Sound, Light & Frequency

John Herrington is in denial. The former Reagan administration official and Secretary of Energy has finally spoken publicly about Brent Friedman's extraordinary account of a 1981 conversation in which Herrington allegedly revealed that aliens were real, the government knew it, and he'd seen them himself. In an explosive interview with Jesse Michels on American Alchemy, Herrington denies the conversation ever happened and questions Brent's credibility. Now Brent fires back, armed with family photographs, a story he's told consistently for decades, and some pointed questions about Herrington's changing account. Who's telling the truth? And why does it matter more than ever? In this special breaking episode of Sound, Light & Frequency, Bryce Zabel and Brent Friedman also examine David Grusch's startling new revelations on Joe Rogan, Richard Dolan's perspective on the Herrington controversy and the mysterious Formula, and an intriguing discovery involving Steven Spielberg's family and Wright Field. What began as…

A pounding on the door wakes Daniel Tibbets from a dead sleep. It’s around midnight, and a producer friend is standing outside telling him to get dressed—they have to go. Where they’re headed, who they’re meeting, and what those mysterious visitors say they have to show them will become one of the strangest nights of Tibbets’ life. After the reveal of the Formula and the extraordinary reaction that followed, Sound, Light & Frequency moves deeper into its active investigation. From the beginning, Bryce Zabel and Brent Friedman have wondered whether what happened to them during Dark Skies was unique—or whether other people in Hollywood had their own encounters with mysterious insiders, extraordinary claims, and purported physical evidence. Veteran television executive and producer Daniel Tibbets now comes forward with a story that rivals theirs for sheer strangeness and specificity, along with previously unaired material connected to his experience. It’s a story that pushes the investigation beyond Bryce and…

A week after Sound, Light & Frequency released the mysterious drawing Bryce Zabel and Brent Friedman have spent years calling “the Formula,” the reaction has been immediate, intense and far larger than they expected. The image—drawn for them in 1996 by the man who called himself J.C. and claimed to be from the Office of Naval Intelligence—has now escaped into the wild. Listeners, researchers, podcasters, skeptics and experiencers have begun comparing it to older systems of consciousness, tracing possible historical sources and raising new questions about what J.C. may actually have been trying to tell them. That was always the point of releasing it. Bryce and Brent have called Sound, Light & Frequency an active investigation from the beginning, and now the investigation has expanded beyond the two of them. In “Wisdom of the Crowd,” they open the file wider, bringing in the audience, fellow podcasters and outside researchers—not to declare the mystery solved, but to examine what has emerged since the Formula…

For thirty years, Bryce Zabel and Brent Friedman have held onto a mysterious artifact from the night Dark Skies premiered: a formula written on the back of a bank deposit envelope by a party crasher who said he was from the Office of Naval Intelligence. He called it “Sound, Light & Frequency” — the “Secrets of the Universe.” Now, for the first time, they are releasing the original Formula publicly. In this landmark episode, Bryce and Brent retrace how the Formula came into their possession, reveal it in full, and explain where their investigation has led them — what they believe the symbols may represent, why someone claiming to be from Naval Intelligence might have wanted them to see it, and whether understanding the Formula makes that extraordinary encounter seem more or less credible. Then the investigation changes hands. The Formula is now available for anyone to examine, analyze, challenge and interpret. After thirty years, the wait is over — and the larger conversation can begin. To learn more:…

What happens when the creators of two UFO television series compare notes on how to turn the phenomenon into drama? Bryce Zabel and Brent Friedman welcome their friend David O’Leary, creator, writer and executive producer of History’s Project Blue Book, for a conversation about two shows that feel almost like secret-history bookends. Project Blue Book lives in the 1950s; Dark Skies begins in the 1960s. Both combine real people, authentic UFO cases and government secrecy with dramatic license—and, strangely enough, both produced exactly twenty hours of television. From J. Allen Hynek and Edward Ruppelt to Majestic-12, Roswell and the Washington UFO wave, three UFO TV creators finally get to talk shop. O’Leary also reveals just how personal his interest in the unexplained has always been. Long before creating Project Blue Book, he studied cognitive science at Vassar and conducted a sensory-deprivation telepathy experiment for his thesis. After selling the series, he had his own startling UFO sighting—a glowing…

