ad or talking about a TV program, the approach was just original and exciting. Once again, that is just a small clip from the extended trailer, the 11 minute extended trailer of the Reading the World documentary.

You can go watch that entire trailer and I suggest you do so at www.readingtheworldmovie.com. and when you do so, you will have an even better sense of some of the people that have, are participating in this documentary project and some of the, well, the incredible work that has gone into editing and putting together and collecting the archival clips, et cetera, to put together this documentary production. And it’s the type of thing that we might take for granted because we are in this media saturated environment where we’re constantly being bombarded with these million dollar or multimillion dollar Hollywood style projects.

And it’s generally being streamed to us for free or for little cost directly onto our devices. And we don’t think about the amount of work that goes into something like this. But in order to create a slick and polished media product like that takes effort, it takes time, it takes people and resources. And we need to support independent filmmakers who are putting projects like these together so that we can counteract the propaganda that comes from the Ellisons and others of this world who do not want us to know this information. So it’s in that regard that I had the great honor of talking to both the director and producer, Amy Smiley and her husband, Mark Crispin Miller, about the reading the world movie documentary, how it’s coming together, the work that has gone into producing it and where it is going from here.

Well, the most important part of my work, I think, has been my own rereading and sometimes reading for the first time all the work that Mark has done. His. You know, Mark has written many essays on film that is very exciting to me. Like, people don’t necessarily know him for that, but he has a real eye for film and that’s very exciting to me. And he’s written, you know, countless essays that, that have. That were put together in the book box in. He’s written, you know, very long studies, very long essays about TV, about elections, etc.

Etc. Even about rock and roll. So it’s been thrilling for me to read these essays and I appreciate the development of his voice over time and his extraordinary grasp of the material. I used to say to myself, it’s not humanly possible to read as many books as Mark reads. I used to think he ate them. Like, you only see a little bit. We have like a 10,000 book collection. I think he ate books. Like, I don’t know how he did it otherwise, but he has a library in his mind and that’s what attracted him to me in the first place.

So it’s the mind and his way of thinking, the originality of the thought that really is very compelling. And then on the next level, it’s having conversations with people who have collaborated with Mark who have either, you know, published his work or participated. You know, he had. He created something called the forbidden bookshelf. Books that were never really allowed to see the light of day because they were too controversial. So looking at all of those books, trying to contact the authors and see if they’ll be interviewed, you know, just in the different iterations of Mark’s work.

You know, sitting down with people and asking them what influence Mark had on their lives and vice versa. And then of course, putting together the trailer. It, you know, 11 minutes. It may not seem like very much, but you have to practically work night and day to edit something together because the material is vast and you want it to be stimulating, visually interesting. You want people to get drawn in. You don’t want it to be too didactic, but you don’t want to simplify. It’s really daunting work. But I was so lucky to be work like the Jonathan Arthur Ashley, who does the animation, who did the animation, who also designed the Website.

John Kirby and Libby Handros of the Press and the Public Project, they put together. You know, they came in on the final cut. It looks absolutely amazing. I had a great editor, Michelle Yoon, my stepson Louis, Mark’s son, worked on it. My other son, Billy, he is helping me produce this. So it’s really an. It’s an act of love, you know, it truly is. And then I can’t even begin to tell you all the conversations Mark and I have had together about this. Like night after night, going back over things that he thought about. How does he think about them now? What has changed this kind of thing? Well, I can definitely appreciate how difficult it is to take that much information and try to condense it into an 11 minute package that will entice people to want to see more.

It’s incredibly difficult to do. So my hat’s off to you for putting together such a compelling trailer. But of course, that’s the trailer that’s just the beginning. Tell us where you’re going with the production from here. What is the. What is the game plan? Well, I have about 15 more interviews ahead of me, and the goal is to finish them by the summer or the end of the summer. Then there is some pre editing work to do to get the subject reels together and get the archival reels together. I’m hoping that work will be done by the end of the year or the very beginning of 2027.

Then I need to hire an editor, which is everything. And hopefully during that year of 2027, really put the long, you know, the long feature together. So it’ll come out in 2028. We also have an archivist working for us who’s going through my voluminous papers. One document that I hope she finds because I’m so proud of this. I. I wrote an essay in the 90s on Kubrick’s 2001 for sight and Sound and the Cold Descent. Is that. Yeah, it’s 2001 a cold descent. That was not my title, but that’s the title they put on it. And I got a letter from the editor of Sight and Sound informing me that Stanley Kubrick’s office had written to them requesting four copies of that issue.

