 Today, we're going to talk about comedian at Williams, and he's going to talk show and said a whole lot of things that could be a little iffy. Greg wants to tell us about the videos we're going to watch. Yeah, he got kind of a East West comedy war going on and he's just called everybody out. If you've been paying attention this week, he started off on Club Shae Shae with Shannon Sharp who is a three time Super Bowl champion and a NFL Hall of Famer and a great interviewer in this show because he gets to talk and he talks and talks and talks about every comedian that he knows. Are you related to Luda? No. So there was a crossroads where we were both invited to an Illuminati thing and it had to be one or the other of us and decisions had to be made. So it was both of us. We were equal. One of us had to cut off all their hair and couldn't do the sideburn thing no more with the points and the next person they said was going to get $200 million because they were going to pay him 10 million a movie to do 20 movies. And that's how the conversation happened. One of those persons turned out to be ludicrous and the other person turned out to be Cat Williams. Now, one person ended up with a light skinned ugly face wipe that's never done. Remember, I told you that if I say that it applied to seven people. It's part of what they give you. OK, I didn't get it. I'm not mad about it. How much money do they give 200? Sir, fast and furious on his own. What number right now? 200 million. I'm going to get me one of the more women look to say. That's what they all end up saying at the end of the day. Kevin told you you won't go wear no dress until they offered them the dress and then he put it on. And what did he say after he wore it? I made my own decision. It's done, but you didn't make it before they brought it up. Did you? All right, Chase, what do you got? So here we have something that I call false casual emphasis. And he's when he's saying the Illuminati thing, he's turned into the camera. He does the he smiles just before it. And this is not real in emphasis here. There's hesitancy. There's a confirmation glance. So it's false. There and I think the wearing of the woke necklace is meant to symbolize status. This big necklace. He's wearing some wealth. And most importantly, that he's awakened to not the not the conservative idea of woke is being programmed and manipulated by media advertising propaganda. And I think it's the most ironic thing here that he's covered in branding and logos of corporations and businesses that advertise and manipulate people into thinking they have status when they wear them. It's the opposite. It's shocking to see the irony here. And let me show you how this entire thing is about status, hierarchy, wealth and significance. The logos, there's a power flexing guy in the top left of the screen the whole time, probably the logo of the show on the top right. There's a crown over the letter D written in cursive because it's fancy. Then the bold letter V also up there with it. The couches are there to look fancy. The fireplace is marble. There's two bottles of maybe cognac or whiskey or something there. The entire discussion centers around him being equal to ludicrous. He's saying we're both on the same level of receiving the offers of secret societies. So we're both important. We're both significant, but I'm the one in control of my life. And he gets animated when he's talking about things that increase our perception of how important he is. And his body goes almost mute when he's talking about other people's accomplishments. And this is a crystal clear case of retaliation, maybe. And you can see it, I think, is plain as day. The obsession with significance shows you something hiding underneath. So when you see this anywhere in your life, you need to understand one thing. There's a deeply hidden fear of not being seen as significant. And this can drive all or most of somebody's behavior. So when you see this without judging somebody, you gain even more points towards being a master at this craft. I think judgment is the fastest way to ruin your observation or even your persuasion skills. Mark, what do you have? Have you ever Googled yourself and been shocked to see your personal information exposed on public listing sites? I just did a search of one of our upcoming subjects and I was amazed to see the sensitive information exposed to me, what they earn, where they've been and even where they live right now. And that's without even venturing onto the dark net. 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Link in the description below. And now back to the show. Yeah, actually, great one on the pendant that he's wearing there. I'll come a little more to that in the in the in the second video. But first of all, this Illuminati thing that he talks about, Illuminati thing, it's like, what thing? It's like, if you if you were there with this Illuminati thing, let's have some detail around that. So it's interesting that there's no detail around that thing. I would like a little more if there's some veracity there. I personally would expect a little more detail around that, but we don't get it. We get a really nice big hands to God gesture there. You know, I'm telling you the truth, big gesture there. So that's interesting that he wants to to display a hands to God. This is all the truth element there. It's very tricky for me to get into the body language here, because just the stories are so big. There's a massive epic narrative here of the Faustian bargain going on at a at a Samson level, actually, because he talks about the other guys, they cut their beards. They cut their hair was cut short and they were emasculated. And we'll see that coming up with the idea of wearing a dress later on. He just mentioned here, but he mentions it throughout. Talk a little bit more about why that wearing of a dress within his culture, especially around comedians, may be so important to avoid. And some people go for it. But ultimately, the big story here is some people make bargains with the devil in order to get the results that they want. But he hasn't made that bargain. The classic narrative here is the debt that must be paid. If you make a deal with people, you have to pay for it in the end. In the story of Samson and Delilah, Samson has made a deal with God in that he will never cut his hair and therefore God said, OK, well, I'll make you super strong, but you must never cut your hair. That's that's the deal. The hair