For more than thirty years, The X-Files has been one of the most influential television shows ever made about UFOs, alien abduction, government secrecy and the possibility that extraterrestrials are already here. In this episode of Sound, Light & Frequency, Bryce Zabel and Brent Friedman go back inside the mythology of Mulder and Scully to ask a deceptively simple question: what did The X-Files actually say was going on? The answer involves real aliens, a secret Syndicate, abductions, genetic experiments, alien-human hybrids, black oil, rival extraterrestrial factions, government infiltration—and a conspiracy so layered that even Mulder is constantly mistaking disclosure for disinformation. But the bigger question is the one Bryce and Brent have been asking all season: did Hollywood borrow the UFO story from UFOlogy, or did UFOlogy eventually start borrowing it back from Hollywood? Much of what The X-Filesdramatized—crash retrievals, MJ-12-style secrecy, alien bodies, implants, reverse engineering,…

What happens when ET walks into a bar—and everybody laughs? Bryce Zabel and Brent Friedman set out to explore the history of aliens as comedy, only to make an unexpected discovery: some of the funniest extraterrestrials in television and movies have been carrying surprisingly serious UFO ideas with them for more than sixty years. It begins with the 1963 sitcom My Favorite Martian, whose pilot contains an Air Force aerospace test, an anomalous radar encounter, official suppression, a crashed spacecraft, a living non-human occupant, telepathy and an alien hiding in plain sight. Even stranger, Bryce discovers that the fictional X-15 encounter followed only months after a real X-15 pilot reported seeing something unexplained at nearly 60 miles altitude. From there, Bryce and Brent follow the alien comedy trail through Mork & Mindy, ALF, the Coneheads, 3rd Rock from the Sun, Men in Black, Paul, People of Earth, Resident Alien and SNL’s hilarious alien-abduction sketches. Along the way, a pattern emerges. Early…

Bryce is fighting laryngitis, but Brent comes to the rescue as Sound, Light & Frequency returns to the woo. After “All About the Woo,” the hosts go even deeper into the possibility that aliens, the paranormal, and the afterlife may not be separate mysteries at all, but different faces of the same phenomenon connected through energy, consciousness, sound, light, and frequency. Using John Keel’s Our Haunted Planet as the launch point, they explore Keel’s idea of “ultraterrestrials” — hidden intelligences that may not simply visit Earth, but haunt, manipulate, monitor, and interact with us through UFOs, Men in Black, missing time, trickster events, tulpas, angels, demigods, and every other kind of high strangeness. Brent brings three new personal stories that push the conversation into stranger territory. First, he recalls working with Alien and Total Recall writer Dan O’Bannon, who took H.P. Lovecraft’s worldview seriously enough to live inside a lead-lined house surrounded by the recorded sounds of amniotic…

What happens after first contact—when the ships have landed, the shooting has stopped, and the aliens aren’t going anywhere? Bryce Zabel and Brent Friedman explore the surprisingly complicated futures Hollywood has imagined for humanity once extraterrestrials become conquerors, occupiers, refugees, neighbors, employers, enemies—or even romantic partners. And they confront the question every one of us would eventually have to answer: would you join the resistance, collaborate with the new regime, try to play both sides—or just keep your head down and hope the lights stay on? From the guerrilla warfare of Falling Skies and the fascist occupation of V to the surveillance state of Captive State and Colony, the stories keep returning to the same uncomfortable truth: alien invasion movies are usually talking about us. Alien Nation turns extraterrestrials into immigrants. District 9 makes them refugees trapped in an apartheid system. Defiance imagines multiple species attempting to build a society together, while…

What happens when an alien comes to Earth alone—with no invasion fleet, no backup, and no easy way home? Bryce Zabel and Brent Friedman trace the evolution of the solitary extraterrestrial, from Superman, My Favorite Martian and The Cat from Outer Space to Steven Spielberg’s E.T. the Extra-Terrestrial. Bryce recalls seeing E.T. at an early screening in 1982, while Brent explores the film’s darker origins in Spielberg’s abandoned Night Skies project—and the provocative claim that E.T. may have been inspired by more than imagination. The journey continues with two very different stranded visitors released in 1984. In Starman, Jeff Bridges becomes the image of a widow’s dead husband and races across America to reach his ride home, discovering that human beings may be at their best when circumstances are at their worst. In John Sayles’s The Brother from Another Planet, Joe Morton plays a silent extraterrestrial fugitive whose experience in Harlem becomes a story about race, immigration, slavery and belonging.…