I mean, I thought I had died and gone to heaven. You know, I think very highly of him. You know, there are things like that. Have you seen Bullworth with Warren Beatty? Did you ever see that movie? I know of it. I have not seen it. Well, you know, it’s. It’s a political comedy of sorts. Warren Beatty plays A Democratic Congress senator who becomes sort of disillusioned with the whole system. And he becomes a kind of homeboy, you know, a rapper. A rapper, you know, dresses like a rapper for reasons too complicated to go into. Anyway, there’s a scene where he’s being interviewed live by a newswoman on a stage, and he launches into this riff on media consolidation.

And I happen to meet the screenwriter, Jeremy Pixer, and I asked him, you know, the stuff that he says in that scene sounds so familiar to me. Is it possible that you guys read my issues of the Nation? And he said, oh, yes. Oh, yes. Now, it remains to be seen whether Jeremy Pixer is one of those who will be interviewed. One never knows, especially with Hollywood people. But, you know, we’re trying to, you know, recreate moments like that and make them as fun to watch as they were for me to live. And there’s also a dimension of Mark’s work that we haven’t mentioned, which is his teaching, which is very sacred to Mark.

And so we’re, you know, interviewing some of the students. And I think we also have a tape of a class, you know, that there’s some very lively things going on within those kinds of exchanges that we also want to bring to light. Yeah, too lively for nyu, as you may recall. James, you had me on to talk about that. We’re going to go over all that in the film. Excellent. Very much looking forward to it. And I didn’t expect you to put Bullworth on my list of to watch movies, but I guess it is there now.

And perhaps this is the time for me to admit I think Dick Tracy is one of the best films of the 1990s. But let’s not go there. Let’s not go there. Anyway, Warren, Another Warren Beatty movie to add to my list. Let’s. Let’s talk to people about how they can support this work because it is a work in progress and obviously is going to take a lot more work from here forward. Obviously, they can go to reading the World Movie.com to see the extended trailer, but how can they actually help support and make this film come to fruition? So I would like to just add that they must type in www.readingtheworldmovie.com in order to get to Agincourt Productions website, where they can click on the trailer, watch the whole thing.

And then if they would like to support the project, which would be so moving for us, there is a donate button which will take them to GiveSendGo. And they can make any. It can be a dollar, $5, $200, whatever they feel they can afford. We’re doing this through crowdsourcing. And it’s, you know, we’re really trying to spread the word. And that’s the best way that people can help us with this project is by donating and by, you know, sending the link to the trailer, to their family, to their friends. And we feel like we’re getting a lot of traction and it’s very exciting.

Once again, that is Amy Smiley, the director and producer of Reading the World, and of course, the documentary subject himself, Mark Crispin Miller. And I hope that those who are interested will explore more of that information@www.readingtheworldmovie.com, where you can find out more. Watch the full extended trailer. But if you. And when you do, I trust that you will see the relevance and importance of the subject of this documentary as well as the story of how this documentary is coming together, being self funded and funded, crowdsource funded, not out, not in the studio system, but outside of that system.

And I think that points the way forward to the way that we need to go to dis, disintermediate and decentralize media production itself. And if we do not support the independent filmmakers, well then what can we expect other than the AI slop that the Ellisons and their ilk are going to try to force feed down our throats? So on that happy note, I think another relevant and important aspect of this support of independent filmmakers is that these creative and engaged media types are able to condense and put information in ways that boring old fuddy duddy James Corbett can’t do himself.

And that struck me again on a recent piece of feedback that came in through the contact form on CorbettReport.com where someone was telling me about how he has been talking to his wife, or was it his girlfriend for a number of years now about these conspiracy reality subjects. And she puts up with him, but doesn’t, isn’t particularly interested or quizzical. But he shared with her some sort of crudely done animation of some sort that was several minutes long that was condensing some information. I can’t remember if it was on Covid or what it was, but he sent me the link and he said this was what got my, my girlfriend, my wife, interested in this material and started asking me questions, is that true? Oh, did that really happen? And it’s something that he has explained to her many, many times and has attempted to show Corbett report material to her, but she was not interested in that.

