Transcription
Hey, and welcome back, lovely people. Today, I thought I would give you something, something. And at the end of this film, there's going to be an absolute treat. I decided to let you see a modified, YouTube-friendly, but still very hard-hitting film—hard-hitting film—on my explanation of the real hidden meanings of Quatermass and the Pit, and how it relates to British society, British society, and more so why it scared people so much.
But first, I'd like to thank you and talk a bit about how YouTube works and something that I found as part of the YouTube system which doesn't work. And I'm not talking about money; I'm talking about how YouTube fits into a bigger social picture of society. I think YouTube, YouTube isn't just a film streaming site; it is social media because it's interactive. People write comments, and they leave you thumbs up or a thumbs down, whatever they want to do, so it's interactive, and that raises a massive issue.
I've been a creator here on YouTube for over four years, and I've discovered something that I had no idea was going to happen, and that's how to deal with very distressed people. So people leave comments, and the majority are humorous or informed or ask sensible questions, but there's a small number—and I'm not talking just about keyboard warriors or trolls who don't enjoy your films—I'm talking about people who are deeply distressed. I had no idea that as a creator I would be part of literally care in the community on a regular basis. Me, and I'm sure all other creators who very much, very much connect with the audience, get very, very distressing comments from people who are deeply upset. And I'm talking about people who've got serious mental issues, very sadly. And I don't think YouTube are supporting them or us as creators in any way.
We all feel connected to the people we watch and feel we know them. I certainly do. Once you subscribe to a channel, channel, you see them grow; you almost feel connected to them personally. For example, I really enjoy Andrew Camarata, Camarata, who works in the Hudson River Valley and has a vast collection of excavator equipment, equipment, that he plows driveways and things like that, and he's building this incredible home-built, home-built castle. Over the years, I've seen him buy more kits, and the castle's grown, and he's become more and more popular. I feel like I know him; of course, I don't. Another channel which I personally enjoy and have learned so much from is from Darren, who runs a channel called Musty One, wrenching on rusty old junk. Wow, Darren seems to be doing great on YouTube; he buys new kit, and every week we see him working on something which is really fascinating, and again, I feel like I know him. And that's the issue, because we don't really know these people; we feel connected through the art of filmmaking and through social interaction, but they're strangers. And I've made many new friends here on YouTube, but I've also found a very small number of people who have desperately reached out to me for help, sadly displaying very upset or even mental health issues. What do I do? I love interacting with viewers, especially answering their science questions, questions, but what should a creator do when somebody writes them showing obvious distress?
Well, I reached out to YouTube, a Google company, and to their creator support, support, and they were no help. So let me explain. When you become slightly more established as a channel, you get creator support, and you can ask them difficult questions, difficult questions. Now, you have to remember us creators who've been on YouTube for many years know pretty well all the answers about community guidelines, about ad policy, and about how you get paid. So if you contact, contact creator support—this very inside piece of knowledge, of knowledge—you expect a good answer, and guess what? You don't get one. Basically, creative support seems to be, on the surface, just sending you, as a creator, the answers to frequently asked questions, which is no damn good. I'm sorry, creative support, I'm sure you try your best, but I don't think you really have the blessing of YouTube or Google to deep dive into creators' problems, creators' problems. So I reached out to creator support to see what YouTube's policy was in how to deal with deeply distressed comments, comments, and they just sent me a stock answer: you know, delete them. Well, that doesn't answer the issue. I believe, as a human, that we need to have a better support network, network for that very, very tiny number of people who show serious distress in the things that they say. And just to reiterate, I'm not talking about keyboard warriors or trolls who just want to make comments about my personal appearance, personal appearance, and how I look like Adam Savage, which I'm not. I'm talking about people who are deeply distressed, deeply distressed. YouTube, if you're watching this, we need to have, to have a policy; we need to have a care in the community, a way of referring these people—you know who they are; they've registered with you—and if a creator who cares flags that the comment is not aggressive, but, but deeply distressed, YouTube have to step up, up to the plate and deal with it.
So thanks for that. It's something I'm going to get involved with in 2021 with YouTube, YouTube, to have a policy decision of how we cope with distressed comments. These people need help, and YouTube is social media. Right, enough of that, and now for a special treat.