gets cut. He loses his strength. That's the debt that must be paid. And so what's interesting about this for me is it's often so compelling to hear somebody talk in this way because the narrative, the story is such a big, important story. But let's see whether we can get past this. Yeah, in fact, later on, there is a huge story here of you have to pay your dues in order to get the results. And anybody who hasn't paid their dues, well, they simply can't be honestly getting the results that they should be getting. So lots here about debts and payments and those not being met. Greg, what do you got on this one? Yeah, so let's talk about the simplest form of body language you can get to. There are five, I would say five simple things that if you know nothing about body language, but these five things you can start to navigate. And those are gestures and emblematic gestures. I give you a symbol that means something. They're illustrators where I'm punctuating what my brain is thinking like batoning with my finger. They're regulators way to control a conversation by stomping their barriers, their adapters, things like twisting the ring. So you release nervous energy and then their barriers, things like putting something between me and you of those five, three are the brain trying to punctuate and tell you something more about the story. And those are illustrators, regulators and I'm sorry, those are illustrators. Those are regulators and those are gestures. So if you get those three, that's a person trying to tell you something whether they're intentionally trying to persuade you, the brain's doing it. The last two, the barrier and the adapter are ways of comfort and protect the self when you're watching a person telling a story and their illustrators get bigger, they're driving home points that their brain is thinking. That's interesting because if you watch him wait until he gets to this part about the Illuminati and he starts to tell his story. His brain starts to punctuate. His hands start working like it's a game or puzzle that he's playing with. And you see him going into internal voice. His eyes drop down into his left, which means that he's thinking. He's talking and working through something. Well, interestingly, if you're telling a story, you're not usually working through details and Mark, one of the things he does that you usually bring out is that verbal tick that as he starts listing off things that had to happen, like shaving off his sideburns, he's ticking off his list as he goes down through the story. It's really interesting to watch to me because he loses credibility when he's working through the mechanics of something. It should be a fact and something he knows. Number one, number two, I categorize people and have for a long time as iconic as icon or artifact thinkers. And by that, I mean an icon thinker sees lots of details, kind of like a window in a church. It's an entire story. Mark, it's you just brought up Samson to the Lila. That's iconic. It has a lot of meaning, a lot of depth. Artifacts on the other thing are exactly what they appear to be. So, for example, if I put a bucket out, horses will go check it 50 times a day thinking, well, that's food because their brains don't understand the cause and effect of getting food there. What I find is that people are somewhere on a spectrum or a continuum between those two things. Some people that look for conspiracies and that kind of thing are on the artifact or on the iconic side or the icon side. People who take things at face value absolutely are more artifact thinkers. When you find an icon thinker, I would categorize him as, you will find him developing more story because it can't be as simple as it appears. And I see that in a person who is rolling down here and bringing up things to support his argument, much like Bob Lazar, well, there are 20 movies. Here's 10. There's there's Element 115. I told you it's been discovered. So if I can find a fact and nail it to what I've told you, then it must be true. And as that happens, a person will embellish and strengthen their story. Scott, what do you got? All right. For me, the body language in this is very interesting because it's the body language of a performer. Somebody who's going to be telling stories with their hands and he's a professional. Every word he uses, every sentence he structures is intimately constructed to put a picture in your mind. You know, when I train entrepreneurs, that's one of the things I train him how to do is to create a picture so they can take that picture home and show their wife or their husband. And they say, what are we invested one point two million dollars in this? And it goes in their head like, oh, so they can tell somebody else. So it's very his words are succinct and they're tight. And the descriptions are are really good because he does that all the time. As a as a comedian and he's he's been in front of millions, literally millions of people telling stories. And this is what he's doing here. He's using those tools because he can't help it because he does it all the time. That's what's made him successful. So being a professional communicator. And I mean the high end, the very top. He's he's going to be able to give us or give whoever's watching the information he wants. He wants to give me what he'll be able to relay that. So it's really understandable and makes that picture in your mind. So everything he describes is what he finds to be important. But the whole thing seems to he does it. And sometimes when we see these, somebody will come up and they'll get right up next to what they want to say. He's actually saying it. He's not just hinting at what of something he's actually saying it. He does hint a little bit like you were talking about, Greg, about 10 show, 10 movies and all that. But he's actually saying that. So there's no hinting there. He's just just full on full out saying everything he wants to say. So if he's being deceptive, it's going to be a little harder to see that here because of all those years he's he's practiced telling stories. When comedians tell stories or tell jokes and stuff, these things aren't real. But they'll say, I was going to so and so and this happened. And 90 percent of that is just stuff they made up quite often. The original part of it, part of it's true. That's where they get the story. But the rest of it is just made up. So it's going to be really tough to spot deception on him, even though we'll say, oh, he'll do this