She was interested in this animation. So it just goes to show the point once again that everybody has a different style in which they like to understand and receive information. And the more that we support different filmmakers and other people out there that are putting this information out in different ways, the further the information itself will spread and the more likely it will be for that information to land on the fertile soil of people who are interested in this information. They just need it presented in their own way. So who else can we look at on the independent filmmaking landscape as an example of someone who is out there doing the hard work of attempting to put this in a different form and format? Well, hopefully the more astute and longer memory people in the audience will remember my previous conversations with Thiece Snyder, a Canadian independent filmmaker.

I’ve talked to him a couple of times. You’ll remember way back in 2012 I had him on Corbett Report Radio to talk about his short film. At that time he was talking about Blindfold and I hope you have seen that short film. We, we discussed that at that time and we discussed it again in his not so long ago appearance on Solutions watch back in 2024 when we specifically talked about replacing Hollywood. We talked about Blindfold and what happened with that film. We also talked about Hold Me, the the independent media film that Thies Snyder put together himself and which we talked about in that.

So if you want the details of that you can go there. But today I had the pleasure of talking to T Snider about a different one of his projects. It’s called Conspiracy synergy. It’s@conspiracysynergy.com and if you go there you can see the various the eight episodes of the Conspiracy Synergy that have been put together as well as several mini docs, profile pieces as it were, of various people in the independent media landscape who you know and love as the independent media personalities. But Thiece has gone and actually filmed these people in their homes, gotten to know these people, show what their day to day personal lives are like.

He’s highlighted Derek Brose, Hrvoj Morich, Mark Passio, Ryan Christian and others. So I would wholeheartedly suggest people take a look at that series if they’re at all interested in that. Of course once again T. Snyder is self funding this, doing it himself, editing himself, doing everything and needs your support. So if you do appreciate this, I hope you will go and check, check out conspiracysynergy.com and hopefully contribute to the cause. But I did have the chance to talk to Thiece about this series What. What it is, how it came together, and why he’s doing it. So Conspiracy Synergy is a show that I came up with to try and emotionally calibrate very painful and depressing information for people who haven’t come across the fact that much of the world is, in fact, a conspiracy, and that is a reality, not a theory.

So Conspiracy Synergy is how can I use my media skills to create something that addresses the emotional side of information? Because we think of information as if it’s, oh, well, I’ll just think about that. Oh, no, no, no, no. How you feel determines whether or not you’re able to think. And so Conspiracy Synergy, the original curriculum, first eight episodes, was built around doing just that, allowing people to calibrate their feelings so they could enter the point of thinking. And you talk about the first eight episodes, I guess, to differentiate it from the mini docs you’re doing.

Tell us about the mini doc idea, how that came about, and who you’ve talked to. So the miniature documentaries were actually originally a byproduct of a feature film script that I had done as a project that I had wanted to move into as an extension of a short film that originally saw me on Corporate reports something like 13 or 14 years ago. And that’s called Blindfold. And there was a portion of that script where it was dialogue from a variety of different content creators that were being interviewed within that film. And so I thought that, well, that’s something that I can just actually go out in the real world and do.

I can go and meet these people and I can make documentaries telling their story while on the back end, I’m basically fundraising or building up to the point of making a movie. Now at this point, I’m not particularly interested in making that movie anymore. I’m really more interested in trying to see. Stabilize the geopolitical state and get people up to the place where they understand what we’re facing. So I’m all in in that regard. But the people that I’ve spoken to on that note are Mark Pasio, most recently prior to that, was Charlie Robinson from Macro Aggressions.

I’ve also talked to Darren and Graham from Grimerica of Herbohe Morick from Geopolitics and Empire, from Ryan Christian, Steve Coin in Seven Seas Tam, Tripoli, Kurt Metzger in the Vagabond Union episode. And there might be one I’m leaving out, but that gives you a sense of some of the cast characters. Yeah, I think Dark Bros. Yeah, there you go. There it is. Okay. Yeah. So okay, you seem. It seems to me like these are one man run and gun productions. But what about editing? What about post production? Do you have any help with that or is it all you? No, I’m very poor, underfunded and underrepresented.

Because in the decentralized model of media creation, by and large we’re struggling to really get the headway that we need in a concerted way to be able to have our work reach the people who need it most. So I’m a one man show who does everything on my own. I only survive off of the voluntarist value for value model and through the hosting of AM wake up. I’ve been able to scrape by on that. But insofar as actually being able to like afford or fund anyone other than myself. No, that’s not in the cards. Well, hopefully it’s in the cards, but maybe just not here yet.