So, as you probably know, I made three films in my Quatermass series, hinting, hinting and leading up to the fourth, which was the big expose on the true and deep dive meaning into Quite a Mess and the Pit. And you didn't get to see it unless you sent me a dollar, and 30 people did send me a dollar on Patreon, Patreon. Thank you very much. But I think I'd like to share what I can with you today. The original, unedited version is still available on Patreon; it's totally up to you if you want to see it. But through careful editing—so let me explain what went wrong—YouTube is owned by Google; Google is an American company, American company, and they really do believe in freedom of speech, speech, to a point. And I think I went over a line with my film; it was blocked worldwide, worldwide. Nobody could see it. Now that's very unusual. Let me explain. My original edit of the Quatermass film did have, did have two copyright elements in it: one, it had an extract from the original film as shown on the BBC, and an extract from Eyes Wide, Eyes Wide Shut from Stanley Kubrick's studio. Both filed copyright claims; that's normal, but I do think they were covered by fair use because I was making a comment, comment about them rather than just showing them, and that's normally okay. But in this case, it was blocked. What normally happens when you violate somebody's copyright is they make a, make a claim, and they get to monetize if there is any monetization of your film, but the film is still visible, visible. I've never had a film completely pulled from YouTube for a copyright claim, copyright claim. I personally think this film is so controversial to YouTube and Google that they hid behind their copyright claim to block it worldwide. So today, I'm trying to beat the system; I've carefully re-edited the film, calling their bluff. The film is still, still very controversial and critical of the upper, upper echelons of British society, but I've taken out the copyright stuff, so hopefully you can see this.
So as a treat today, here is a very slightly watered-down, but pretty well leaving the central argument intact, argument intact version of my film discussing the real meaning, meaning behind Nigel Kneale's film, Quite a Mess in the Pit, the Pit, which is still regarded as the most terrifying thing, terrifying thing ever made on television. And that's what got me interested. So it's a treat for you today. Sit back and enjoy the edited, the unedited version still on Patreon, version of my film, part four, Quite a Mess and the Pit, revealed. Today I will answer the question: why Quatermass in the Pit, Quatermass in the Pit, was so scary. And some of the things I'm going to discuss today, in the words of the BBC, are unsuitable for children, for children, or those with a nervous disposition. Things like these [Music] [Music].
You can't overestimate how important the author Nigel Kneale is to the culture of Great Britain. Following the previously secret coronation of a pneumonic in 1953, British television needed to keep an audience who had purchased their first TV, TV, happy. So the first film, the Quatermass Experiment, Experiment, went out to the entire population of Britain in 1955. The BBC had a rival, ITV, and they needed another blockbuster, so they turned to Nigel Kneale, who wrote Quatermass 2. As part of television drama department, department, Neil went on to adapt a little-known long essay written by George Orwell, called, called 1984. It was brilliant; in fact, it was so brilliant, Nigel Kneale was personally contacted, contacted by the Queen, thanking him for his work. By now, Nigel Kneale was a star, star, and could do whatever he wanted, and he wrote, wrote, in my opinion, his best work: the film Quatermass and the Pit. Set in London at Hobbs Lane, the site unleashed supernatural fears underground. In a new excavation, they unearthed ancient secrets that contained our code of genetic, genetic inheritance left on earth by an ancient race with the ability to control the minds, minds of our population. Londoners go mad, destroying each other. Fear and panic in the streets, and finally, this image: the unleashing of a horned devil. The horned demons in those old Prince Rooney—this image, it's like a gargoyle. I mean, in fact, haven't you seen it carved in walls in a dozen countries, dozen countries? Is it in the depths of all our minds? A race memory, race memory. Got it.
So what does it all mean, and why did it connect so strongly with British people? Britain is an ancient place. [Laughter] [Laughter] It dates back long before the Angles and Saxons, Saxons. It existed long before we called it Eng-land. For thousands of years, it was ruled by ancient religious leaders, shamans, who personally guarded their secrets and kept hidden knowledge to themselves, to themselves. It was a struggle for Britain to accept the new religion of Christianity. Brits never really recognized the Vatican or the Pope. Henry VIII was not just rejecting Catholicism; he was preserving Britain's ancient religions. [Music] And those pagan values still exist today. Top British families practice and follow ancient beliefs, and the age-old secrets of our pagan past, pagan past, are not shared with the average person. Germany did the same; they pretended they had a hidden pagan past to justify their Aryan fantasies. And amazingly, those German pagan myths came to Britain. This is the Green Shirt movement, a little-known group that existed alongside the fascist Black Shirts of Oswald Mosley. The leader of the pagan Green Shirts was John Hargrave. With his organization, he called, called Kibo Gift, and they still exist today as a so-called ancient order run by top politicians and British businessmen, businessmen. [Laughter] As a bit of a giveaway, their generals all have, all have pagan names. One of their most famous leaders, leaders, had the ancient name Jack Straw. Today they go by the name Woodcraft Folk, but they are the direct descendants of Hargrave, Hargrave, and the wacky Germanic Kibo Gift cult. And the British Royal Family also keeps secrets, secrets of pagan beliefs. And I know this because I've met, I've met British top families who are part of a hidden, hidden pagan belief network, and these secrets are not shared. But the average British family still have a deep race memory of our ancient times, and it's manifest today with our stubborn belief, stubborn belief that Brexit is good for Britain. It was fueled by, fueled by ancient feelings, a feeling of independent thinking, independent thinking, a feeling of ancient racial purity, with British beliefs stretching back hundreds, hundreds of thousands of years. Britain, unlike the French, whose defining moment was their revolution, moment was their revolution, Brits still connect with their ancient ancestors: the Druids, the Celts, the Picts, the shamans who built Stonehenge and the tors, tors, the secret cup and ring marks, and our Celtic barrels, Celtic barrels.