and that. But we'll realize at the same time, he's telling the truth for a lot of these things. Some of it as we go along, it looks a little hippy. But it's really tough to tell when a comedian or a performer is or a professional storyteller is telling you something in a situation like this, whether it's true or not. It's really, really tough to tell. His body language is smooth. Like you were saying, Greg, everything is as it should be. He doesn't look stressed. He looks very comfortable. He's got open body language. The adapters he's using are just are common. They're just little simple things, nothing that shows a tremendous amount of stress on. When he starts talking about this Illuminati thing, his arms are open and all that. And I agree with you, Mark. Where is this Illuminati thing? Tell us about that. What is an Illuminati thing? Is it one person? Is it ten people? Is it a place you go on? They're all wearing hoods and stuff like that, got some fires going like they're doing those old movies of that scary stuff. What's happening there? Not just an Illuminati thing. We need to know what's happening. And like you were saying, Greg, his illustrators are smooth and regulators are are right on point. So are his illustrators. They're landing right where they should. And that's important because that's your brain emphasizing specific words and phrases. So he's I think he's saying what he believes here. I think he believes what he's saying to be true. We're seeing a truckload of confidence in this as we should with a performer. So I think this is going to be really interesting to as we go through here to try to find deceptive parts that are full blown where we say we see this most of the time when someone's being deceptive, it's going to be it's going to be tough, although we're going to be able to do it, I think. All right, we good. Should we should bring up one thing that we say all the time? There are no indicators of deception, just patterns that we look for. And groups, clusters of hues that would suggest deception. One of those tape replays. Are you related to Luda? No, so there was a crossroads where we were both invited to an Illuminati thing and it had to be one or the other of us. And decisions had to be made. So it was both of us. We were equal. One of us had to cut off all their hair and couldn't do the sideburn thing no more with the points. And the next person they said was going to get 200 million dollars because they were going to pay him 10 million a movie to do 20 movies. And that's how the conversation happened. One of those persons turned out to be ludicrous and the other person turned out to be Cat Williams. Now, one person ended up with a light skin, ugly face wipe that's never done. Remember, I told you that if I say that it applied to seven years. It's part of what they give you. OK, I didn't get it. I'm not mad about it. How much money do they give? 200. Sir. Fast and furious on what number right now? 200 million. I might be getting me one of the more women to look and say. That's what they all end up saying at the end of the day. Kevin told you you won't go wearing no dress until they offered him the dress and then he put it on. And what did he say after he wore it? I made my own decision. Duh. But you didn't make it before they brought it up, did you? In 15 years in Hollywood, no one in Hollywood has a memory of going to a sold out Kevin Hart show. They're being aligned for him ever getting a standing ovation at any comedy club. He already had his deals when he got here. Have we heard of a comedian that came to L.A. And in his first year in L.A. he had his own sitcom on network television and had his own movie called Soul Plane that he was leading. No, we've never heard of that before that person or since that person. What do you think a plant is? Maybe people don't understand the definitions of these words. He just did his documentary with Chris Rock, where he shows you that his whole upbringing in comedy was on the East Coast. Yeah, it was. So how simultaneously was he here in Los Angeles doing the same thing? It didn't happen. It didn't happen. And I hate to seem like a petty individual for picking apart lies. But just see small leg on keep line until you say, we don't believe you. Like it's important in the checks and balances of the universe that liars not get to make complete narratives for themselves. Are you not afraid about being blackballed again? These are some power people. What do you mean again? All right, Mark, what do you got? Yeah, so look to your point, Scott, he is super demonstrative. I mean, his arms are going right out into what I would call third circle. So his joints are locking out. He's really filling the space in a few videos time. We'll see him take up more of the space than he probably should go outside of even chase that grand set, which I totally agree. It's it's it's grandiosity. It's it's a huge kind of stately fireplace, big leather couches. It's almost medieval big and he's going to break outside of that. So, you know, usually usually it's only in entertainment. It's only the clowns that are allowed to break those kind of barriers. So are we getting something of an extreme performance that's breaking some of the boundaries? I think think we probably are. So third circle there with the arms. That's great to see. And he goes there on this idea of of East Coast. So there is this idea of the battle between the East Coast and the West Coast going on, which says to me something about the bifurcation of of America. You got that team and you got that team. And if you're on that team, you're not allowed to win prizes from the other team because he didn't make the journey from East to West. And that is a massive American narrative. People landed on the East, apart from the, you know, the Spaniards had already got way round early on. But, you know, the the the colder Europeans landed on the East and they made their way over to the West and some of them never made it across. They got stuck in the middle or they didn't even bother going. But some made it all the way across. And if you paid those Jews, if you managed to make it across the country, then there's that whole Californian LA lifestyle for you. But you've got to pay your Jews on this. And that's a very immediate idea. You've got to play the clubs. You've got to pay your Jews. If you haven't paid the piper, then you're not allowed to sing those tunes and benefits from that. But so what he's saying is, look, there's