But you know what? That’s. That’s simultaneously depressing but also somewhat hopeful because honestly, it gives. I. I think it would. Should give sucker to those out there who are in a similar position to not have the funds to not be funded by million millionaire Hollywood producers and not to have some great staff behind them, but still able to produce things that still have emotional resonance with people. Obviously, I would imagine that you are aware of, in tune with, in working with and knowing other filmmakers aspiring would be filmmakers talk about that world and how. How that world is surviving in our current economic situation.

So I actually wouldn’t be the best person to be able to comment on that world in an in depth way. And that’s because where I live, like I’ve sat on the Edmonton arts council board before in order to determine and who gets grants for a particular issuance. And that’s because for my first feature film I had been the recipient of one of such grants. And what I came to realize very quickly in that environment is that it’s who’s friends with whom sort of thing and that much less built around the actual meritocracy and much more who does favors in a Do you believe what I believe? Do you support what I support? That sort of thing.

So imagine how much worse that environment got come lockdowns or vaccines or anything like that. So I have not necessarily been excommunicated. I have excommunicated myself from a brown nosing, swampy environment that undermines the artistic integrity not simply of the city nor the nation, but so too of the world. Because that is the cultural backbone that has swallowed our ability to tell stories and share them with each other. So I’m not really in a position to talk about that world other than to speak ill of it. Fair enough, fair enough. But yeah, I mean, and combine that with just sort of the natural tendencies of the art space in Canada, I can imagine not generally receptive to conspiracy reality.

So, yeah, you have your work cut out for you trying to forge friendships and meaningful relationships in that community. But who does support you? Who have you hooked up with? Tell us about some of the connections that you’ve made through, through your work. The most supportive people that I’ve met have been people who actually understand the truth and prioritize how important that is in a life and death way, in this, the third World War being fought by unconventional means. So the most support I’ve received has been from the sane. And the sane, unfortunately, have spent a disproportionate amount of their life studying the insane.

And so I am trying to speak to the insanity of the time in a way in which I can depict that story accurately from a variety of different cultural lenses. And I’ve done just that. As far as the like. Drew Tregley is great. I was on his podcast recently. He directed Jones Plan Station. I mean, all of the people who I got to meet, Steve Pakoinen, who I, I co host, am wake up with, you know, he’s, he’s been really great in having me on that. You have appreciated your support being able to go on Grand Theft World and co host that number of different times after Richard Grove being a seminal pillar in my development of understanding the insanity to try and come to a point where I don’t lose myself in the midst of it.

And so it’s one of those things where the truth movement has been an online friend environment that unfortunately has been lacking in my direct day to day. Yeah, well, let’s speak to that. The people that are the target audience of your work are the type of people that you’re trying to reach out to. As you say, the sane who have been studying the insane, but also the people who are just dipping their toes in this water. There must be a wide range of people who encounter this work and encounter it from vastly different perspectives. How can they? Should they.

Would they. Would you like them to support the work that you and other people in the space are doing? Well, so the first thing is that people don’t understand how much work goes into film or media construction because we exist in a media environment where we get everything for free. And it’s usually on a caliber where it costs multiple Millions of doll dollars, but we just expect it for a Netflix level of subscription. So whoever you are and whatever you do, you are uniquely situated with your skill sets, your friend network, your geographical location, and your ability to take action.

One of the things that a lot of people do is that they’ll think that someone else is going to come along and magically solve their problems for them. And so it’s one of those things where in the time, treasure and talent or. Sorry, the. Basically, the value for value model is the idea that there are a variety of different ways that you can support someone like myself. What I’m trying to do right now is to create the tools that I can offer you to be able to reach out to your friends and family who might still be a little bit confused.

What are things that you can do with your unique skill sets to offer the world that in turn might benefit me. And I offer that because some people might not be financially okay. If you don’t have time for any of that and you want to send me 50 bucks or something, it would be very much appreciated and needed. But if conversely, you find yourself facing the problems that we’re looking at right now with a glimmer of hope, then that means that you’re in a position to provide a solution. And 10 or 20 or 15 years down the line, maybe that’s the solution that me and a lot of other people will need.

So I’ll say that it’s two different ways to support me. Now with some sort of monetary contribution would be great. Via conspiracysynergy.com or now and later, through your own contribution into an ongoing movement in order to change the world at large. That’s something that I’d like to see so that it’s not just Corbett and it’s not just me. Okay, T. Well, today’s your lucky day. I’m your fairy godmother and I am just magically bestowing on you your multimillion dollar budget and as much staff as you want in such a scenario. What would be your dream project? What would you like to put together? So my dream project, in the sense of just telling a story for myself, isn’t actually priority number one.