What does it take to make an alien feel real? Bryce and Brent welcome Emmy-winning creature-effects legend Todd Masters, founder of MASTERSFX and the artist who helped bring the Dark Skies Grays to life. Todd traces his extraordinary career from calling Ray Harryhausen as a kid and working on The Empire Strikes Back at thirteen to creating hundreds of monsters and extraterrestrials. He reveals how the expanding Dark Skies aliens combined translucent materials, animatronics and early digital effects, then explains how he later reinvented the Skitters and helped transform Doug Jones into Cochise for Steven Spielberg’s Falling Skies. He also shares the unforgettable story of fake body parts escaping down a raging river—and being reeled in by some very startled teenagers. The conversation soon moves beyond Hollywood craftsmanship into far stranger territory. Todd describes real-world disguise assignments that went well outside conventional filmmaking, corroborates Brent’s memory that director Tobe Hooper spoke…

What happens when two civilizations meet—and one possesses technology, power, and knowledge the other can barely comprehend? Bryce and Brent begin with The Twilight Zone’s unforgettable “To Serve Man” and Stephen Hawking’s warning that alien contact might resemble Columbus arriving in the Americas: not because the visitors are necessarily evil, but because encounters between unequal civilizations rarely end well for the less advanced society. Using Apocalypto, The New World, Arrival, and Apple TV+’s Chief of War as portals, they examine the curiosity, fear, mistranslation, trade, dependency, and conflict that can turn first contact into the ultimate culture clash. The episode also features two extraordinary personal stories about how easily identity and intention can be misunderstood across cultural divides. Bryce recalls traveling deep into Borneo to scout locations among former headhunters, where a tribal chief proposed trading a night with his daughter for Bryce’s Indiana Jones-style hat—a situation that…

Fresh from taping an appearance with Dr. Phil and former Deputy Assistant Secretary of Defense Chris Mellon, Bryce brings Brent the behind-the-scenes story of the latest government UFO document release—officially known as “Tranche 4,” but perhaps better described as another UFO dump. Dr. Phil received an early look at the material, along with a handwritten message from President Trump telling him to “have some fun with this.” That unexpected detail raises a larger question: Is Dr. Phil being positioned as a trusted public voice who can help introduce Disclosure to a mainstream audience? Bryce and Brent debate what a true global ambassador for Disclosure would need to be: credible, reassuring, internationally recognized, and somehow above today’s polarized politics. They consider politicians, journalists, filmmakers, and celebrities before arriving at one surprising choice—someone with the stature, warmth, and worldwide appeal to guide humanity through ontological shock. Listen to find out who they nominate.…

In this follow-up to “Missing Time It Was,” Bryce and Brent welcome documentary producer and filmmaker Dean Alioto, a longtime friend from Bryce’s UFO lunch club and a guest who lives at the exact intersection of Hollywood, UFOs, and experiencer testimony. Dean is the director of the new documentary The Experiencers: Full Disclosure, which takes the UAP conversation beyond lights in the sky and into the more difficult territory of abductions, contact, hybridization, screen memories, and the people who say the phenomenon has entered their lives directly. The conversation asks why the official world can now talk seriously about craft, pilots, and national security — but still struggles to face the human beings who say they have been taken, changed, warned, or contacted. The episode’s centerpiece is an exclusive, never-before-aired excerpt from Dean’s interview with Travis Walton, the Arizona logger whose 1975 abduction case became one of the most famous in UFO history and inspired Fire in the Sky. In this…

The Man Who Fell to Earth has always been more than a cult science-fiction story. Walter Tevis first imagined Thomas Jerome Newton in his 1963 novel as an alien who comes to Earth to save his dying world, only to become trapped and broken by ours. Nicolas Roeg’s haunting 1976 film, starring David Bowie, transformed that idea into one of the great screen portraits of alienation — a visitor with superior knowledge who still cannot survive capitalism, addiction, surveillance, loneliness, and human appetite. In this episode of Sound, Light & Frequency, Bryce and Brent follow the entire strange afterlife of the concept: the book, the Bowie film, the failed 1987 television pilot, Bowie’s late-stage theatrical work Lazarus, and the 2022 Showtime series that continues the story with Bill Nighy as an older Newton and Chiwetel Ejiofor as a new alien visitor named Faraday. Along the way, they ask why this one image keeps returning across generations: the brilliant but stranded being who walks among us, hiding in plain…