somebody on the on the East Coast who really hasn't paid their Jews and so they shouldn't be able to get this prize, but it seems like they have. And so it has to be it has to be Satan involved there somewhere because it's going against the natural order of the universe. And there he is with that pendant on there with something of the order of the universe on it. He's got the points of the compass on there. You'll see that northeast, southwest on there. It's also a wheel of a ship. That's an old Phoenician emblem of one universal God that's seen throughout India as well. The idea of the Dharma, the one universal idea and their folk and woke there. And I think the woke that he's he's expressing towards is Martin Luther King, these I think sixty five commencement speech, where he talked about remaining awake through a great revolution, which is where the derivation, as I understand it, of the of woke came from of Martin Luther King, saying, you've got to be awake to our history. Now, you know, in this modern time, it's been corrupted over time as to what that might mean. But I think he's probably talking about that, maybe, maybe. But not everybody knows the symbols that they're wearing. So maybe you know something of the symbology of that. Maybe not at all. Maybe knows more about the Fendi f's that he's wearing rather than the potential Phoenician symbols that he might have on there. Anyway, an extraordinary, I guess, kind of compendium casserole, you might even say a bit of a dog's dinner of images coming in here, somebody who will grab whatever they can. Some of it may be meaningful for him, some of it not so much. But we're worn with gosh, huge, huge grandeur. Scott, what do you got on this one? All right. And this one is body languages wide open. There's there are no straggling illustrators, no half or short shoulder shrugs, nothing like that. He's saying what he believes to be true, I think. That's what it looks like to me so far. So he his not only is it I think he believes it, but he's showing he believes it, he makes great eye contact with what is it? Shay, is that his name? Shea Shannon Shannon. Shannon. OK. So he makes great eye contact with him and he's also making eye contact with the camera and he's also making eye contact with somebody on the other side of the room and someone behind the camera. And that's normal for someone who's a performer because you've got to play the room and that's what he's doing. Going back to the part where I said he's performing. So we're seeing him play the camera, play the host, play the other the audience in the room. So I don't think this is rehearsed, but I think we're seeing him structure these things as he goes along, because when he's recalling things, he's just he's recalling the situation and then wording it as he goes because he's professionally knows how to do that. So he thinks really, really quickly. Going back to what you were talking about, Mark, about the differences in then in the West Coast and then the East Coast. He's from Philadelphia, I believe. Yeah. So when you have when you have New York, I'm familiar with with comedians and comedy. I realize one of the things I'm really into. And the New York comics are completely different than the LA comics. I mean, it's not like they're throwing stuff back and forth all the time, but they all have an understanding that they're different than the ones out in LA. And so I believe Kevin Hart was in New York for a while. So I think that's where he cut his teeth on comedy. You probably cut him in Philadelphia, Philadelphia. But when he came into New York, I think he played a role there because you're Nate Barkatsy. Talk about him here. Big J. Oaks in here. Kurt Metzger, all those people talk about him in good terms about how he came up and he was charismatic and did very well. So it's not that the people in New York hate the people in LA. They're just really different. And sometimes if you hear interviews, you hear him talking about the differences they have or that there are, because in New York, they come up, it sounds weird to say, but it's a little dirtier. It's a little tougher and rougher in New York for a comedian than it is in LA. LA is all shiny and all that. But New York is that was where you actually learned. So if you're going to be a comedian and from what I understand, go to New York first before you head out to LA. So that that chin up and that head back. That suggests he's indignant with this. He's really aggressive and emotionally involved with this. And he's telling what I would say is his truth. So that's why he's being so aggressive about it, whether it's true or not, I believe he believes what he's saying. So and I'm not I'm not seeing any body language that suggests deception, really, but I see a whole lot of confidence and I can I can see the difference in that New York and LA situation here. So Greg, what do you got? Yeah, a couple of things. Number one, I believe he believes this. However, the thing that he does not do is outright accuse, if you notice, no hard accusation. Lots of questions. We've never seen a guy before. Well, you have now. So he's asking questions and trying to see doubt in you. And like you said, this guy, no stand up comic who's successful is stupid. These guys have to be really smart and have a hell of a memory and be able to recall things on a grand scale. I'm always saying of all the people I don't want to get into a word contest with their it because they're really good at setting up something 20 sentences before they come back to find it. So really good at that. Most of them would be great questioners because of the way their brain works and what they're thinking. Watch and do these big illustrators. Mark, you call it third circle, but these big illustrators are confidence. One of the things I always say to politicians is get your elbows away from your sides because you don't look genuine with your elbows at your sides and his are up. He's also throwing out a ton of questions. He's got all this confidence, never accusing. The only time I see any lack of confidence is a lip withdrawal in two places. One when he says they have no power and one when he says it didn't happen. You see his lips come back into his mouth and we associate that. Chase, I think you say it all the time. We associate with a need for reassurance. So those are two times the rest of it. I think he also is a kind of guy who can put a stake in the ground here and a stake in the ground here and fill