So how is this all related to the film Quatermass and the Pit? Well, I believe that Nigel Kneale wanted to discuss the hidden pagan truth of our British ruling class, ruling class. I've always wondered what Neil really knew, knew. Was he part of an inner sanctum of a British secret, British secret elite? Did he have the ear of our leaders who know the secret from our ancient past, past? It's hard to say, but Nigel Kneale's brilliant script, brilliant script, definitely discusses these issues. And I have a humorous but revealing story, story that seems to connect Nigel Kneale with this elite, this elite. This is Lord Hailsham, dressed in his ancient robes. He spotted Nigel Kneale, Nigel Kneale, in the Palace of Westminster. To get his attention, he shouted, "Neil!" A group of American tourists who were visiting Westminster, hearing this robed figure shouting, "Neil," fell to their knees. What was Nigel Kneale's connection with the House of Lords, the House of Lords? To the—what was Nigel Kneale's connection to the Queen? What was Nigel Kneale's connection, Queen, and to an ancient pagan secret society? Who knows? But one thing I do know: that they think that they're genetically superior, and I know that those beliefs are still practiced by Britain's ruling class. And Stanley Kubrick wanted to make a film about it, film about it, called Eyes Wide Shut, but he strangely died before the film was released. The studio version of Eyes Wide Shut you can see today is not a Stanley Kubrick film, and it's the only one of his films where there is not a director's cut. I personally have worked with Stanley Kubrick's cameraman, who told me he filmed for four years, and none of that material is in the film that was released. You have to ask the question: why?
Quatermass and the Pit also explores the mass hysteria of racial cleansing. Listen, I'm advising you all to leave; there may be great danger. I tell you this could be dangerous. Get back, get back. There's a scene in the film where Londoners go crazy, killing, Londoners go crazy, killing everyone who doesn't have their racial purity. This was Nigel Kneale's horrible reference to the, to the August 1958 Notting Hill racial massacre, where British people demonstrated and attacked, attacked new immigrants with their misguided belief of being racially superior. But Quatermass and the Pit ends with something so terrifying that it stays with you all your life. Um, the ending of the film deeply resonates with a British audience. Nigel Kneale unleashes a horned devil. This is the devil from ancient history, a commonly shared figure that exists in many cultures, many cultures. There's an uncanny similarity to this horned figure, horned figure, which makes it appear more real. This figure represents ultimate evil and is recognized by humans all over the world, world. But this figure is also part of the ancient pagan beliefs of Britain. Nigel Kneale cleverly touched a hidden nerve, nerve deep inside British viewers, reminding them of a terrifying hidden memory that is deep inside British culture. I believe he secretly revealed some of the pagan secrets held by British elite that even today drives Britain from the top down. Quatermass and the Pit was truly the most, the most influential film ever made. It terrified and connected, and connected with both peasant and lord. It secretly reveals Britain's pagan past, and it hints at a deep, dark secret that really controls life in Britain.
Well, I hope you found that interesting, and I'd like to ask you to do me a big favor. First of all, if you liked it, give it a thumbs up and share it with your friends, because I think the message is very important. And secondly, this is very important to me, me: the issue of care in the community and deeply distressed comments on YouTube needs to be addressed. Please write to YouTube, YouTube, and tell YouTube that they have a responsibility, responsibility to reach out and help deeply distressed people, people, and they need to have a policy for us creators who have been placed in the front line, front line of care in the community. Thank you. The truth is out there.