On December 17, 2017 — the morning after The New York Times helped blow open the modern UAP era with its Nimitz/Tic Tac reporting — Bryce Zabel was in New Orleans when he turned his phone back on and found a message from Dan Aykroyd. That voicemail, saved for nearly a decade, becomes the portal into this episode: Aykroyd talking about Bryce’s Betty and Barney Hill screenplay, the role of psychiatrist Dr. Benjamin Simon, Steven Spielberg, and, in classic Aykroyd fashion, ending with a cliffhanger about a car that “they made disappear” in front of him. From there, Bryce and Brent step into one of the strangest intersections of UFO history, Hollywood storytelling, and cultural memory: alien abduction. The episode focuses on two foundational cases — Betty and Barney Hill in 1961 and Travis Walton in 1975 — and asks whether film and television merely reflect the UFO phenomenon or help shape how people experience and remember it. Bryce and Brent walk through the Hills’ missing time, their hypnosis sessions with…

Sound, Light & Frequency has reached the halfway point of its first season, and the audience is growing fast. Thanks to recent appearances on The Why Files and American Alchemy — which together have been seen by more than one million viewers on YouTube in a single week, with likely as many more listening by podcast — Bryce Zabel and Brent Friedman are welcoming a wave of new listeners and viewers into the investigation. So this week, they pause the ride just long enough to ask: what exactly is the case so far? In “Hollywood/UFOs: The Case So Far,” Bryce and Brent look back at the strange road that began with Episode #1, “Party Crasher,” when a man claiming to be from the Office of Naval Intelligence crashed the Dark Skies premiere party, said he had already seen the unaired pilot, offered “the deal,” and left behind the mysterious “sound, light and frequency” formula. Since then, the series has moved through Spielberg, Sagan, Hangar 18, The Abyss, Men in Black, Close Encounters, government secrecy, Hollywood…

Steven Spielberg’s Disclosure Day has arrived with massive expectations, strong early box office, and a wave of polarized reaction from critics, audiences, and the UFO community. Bryce Zabel and Brent Friedman watched the film twice — including Bryce’s Las Vegas screening with legendary UFO journalist George Knapp, followed by an IMAX screening in Austin with Jesse Michels — and came away with evolving, complicated reactions. In this episode of Sound, Light & Frequency, Bryce and Brent do not review Disclosure Day as a conventional summer blockbuster. Instead, they examine it as Spielberg’s apparent “closing argument” on UFOs, aliens, secrecy, empathy, and the public’s right to know. What, if anything, is actually being disclosed? Why does the movie focus on private contractors, abducted “chosen” humans, alien avatars, Roswell, Jackie Gleason, and an elderly Gray called In Vivo 17? And what should we make of its final one-word message: “Listen”? As Hollywood and real-world UAP events continue to blur…

Few science-fiction stories have had a stranger afterlife than The War of the Worlds. H.G. Wells first launched his Martian invasion in the 19th century as a devastating reversal of empire: what if humanity was not the conqueror, but the conquered? What if something colder, smarter, and more technologically advanced looked at us the way powerful nations had looked at the people they considered beneath them? In this episode of Sound, Light & Frequency, Bryce Zabel and Brent Friedman trace how Wells’ nightmare managed to invade three different centuries. In 1938, Orson Welles turned the story into a radio broadcast so convincing it became a modern media legend, moving the Martians from Victorian England to New Jersey and making the invasion feel like breaking news. In 1953, Hollywood reimagined the attack as a Cold War apocalypse in Technicolor, where science, faith, flying machines, and atomic anxiety collided on screen. Then, in 2005, Steven Spielberg brought the invasion into the 21st century, turning it…

In “Deal or No Deal,” Bryce Zabel and Brent Friedman move their investigation from personal testimony into corroboration. After weeks of telling the story of the Dark Skies premiere party, the mysterious man who claimed to be from Naval Intelligence, and the offer to trade inside UFO information for story cooperation, they bring in their first outside witness: filmmaker Brett Leonard, who says he experienced his own version of Hollywood’s strangest possible pitch meeting. For Bryce and Brent, this is no longer just a story they remember — it becomes part of a broader pattern. The episode asks the question at the heart of Sound, Light & Frequency: were Hollywood creators ever approached, influenced, or guided by people claiming access to the real UFO secret? Leonard’s account opens the door to a larger conversation about disclosure, disinformation, myth-making, and manipulation — and whether “the deal” was a one-time anomaly or one example of a hidden relationship between entertainment and the intelligence…