in between them. That's what I call icon thinking. You know, everything has more meaning than what you are putting it down as. I deal with people in business all the time that will put two stakes down and fill in the middle. If you have an iconic mind, if you're one person who's looking for things and you have confirmation bias, you will be absolutely certain of everything you think. Chase, what do you got? I tend to agree. So just what are we hearing here? If you closed your eyes when this clip came back on and just listened without any context, just what are you hearing? You're hearing a story of how insignificant another person is. And the insults that I'm just giving give you a behavior profiling tip here. The insults that somebody chooses almost always expose the hidden fears of that person. So they choose these insults because it's what would hurt them the most. So they unknowingly reveal a tremendous amount of maybe hidden secrets. So you'll see the host here match this big giant expression that he does with his arm. You can pause the clip right when it comes up. Both of their arms are stuck out in identical mirrors of each other. And he's trying to interject a question. It doesn't work. And you can watch him close up after this. He actually is a great listener, great interviewer from what I've seen here. But he lanes back, closes up. He's closed off after he attempts to ask a question. The whole show just seems to be an attempt to flex somehow. And even the host, I think he's got on a fifteen thousand dollar bracelet, that little thing that looks like a nail is made by Cartier. I know that for sure. And when somebody grows up in a household as a profiling tip here, somebody grows up with parents who have a fixed mindset. So they tend to think I can't grow or this is where I'm I'm at. I can't develop myself in the business world when they grow up, which entertainment is this translates to them developing a competitive instead of a collaborative mindset. Those are really the only two. And the collaborative mindset people tend to win in this world. So he I have to push other people down for me to move up. The only way up is for me to push other people down. And that's the competitive mindset. So losers mindset. But I like the guy. He's great. I'm just saying the mindset is not healthy for you to have. So again, we're seeing that same behavioral patterns. His body gets animated when he's broadcasting his own status and power. And also when he's lessening someone else's significance. And this competitive mindset tricks people into believing that they can rise by putting other people down. It's often the same kind of people that are tricked into thinking that logos and expensive things increase your value because they believe commercials, media and advertising, which goes right to that. That theory of mind, Greg, that you were talking about, whether it's what did you call it epic icon icon icon? Yeah. So like iconic thinking. So when you're observing somebody, I've leave you with this one tip. There's one thing that you can ask that will kind of turn you into a miniature behavior profiler right away. Is there something this person is desperate for me to think about them? That one question will reveal quite a bit when you take a look at somebody. One of those tape replays. In 15 years in Hollywood, no one in Hollywood has a memory of going to a sold out Kevin Hart show. They're being aligned for him ever getting a standing ovation at any comedy club. He already had his deals when he got here. Have we heard of a comedian that came to LA and in his first year in LA, he had his own sitcom on network television and had his own movie called Soul Plane that he was leading. No, we've never heard of that before that person or since that person. What do you think a plant is? Maybe people don't understand the definitions of these words. He just did his documentary with Chris Rock, where he shows you that his whole upbringing in comedy was on the East Coast. Yes, it was. So how simultaneously was he here in Los Angeles doing the same thing? It did happen. It didn't happen. And I hate to seem like a petty individual for picking apart lies. But just see small leg on keep lying until you say, we don't believe you. Like it's important in the checks and balances of the universe that liars not get to make complete narratives for themselves. Are you not afraid about being black bald again? These are some power people. What do you mean again? And the Chris Tucker that we got now is Epstein Island. Chris Tucker. Not Smokey. Oh, Lord. Whoo. If I didn't know, no, but I tell you, he's the greatest. I don't get what you say to be confident and not delusional is a real skill. Most of these confident people we see is really delusional. Well, you don't think you don't think they asked Chris Tucker to come back in the second in the second Friday? Smokey Smokey was all in for a smokey. There ain't no Friday without smokey. We all agree to that. And there's no next Friday without Friday and there's no Friday after next without we talk about the road because you say that they don't. The thing is the thing. Chris was allowed to make the decision at the time that this is happening. Cat Williams is known for smoking weed. Willie Nelson is known for smoking weed. Snoop's known for smoking weed. But none of us is really known except Willie. And I'm saying Chris Tucker didn't want to be the poster child for smoking. We don't smoke weed like that. He in the church. He Michael Jackson's best friend. Christmas, Michael Jackson called him Christmas. You ever met a man that gave you a little nickname like that? No, me neither. Must be the greatest. Man, I don't be able to get nobody back. I don't be able to get no more comedians. They all got it. They are you kidding? No. All right, Greg, what do you got? Yeah, this is a really good one because I would say if you listen to people, they'll tell you what they think. But you have to listen through things and listen for deviations. This is a great example. I'm not going to cover a whole lot of body language, but a whole lot of behavior. When he's talking, he's philosophizing as he goes through with a lot of icon thinkers are going to fill in the gaps and they just talk and talk and talk and talk and they ramble. But when he gets to a hard to hell belief, he gets very concise. Pay attention to that because the hard hill belief is Willie Nelson's dope smoker. I'm a dope smoker and somebody else a dope smoker and