We start out with the bio/background on Bruce Rux and how he became interested in the UFO phenomenon. He also shares the personal aspect that inspired his interest in the UFO and abduction enigma. We next find out where Bruce has been since the publication of his book and his last radio interview way back in 2000.

We then dive headlong into Hollywood v. The Aliens, beginning with Bruce providing us with a thumbnail look at the general thesis behind the book. He explains what he believes the government knew about UFOs & ETs at the time of the Robertson Panel and how it began the controlled dissemination of UFO/ET disinformation, and misinformation into Hollywood. This segues into discussion of the government's actions in the late 1940's, such as creating the CIA & NSA, and how the CIA's interest in mind control (ala MK Ultra) was more about concern over an ET presence rather than Russian & Chinese attempts to master mind control.

Tying this together with the film and television industry, we find out how Bruce thinks the early stages of the disinfo / misinfo campaign unfolded. We then discuss how privy to actual UFO information these Hollywood disinformers may be or if they are merely "pushed" in certain directions by people higher up in the food chain. We find out about the film The Thing From Another World, a film which had changes made to it, at the behest of the studio, until its monster resembled a grey alien.

Continuing to set the stage, we next look at one of the big themes of Hollywood v. The Aliens: that the ET greys are actually robots of some kind and that the government has known that all along. Bruce makes an amazing case for why ET greys must be robots. He discusses why he thinks the MJ-12 documents are bogus, in light of this robot theory, and how rumours of "true" members of an MJ-12-esque group seem to favor the robot hypothesis. Bruce also talks about the reports of the body recovered at the Roswell crash and how those, too, suggest that the occupant was a robot. This segues into some discussion on why it seems like the Robot Hypothesis doesn't seem to get as much traction, despite being extremely plausible.

Finishing up the big themes of the 600-page tome, we look at Mars and ancient astronauts and why Bruce thinks knowledge of an ET/UFO connection are part of the government's knowledge base concerning the phenomenon. Looking at all of these base concepts (ETs as robots, Mars connection, and mind control) Bruce speculates on the question of when this sort of information fell into the hands of the government.

We then begin the discussion on the government shaping UFO perceptions via films and, later, television. We start with the Truman era 1950's and key UFO films from that time which portrayed the phenomenon in a serious sense. He talks about The Day the Earth Stood Still and how it bears a number of striking similarities to what the government may have known at the time but wasn't known to Ufologists or the general public.

Jumping back chronologically, we look at Orson Welles' War of the Worlds radio production and speculate on what, if any, influence the government may have had on that. Bruce talks about how the method by which Welles staged the program was clearly designed to fool the audience into thinking the show was real and that Welles was doing this against the wishes of the studio. This segues into some discussion on Tesla's interest in potential life on Mars in the early 1900's and odd signals potentially received from Mars in the mid-1920's. Bruce also theorizes on just what those "in the know" must have been thinking at the onset of the disinformation campaign as they struggled to figure out how to deal with this information about UFOs.

We hear about Abbott and Costello Go To Mars and Bruce talks about how there are elements of the campaign at work with this film, aimed at making UFOs seem like a fad. Bruce then talks about how the Robertson Panel's recommendations for controlling the perception of UFOs can be seen in the films that immediately follow it. Bruce highlights the 1953 film Target Earth as one of the first to exemplify this change. He details how this began a wave of films over the next decade in a veritable form of "coarse theater" in the US cinema, each trying to top the last in how poorly they could make a film, usually centered around UFOs or aliens. Bruce talks about Plan 9 from Outer Space as an example of this "coarse theater." He then goes on to talk about how it was not just "bad luck" that UFOs became the template for this bad filmmaking.

This leads to some discussion on disinformation v. misinformation and what the difference is between these two techniques. Bruce then details why misinformation was used by the intelligence agencies as a means of ultimately turning peoples' interests away from looking into UFOs. This leads to some discussion on why some of these truly terrible movies from the 1950's ending up being remade over and over again. We talk about the 1952 UFO wave over Washington D.C. and the intriguing way the government handled the public reaction to the events. This segues into some comparison between the Washington Nationals press conference in '52 and the '97 press conference for the Phoenix Lights and what that may tell us about how the public and government's attitude about the phenomenon has changed over the years.

From there we find out how quickly the denigration of UFOs by Hollywood took effect in the minds of the American public during the first wave of awful films in 1953. This leads to some discussion on the change from Eisenhower to Kennedy as president and how the tenor of UFO entertainment changed as a result. Bruce notes the TV series The Outer Limits as an example of the few thoughtful ET programs that began to emerge. This segues into Bruce talking about the Antonio Villa Boas abduction case and what makes it unique amongst the myriad of other abduction reports that have come since. Bruce talks about many of the elements of the Villas Boas case were being featured in films before the case became well known to UFO researchers.

Of the '53 to '64 UFO films, we find out if there is a general trend as far as how the "visitors" are portrayed in the movies. This leads Bruce to talk about the surprising difference between Republican and Democratic administrations as far as how ETs are portrayed in the entertainment media. Bruce then speculates on how the transition of power between presidents may effect the "UFO education program" that he sees as ongoing and coming out of Hollywood. He also talks about the faction within the military/industrial complex that most wants to keep the UFO information secret.

Looking at the differences between TV and films, we find out if the silly movies of the '53 to '64 era translated onto TV as well or if there was any discernible difference between the two mediums. Jumping back into the chronological timeline we've been discussing throughout the conversation, we return to the early 1960's for some continued discussion on The Outer Limits. Bruce details what makes the program one of, if not the, very best "first contact" series ever on television and why it was so refreshing for that era of entertainment with regards to the UFO phenomenon.

Bruce Rux was an actor for twenty years, and is still current on his Actors' Equity card though he hasn't performed on stage since the early 1990s. He appeared in perhaps eighty shows, winning numerous acting awards in several states. Bruce received his BA in theater from Loretto Heights College in Denver in 1979, and an MA in Mass Communications, emphasis on playwriting, from Kansas State University in 1988. In 1980-81, he performed for a year with Wayne State University's prestigious Hilberry Classical Repertory Theater in Detroit, toward an MFA that was never completed. He won the first annual Jerome D. Johanning Playwriting Award in 1987 at K-State, for his four act historical drama, The Grave Affair, which he directed as an American College Theater Festival entry the same year. He has written several plays since. For the past ten years, he has been an upscale security officer (USO) for Wackenhut.

Bruce has studied UFOs his entire life. After the Mars Observer probe failure in August of 1993, Bruce wrote to share his findings with several researchers in the field and with a few elected representatives. As a result, he found himself invited on ancient astronaut author Zecharia Sitchin's first tour of Egypt in the Spring of 1994. During that trip, Bruce decided to write a book containing the results of his own UFO research and conclusions, which resulted in Architects of the Underworld: Unriddling Atlantis, Anomalies of Mars and the Mystery of the Sphinx in 1996. The following year, he wrote a companion volume that turned out to be even more massive, Hollywood Vs. the Aliens: The Motion Picture Industry's Participation In UFO Disinformation. Both were published by Frog Books in Berkeley, now part of Random House.

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2 hours
Bruce Rux

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