Cemetery at Midnight is the moment the Sound, Light & Frequency origin story moves from strange Hollywood anecdote into something far larger. After the mysterious J.C. crashed the Dark Skies premiere party claiming to be from the Office of Naval Intelligence, Bryce Zabel and Brent Friedman found themselves pulled into a second encounter — this time at their North Hollywood production offices, where J.C. arrived with a superior and an even more unsettling agenda. What had begun as a party-crasher story now became organized, deliberate, and impossible to easily dismiss. In this episode, Bryce and Brent recount being told that the Moon sits at the heart of UFO secrecy, and that the “secrets of the universe” may somehow involve sound, light, frequency — and a strange gold-like substance presented as a clue. From there, the conversation opens into 2001: A Space Odyssey, Apollo, Buzz Aldrin, hidden lunar history, and the enduring symbolic power of the Moon in both science fiction and real-world secrecy. Then comes…

This week on Sound, Light & Frequency, Bryce Zabel and Brent Friedman finally open the file on a Hollywood story they have kept private and closely guarded for nearly three decades. It begins during the making of Dark Skies, their NBC alien-invasion series, at the exact moment when their dream job became a corporate pressure cooker. What followed was not just a normal network/studio battle over notes, wardrobe, or story points. It was a behind-the-scenes collision between UFO mythology, Hollywood power, franchise ambition, and two writers trying to protect the creative heart of their own series while realizing that forces far larger than they were had suddenly taken an interest. For years, Bryce and Brent stayed quiet because the stakes were real, the players were powerful, and the consequences could have ended more than a television show. Now, as part of their commitment to tell the full Sound, Light & Frequency story with transparency, they lay out what happened chronologically, carefully, and with the…

In the aftermath of the latest government UFO file release, Bryce and Brent decide to zig while everyone else is zagging. Rather than parsing another slow-drip document dump, they ask what may be waiting beyond the photos, videos, craft, crash retrievals, propulsion theories, and “show me the saucers” frustration. This episode turns from the nuts-and-bolts case for UFO reality toward the stranger territory of the woo factor — the part of the phenomenon that includes telepathy, synchronicity, remote viewing, out-of-body experiences, apparitions, orbs, time slips, prophetic dreams, poltergeists, cryptids, hitchhiker effects, and the unsettling possibility that the phenomenon may respond when we pay attention to it. Using H.P. Lovecraft, Charles Fort, Jacques Vallée, John Keel, The Mothman Prophecies, Skinwalker Ranch, and a shelf full of deeply weird movies as portals, Bryce and Brent explore whether aliens, the paranormal, and the afterlife may not be separate mysteries at all. Brent lays out his theory that…

Steven Spielberg is 79—turning 80 the week before Christmas—and we’re marking the moment with our first-ever guest: Ernest Cline, author of Ready Player One, the book Spielberg loved enough to turn into a movie. Together, we’re looking straight at Spielberg’s return to UFO storytelling with Disclosure Day, opening June 12—a film he teased at CinemaCon with a line that feels like a dare: “I believe this movie is going to answer questions and this movie is going to cause a lot of people to ask a lot of questions. All you need to get from beginning to end is a seat belt.” From there, the episode becomes a three-way conversation: Bryce lays out the big question—after 30+ projects involving alien contact and non-human intelligence, is Disclosure Day Spielberg’s “closing argument,” and what does that even mean? Brent pushes the pattern-recognition angle, arguing that Spielberg’s contact stories track the cultural temperature of the moment—wonder, fear, paranoia, secrecy—and that Disclosure Day is arriving at a…

What happens when the Roswell crash, the Kennedy years, and Hollywood storytelling all collide? In this episode of Sound, Light & Frequency, Bryce and Brent use the Showtime Roswell film as their portal into one of America’s most enduring mysteries: what really happened in New Mexico in 1947, and how that event may have echoed all the way into the Camelot era. They revisit how their own NBC series Dark Skies boldly fused JFK and UFO lore in what Bryce calls “an atom collider of conspiracy,” asking whether history’s most famous secrets may be more connected than we’ve been told. Along the way, the hosts share a terrific personal JFK-and-Marilyn Monroe story from inside old Hollywood circles, examine why Roswell continues to grip the culture nearly eighty years later, and wander into some modern mystery-making as Brent casts a skeptical eye toward CERN and today’s scientific gatekeepers. It’s an episode about crashed saucers, presidential shadows, pop culture, and the strange way the past keeps refusing to…