we didn't get picked. How did he get picked? Everything else kind of rambles. That means their mantra or the thing that matters to them is going to come out if you just let them talk and people who are icon thinkers and who have a tendency. Remember, when I say icon, I'm talking. That's an extreme artifacts, an extreme and most of us are somewhere in between. And if you're really hardcore, everything has a link and you're really a conspiracy theory guy, you're going to ramble because you need to fill in those details. All of you know somebody who will tell you, you know, why the earth is flat or why the whatever, all those conspiracies, we never landed on the moon, all that kind of stuff, they've got a million little factoids that never connect, but they seem to make sense. So listen to him. The other thing to watch is when he's rambling along and doing this, his words, his tone and his cadence change when he's talking about talker. He goes from remember, I talked about three out of five things are to tell you what I'm thinking to where to protect. He goes to low illustrators and a lot of adapters when he starts talking about talker. So interesting, interesting to watch him change his whole demeanor as he starts to make accusations in there from what we saw last time with these big sweeping movements. Chase, what you got? That's just imagining the comments about the moon landing. They're going to go crazy. Oh, yeah. Yeah. My mother-in-law didn't think we landed on the moon. Yeah, I'm just going to search. I'm going to search our comments for Stanley Kubrick. That's all I need to do because that's all people are going to be talking about. So I looked this morning. Chris Tucker apparently was on these flight logs for the airplane with Epstein. So interesting note there. The host starts getting really worried about the show. When you see this arm crossing and he does this joint protection here, he's grabbing onto his elbow and when we protect our joints, that's kind of a big deal. It's not just a regular arm cross. There's some joint protection going on. I learned that from a guy named Mark Bowden. This guy right over there. So let's bring up something that he said. And it's hard to be confident and not delusional. And he also says confidence is a skill. It's not a skill at all. It's a mindset of who you are. But all confidence comes with some delusion. All of it does. But so does the opposite. If somebody's incredibly insecure, there are also a ton of delusions there about self-worth. Both of them, both of them have delusions about their self-worth. So extreme confidence and extreme insecurity both share that stuff in common. I can see how a lot of his actions are misinterpreted as confident. As there's a lot of movement, he's comfortable pausing to think about a question. Every behavior in this clip is almost every behavior is nervousness and confirmation seeking behavior. And here's a question to ask yourself to instantly determine what's going on in a conversation like this. Which person is reacting to the other person more? Who's reacting to the other person more? The most non-reactive person is the most confident there. And there's almost no exception to this. The exceptions that exist, we don't have time to go into. But here's the behavior here. Everything you're seeing is adapting and pacifying. And I like the guy. I like him as a comedian. I like him as a human being. And if you're watching this, we don't hate you. We're just dissecting the behavior. You could do it equally with us. So we're seeing leg rubbing, leaning, confirmation glances, hesitation, rising vocal pitch, reaching for a drink that isn't even there. The exaggerated laugh, the continuous seeking of approval and recognition from the interviewer, excessive facial touching, conversational redirection. The moment when anything positive is brought up about Chris Tucker, the moment that something positive is brought up, it's redirected. And there's one controlling gesture that he does there, aside from all the others. And that's the big stop gesture there, where the fingers are extended, the hands come out and that's almost a universal. I haven't seen a culture where that doesn't exist. They've even spotted it in tribal cultures that have no outside contact in Papua New Guinea, and that was Paul Ekman did some research on that. Scott, what do you got? All right. And you're right, because if a comedian on that level gets mad at you, let me tell you, man, he would filet us each individually, just like a few words. And then as a group, we would be horrified. We'd be sitting in a corner next to the commode like this, thinking about it for two weeks. That's how hardcore those guys get. Longer than that. Yeah. But we see him adapting by rubbing his hands on his thighs. But I think that's due to the stress of the situation, which is normal for a situation like that. And I think he's realized what's happening by that. I mean, he's he's about he's realized that he's talking about things that aren't common knowledge now among civilians. And I would say we're civilians compared to entertainers. If we look at it that way, they would be the pros and we wouldn't be in that world. So he's talking about things that may seem crazy now. But in two years, how many times we heard somebody say some just some crazy stuff and then two years later, they're like, see, I told you. And you're like, geez, you're right. So what he's talking about could possibly be true. So I'm not saying he's, you know, he's unveiling all this secret Hollywood stuff or anything. But sometimes he's insiders. They get fed up with it and they'll start telling you about it. I think he's frustrated. We're seeing a lot of frustration and anger with it. So that that's something to think about as we go through this. Now, everything from a body language perspective, to me, he looks like a person who's nervous and stressed coming from which has changed from someone who's all blown out confidence, you know, like, hey, here we go. He's showing confidence here, but at the same time, we're seeing a lot. I think a lot of stress in some of these adapters. So I think he's he's I think he's he's decided he's going in. And as he is decided, once he decided to go in, he's thinking about the repercussions of what may come later. A lot of this, I think, is also exaggeration, which comedians do as well. A lot of times because it's a performance and it's a show. And I think he's in performance and show mode. So I think