I’d really rather see the entire landscape of storytelling change, because right now it is built in a way in is poisoning our souls. Not only is it acclimating us for media intake that is repugnant and mediocre at best. You know, we’re looking at the kind of thing where people, when we’re watching a film, will have to say what they’re doing because people are looking at multiple screens while they’re watching a film. So the environment of storytelling is atrocious. Right now what I’d want to do is actually create a open source film school in a decentralized way as kind of a parallel to the curriculum that I’d received going to New York Film Academy, which is a hands on learning environment, so that people could, in an iterative process of observing that online, try it for themselves, share that with each other, refine that process, and within a few years of trial and error, you would have a viable platform for people who are able to simply go out there and tell the stories that they think are most important.

I think that allowing other people or enabling other people to reach a position where they champion their storytelling power really is more important than me sinking a huge amount of money into one singular film in order to get people to rally around any issue. And so I see this as a seminally important time in the transition of filmmaking and storytelling itself, because we’re coming out of a viper’s den that has been built so that we’re wrapped up in it. And I want to see the species move as far away from that as we possibly can in every way.

And that would be much more meaningful to me than, than just creating a singular project or film in itself. Once again, that is independent filmmaker Thies Snyder. And you can find out more about Thiessen as work generally at teece ca. But you can go to conspiracysynergy.com for more about the Conspiracy Synergy series in particular, including those mini documentaries that we’re talking about there featuring and profiling some of the independent media podcasters and hosts that you know only for through their work. But you can get to know them on a more personal level. And I think, I think Tease has done a very remarkably good job, especially considering he was doing that all by himself.

Completely self funded, completely self, self run. That’s. That’s honestly quite an achievement and something that we should be supporting, even if you are not particularly compelled with this or that particular piece. I think the idea of supporting real, actual art from real humans, from a human perspective, with a real vision, and is the obvious counter to the soulless, ugly brutality of the corporate slop include increasingly AI generated slop that is being fed to us through our content feeds. And if we want to counter that, how can we do so unless we support the independent filmmakers? And on that note, I think that’s an excellent answer that he’s gave there to the.

You are you’re a multimillionaire. What are you going to do with it? Idea coming up with an idea for an open source decentralized film school to encourage and foster the young and budding visionaries of tomorrow who will be the ones who create the new, the new places, the new imaginariums that we can explore together rather than the corporate soulless Marvel comic slop that most people are watching these days. So the obvious question becomes who? Who should we be supporting? Who should we be looking into? Well, obviously Amy Smiley and the work she’s doing with Mark Crispin Miller, obviously T.

Snider and the work he’s doing, Conspiracy Synergy and elsewhere. But how about Drew Treglia? You’ll hopefully have picked up on Thiesse’s mention of Drew Treglia and I hope my listeners are familiar with Jones Plantation, the film that he made off of the Larkin Rose’s infamous viral video from many years ago that became a full feature length independent film. We’ve talked to Larkin and Amanda Rose about that film and how it came together and what went into it and hopefully you have seen that movie by now. If not, I would be remiss in my duties if I did not direct you to jonesplantationfilm.com where you can go and watch and support that independent filmmaking.

I think that’s an excellent example of exactly what we are talking about. The way to undermine the credibility and the power of the Ellisons and people of that ilk is to stop giving them our time, our attention, our eyeballs, stop paying them to propagandize to us and directing our time, our energy, our resources to the independent filmmakers out there. So here is a call to the Corporate Report members out there. Who else is a good independent filmmaker who deserves more people’s support? I’d be very interested to hear about that. So I would highly recommend that interested Corporate Report members go to corporate report.com, log into the website.

Leave your comment Your suggestion in the comment section for this post. Who are the under appreciated independent filmmakers of today that we should be supporting if we want to see something different in the media space? Having said that, that’s just some food for thought for today. I hope you will check out all of the links to all of the various films and filmmakers that I have talked about today. They will of course be in the show notes as always, but that’s going to do it for today. I am James Corbett of CorbettReport.com Looking forward to talking to you again in the very near future.

Media it surrounds us. We live our lives in it, and through it, we structure our lives around it. But it wasn’t always this way. So how did we get here? And where is the media technology that increasingly governs our lives, taking us the Media Matrix Watch the documentary for free at corbettreport.com media or purchase a copy on DVD at newworldnextweek. Com.
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