During prep for Sound, Light & Frequency, Bryce Zabel and Brent Friedman are digging through old Dark Skies files when they stumble on two artifacts they’d almost forgotten existed—objects so specific, and so unsettling, that they instantly revive a feeling they thought they’d outgrown: paranoia. Not the famous envelope. Not the party-crasher story. Something else. Something that arrives at exactly the wrong moment in their lives—right as a network series is being born—and seems to speak in a voice that doesn’t feel like fandom at all. Thirty years later, rediscovered in a file drawer, it still lands like a cold hand on the neck. To make sense of what they’ve found, Bryce and Brent take a sideways detour into the eerie Amazon cult favorite The Vast of Night, a film built out of sound, light, and frequency—and out of the creeping dread that comes when an ordinary channel suddenly carries an impossible message. If you’ve ever felt your brain “tune” itself toward the unknown—listening too closely, replaying a…

In “Majic Kingdom,” Bryce and Brent ask an uncomfortably fun question: why does Disney keep showing up in the UFO story? Bryce starts with the modern reality—Disney isn’t a historical footnote, it’s the current epicenter of alien storytelling, “industrializing” non-human intelligence across Disney+ through Marvel, Star Wars, and the Fox-era franchises in its orbit. From there, they rewind to 1953’s CIA-sponsored Robertson Panel and its blunt talk about “training” and “debunking,” including the suggestion to use television and motion pictures and explicitly naming Disney as a partner. The episode then dives into the “two 1995 whoppers”: the wildly pro-UFO Tomorrowland lobby film Alien Encounters from New Tomorrowland (with lines that sound like a government briefing) and a two-week Disney UFO conference that flew in major speakers… yet apparently drew an audience of only about a dozen because Disney didn’t promote it at all, raising the question: what was it really for? Then Bryce opens a personal Hollywood…

In this episode of Sound, Light & Frequency, Bryce Zabel and Brent Friedman dig into the true origins of UFO storytelling in Hollywood, using The Day the Earth Stood Still as a gateway—but quickly expanding the conversation into the earliest days of flying saucer cinema. They trace the genre back to the little-known film Flying Saucer, whose director controversially claimed to be using real footage, blurring the line between fiction and reality right from the start. From there, the discussion moves into the cultural shockwaves of the early 1950s, including the famous Washington, D.C. overflights of 1952, and how that very real moment of national anxiety echoed through films like The War of the Worlds and The Thing from Another World. As Bryce and Brent point out, these weren’t just monster movies—they were reflections of a society trying to process the possibility that something unknown might already be here. Along the way, the episode takes on the kind of personal, unpredictable turns that define the…

In “Cover of Fiction,” Bryce Zabel and Brent Friedman explore how Hollywood sometimes tells the truth most effectively when it’s disguised as entertainment—and why that might be the only way certain ideas can travel without detonating careers, institutions, or sanity. The episode starts with a chilling secondhand message Bryce says an investigative reporter received from multiple intelligence-community sources: if you really want to understand the phenomenon, watch the German series Dark… and pay attention to its grim nuclear future. From there, Bryce and Brent connect the show’s time-loop paranoia, wormholes, and determinism to modern UAP theories about time, “other realities,” and why disclosure might be both too destabilizing and too complicated to drop in one clean press conference. Then the episode turns personal—and uncanny. Bryce revisits how his 1993 Syfy thriller Official Denial became a kind of “greatest hits” of ufology (Majestic, crash retrievals, time-travel implications), and how the “cover of…

Using James Cameron’s The Abyss as a springboard, this episode of Sound, Light & Frequency dives beneath the surface of the UFO mystery to explore the strange and increasingly serious world of USOs—Unidentified Submerged Objects. Bryce Zabel and Brent Friedman trace the connection between Hollywood’s long fascination with underwater unknowns and the growing real-world evidence that some anomalous craft may move seamlessly through oceans, lakes, and rivers as easily as they move through the sky. Along the way, they connect classic and modern screen stories—from The Abyss to Atlantis: The Lost Empire and beyond—to the deeper question of whether Non-Human Intelligence may have been hiding in Earth’s last great frontier all along. The episode also brings the mystery closer to home with two stories that includes the host’s wives. First, Brent shares the story of seeing an unidentified object plunge into the water near Vancouver Island, with his wife as a witness, then Bryce reflects on his own creative connection…