he may be exaggerating a lot here. It's maybe not a lot. I don't know, because I wasn't there, but it sure it sure looks to me like there's a lot of exaggeration going on. The more we see of these big, huge gestures, the more the story sounds a little bit wacky, a little bit crazy. So maybe he's exaggerating there a little bit. Nothing wrong with that. You know, everybody does it from fishing stories to, you know, war stories to how fast their car goes. But I but I think we're going to see a little bit more of the exaggeration part here in a little while. Mark, what do you got? Yeah, I agree. It's a performance. And I think he's he's getting anxious because it's a gig that he hasn't done before. I mean, he's played. He's done a lot of jokes and he's played big, you know, big numbers and big places, but he hasn't done this set. He's I think he's kind of doing this one on the hoof. And that's why, you know, we've got these self soothing gestures on Epstein Island. It would be very easy to go, oh, well, you see their self soothing there. So he's not being accurate about the Epstein Island piece, but he does it throughout. It's just ramping up now. And in the next video, you'll see it ramp up to a whole different level. But it's certainly ramping up here. Turns out, if Chase, you're correct. And I've no doubt that you are that that, you know, somebody was on the manifest of Epstein Island. So we've got we've got some corroboration there, maybe. So but all the same, he's not comfortable. He says, if I'm being honest with you before he enters into enters into any of this, that suggests that he may not have been entirely honest throughout the rest. Now, doesn't mean he's outward lying. No, he's probably just exaggerating because you mustn't let reality and fact get in the way of a really, really good story. And he's on there to tell a good story. You've got two guys there drinking what I expect is, is, is, you know, some kind of casked liquor of some sort. I don't know exactly what it is. It's a bourbon or a cognac or something like that. I can't tell from that particular bottle. The labels have been taken off. So I guess it's not sponsored in any way. But you've got you've got two people telling a big story in a grand environment. We're going to want some exaggeration. We've come here for entertainment and that's certainly what we're getting. Now, it's really ramping up now because as he self-sues there, he continues to rock back and forwards. Now, that rocking back and forwards, if you had somebody who was stimming or had psychosis, that would be ordinary behavior for them. That would be their, their baseline. But for him, that's quite extreme. Do I think he's stimming? Do I think he's psychotic? No, I don't, I don't think that's the case. But I think he's he's raised historian performance to a big act. I've always said that, you know, acting is is controlled psychosis. You put yourself in a state of mind whereby things that aren't real feel really real. But you control it. You're able to switch it on and switch it off. When they say cut, you don't think you're in that place anymore or having that feeling when they say action, you're in that place and you're having those feelings and you have relationships with people. You don't really have relationships, but you can switch it on and switch it off. It's controlled psychosis. I think he's going into that kind of shatten state right now. You know, it's almost it has some elements there of evangelism to it. And why not? My guess is, is that, you know, part of his potentially part of his culture, certainly part of the American culture. We hear something of that evangelist preacher. I think in his intonation, but of course, that runs throughout American culture. So to look great, great act, great story, feels very confident at the same time, quite anxious behaviors, because this is not the usual gig that he does. It's not a set that he's particularly practiced. One of those tape replays. And the Chris Tucker that we got now is Epstein Island. Chris Tucker, not smoky. Oh, God. Who, if I didn't know, no, but I tell you, he's the greatest. I don't get what you say. To be confident and not delusional is a real skill. Most of these confident people we see is really delusional. Well, you don't think you don't think they asked Chris Tucker to come back in the second, in the second Friday? Smoky Smoky was all in Smoky. They ain't no Friday without Smoky. We all agree to that. And there's no next Friday without Friday and there's no Friday after next without we talk about the road because you say that they don't. The thing is the thing. Chris was allowed to make the decision at the time that this is happening. Cat Williams is known for smoking weed. Willie Nelson is known for smoking weed. Snoop's known for smoking weed, but none of us is really known, except Willie. And I'm saying Chris Tucker didn't want to be the poster child for smoking weed. He'll smoke weed like that. He in the church. He Michael Jackson's best friend, Christmas. Michael Jackson called him Christmas. You ever met a man that gave you a little nickname like that? No, me neither. I must be the greatest. Man, I don't be able to get nobody back. I don't be able to get no more comedians. They all come in. They are you kidding? No. You said, yeah, I had Cedric on here and I asked him about the joke stealing. He said the timeline doesn't add up. Correct. To your to that point, you say. Right. So he thought that I was just a no name comedian and that he could take this joke and nobody would know. Right. The issue was that I had already done this particular joke on B.T.'s comic view twice. Right. It had done so well on B.T.'s comic view that they had made it part of the commercial. So part of the commercial of make sure you tune in to B.T. was you seeing me doing this joke. And this joke is one of those jokes in comedy where you set it up and it takes a little longer to set it up, takes about three minutes. But then you're just hitting them with jokes after that because you don't have to set it up. Mark Curry had already helped me work on this joke because I thought it was good because I was getting a standing ovation on it. He had me go back in the lab to help me craft it to be an even more powerful joke. So this is not just a random joke. This is my very best joke and it's my last joke and it's my closing joke. OK. 1998. I'm doing this joke. It's on comic view. Cedric comes to the comedy store. He watches me in the