In this episode of Sound, Light & Frequency, Bryce and Brent take on Contact (1997), Carl Sagan’s beautiful, brainy, and decidedly UFO-free journey into alien possibility. But beneath the film’s awe, wonder, and cosmic longing lies a more provocative question: what did Sagan really think about the mystery of contact — and was there more going on beneath his public skepticism than most people realize? Using the film as a springboard, the hosts explore the strange space where science, belief, Hollywood, and hidden history all seem to overlap. This episode also carries an unexpected personal edge. Bryce recalls his own face-to-face encounter with Sagan after a live television appearance, and he and Brent reflect on why the famed astronomer later found his way into the mythology of Dark Skies. Along the way, they touch on the long and complicated road that brought Contact to the screen, the emotional legacy Sagan left behind, and one of the most famous quotations he never actually said. Thoughtful, surprising,…

For forty-four years, Brent Friedman has carried a story he has never fully told in public. A few fragments slipped out here and there, but never the names, never the full context, and never the larger implication of what it all meant. In this episode, that changes. Brent finally revisits a startling conversation from the summer of 1981, when an older family friend with extraordinary government access shared something so unsettling it stayed with Brent for the rest of his life. It was the kind of moment that sounds impossible — until you hear the details — and the kind of confidence given only because the speaker believed no one would ever believe it. That same year, the scrappy UFO thriller Hangar 18 was floating provocative ideas into the culture long before most people were ready to take them seriously. Bryce and Brent use the film as a portal into a bigger conversation about secrecy, storytelling, and the uneasy space where Hollywood and hidden history may overlap. As Brent tells his account in full for…

In “Presidents' Club,” recent headlines about Obama and Trump circling the alien/UFO question become a launchpad—not for breaking-news punditry, but for what Sound, Light & Frequency does best: following the secret thread between Washington and Hollywood. Bryce and Brent start with Obama’s very movie-ready riff about aliens, Area 51, and the possibility of a conspiracy “hiding it from the president of the United States”—and then immediately ask the real question: who knows more about UFOs, the presidents, or the screenwriters? From there, the episode dives straight into the ultimate “president meets ET” portal film: Independence Day—where President Whitmore isn’t read in at all, until his Secretary of Defense leans in with the immortal understatement: “Mr. President, that may not be entirely accurate.” Along the way, you’ll hear how the Pentagon almost cooperated with the movie—right up until two forbidden words showed up in the script: Area 51. And yes, Bryce and Brent relive the goosebump factor of…

Steven Spielberg is Mr. Close Encounters—the filmmaker who arguably made UFOs “respectable” on screen, starting with Close Encounters of the Third Kind (and its three distinct cuts: 1977, 1980, 1998). In Episode 2, hosts Bryce Zabel and Brent Friedman revisit the granddaddy of UFO cinema and explain why that movie still feels like it was beamed in from the phenomenon itself: the five-note language, the lights, the “orbs,” the stigma of reporting, and the obsessive pull that turns an ordinary guy into a human compass pointing straight at the truth. Then the episode pivots to the question that won’t go away: Did Spielberg ever get offered “the deal”—the same kind of covert approach Bryce and Brent say they received around Dark Skies? The guys lay out the folklore, the timing, and the circumstantial breadcrumbs, including Spielberg’s overt attempts to get cooperation (and the pushback he says he got), plus the larger “two factions” idea—some parts of government discouraging UFO talk while others may be using…

At the Hollywood premiere party for the NBC series Dark Skies in the late 90s, a stranger—“J.C.”—crashed the celebration and claimed he was sent by the Office of Naval Intelligence. He offered the series creators Bryce Zabel and Brent Friedman a chilling bargain: help “slow-roll” UFO disclosure through their NBC series, and he’d provide insider truth—then he scribbled a cryptic “formula” on a bank envelope and called it “Sound, Light & Frequency,” the “secrets of the universe.” In this debut episode, Bryce and Brent relive the night that became Ground Zero for their current active investigation into Hollywood, UAPs, and secrecy—and ask the question that still can’t be denied: who else in showbiz was offered “the deal”? Our podcast focuses on the treatment of non-human intelligence and the UAP issue in movies and TV series going back to “War of the Worlds” and looking ahead to the upcoming Spielberg film “Disclosure Day.” Please follow us on X, and YouTube. Our website home base is SoundLightFrequency.com.…

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