audience. He comes backstage. He tells me what a great job I did and how much he loves the joke. Two years later, he's doing that as his last joke on the kings of comedy. And he's doing it verbatim. He's just changed my car into a spaceship. Him and Stephen already apologized for me. So I gave him a pass for a decade. Why would you sit here and be like, I talked to I saw Kat 30 times. And Kat didn't do as I stand before you, Shannon. I would have bust Cedric's stomach. There was nothing that would have kept me from one of these in that patch right there. Like, are you kidding me? Why would you downplay me like that? Why did I give you a pass if you were just going to lie? And so that's what I'm saying. Like, they're all a group. Cedric, Steve, Ricky, they've been a group. Everybody knows that they've been aligned and there are these alliances in comedy. And if you stand against them, then they sometimes have a problem. But we don't let that change the content because that's all you know me for is that I'm quite likely to tell the whole truth and nothing but the truth. So help me, God. All right, Mark, what do you got? Yeah, look, this is the moment where he really, you know, as the clowns do, breaks the boundaries. He stands up to demonstrate, move towards this this demonstration of a violent act. And now we're starting to see the technicalities of the set. The mic doesn't move out. It's probably got no headroom, so it maybe can't move out. It was maybe a smaller ceiling than we might imagine going on there. And so and so we start it starts to be revealed. The mics are revealed. He goes out of shot so the cameras don't extend to to to give him that that height and that that space. The storytelling now has broken the boundaries of what that show is maybe set up for and maybe now what he's actually set up for. Because notice what happens when he does that act of, I think, you know, punching somebody in the stomach, his jewellery comes loose and then he gets obsessed with adapting and fixing that. He's not wearing anything or he's not set up for violent acts. So we see here that his act of a violent act has to be an act because he's just not his body isn't used to it. The way he dresses, what he wears, isn't capable of withstanding even the mime of that, let alone the act. So at this point for me, I go, OK, you really have expanded this story to to a to a grand level. Good on you because it's great entertainment. But you now start it's now starting to rip a little bit at the seams and literally fall apart as you try to display to us what a violent man you want us to feel that you you would be. And then it ends it all with the idea of I'm the incorruptible one. The the the Faustian deal was given to me, but I didn't take that Faustian deal. And therefore that's why I'm not as successful as other people. I imagine it's the narrative that he's trying to tell here. I'm I don't get the the big shows that other people get because I'm incorruptible. I didn't take the deal. Others did. Scott, what do you got on this one? All right. Everything changes here. He starts talking faster, you know, his cadence speeds up. He's getting excited. His voice tone rises a little bit. His breathing rate goes up. His blink rate goes up. Everything changes here from what we've seen so far. And I believe that's because he's getting angry and he's frustrated. Everything's moving faster. His regulators and his illustrators are are are moving faster. They have up to this point is getting very specific with the times and the events involved. So I think he's he's aware of this because it happened to him. Now, joke stealing is quite common in the in the comedy world because you'll if some comedians will go to a club and they'll see somebody do a great joke. And like he was saying, he said, Rick changed the car and his in in Cat Story to a spaceship and he uses the same joke setup. Now you can say, well, it's different. It's not different. There are only seven songs and ten jokes. And if you use the same setups and everything for a joke that somebody else used, then that's that's stealing it. If it's the same thing, it's really common. And I'm not just saying because I've heard it or seen it or whatever. Amongst comedians, it's really common. I mean, there's some some really huge stories that have gone around about the different comedians stealing different stuff. Now, I have to tell you when I was a record producer, I produced a couple of of albums that are the biggest selling comedy albums ever. One of them is in the Guinness Book of World Records and I did the the single for that one. And my experience with comedians is what he's talking about. I've seen that happen to myself. I'm not out in comedy clubs all the time or anything like that. But I know what he's talking about. So in this case, I believe him, whether Cedric did that on purpose to be mean or whatever, I have no idea. But when he's telling that story, he's showing everything that a frustrated, angry person would would show if that had happened to him. And I think that's really common for that thing to happen. I know it's common for that to happen. So I believe him there. I think that he's he's telling the truth. And after he executes this punch, everything seems to relax, not right after it. But just a little bit after that, he seems to relax. I think that frustration is built and that anger is built up. And he's gotten that out. What he wanted to do and the violence part of it. He he he he did that, did the fake punch and everything. And I think that helped release some of that pent up stress and anger and frustration for it. Mark, he is known as a guy who can who's been known to whip and hide in every now and then. So I would I would have to to be on the side of saying he's he's he's a bit of a he's a bit rough around the edges when it comes to that. He's he's no stranger to to fighting from what I understand and the stories that I've heard about him because he's hilarious. But at the same time, comedians can be just as as funny as they are. They can be as dark and just the opposite of what you see them be. Because comedians, where they usually come from, is is is a rough spot in life. I don't know. I'm not going to go deep into that. But they usually come from pretty messed up situations family wise and living wise. And I think that's what's probably happened to him. But he's he's he's got a he doesn't have a reputation of run around fighting people. But there are specific stories of where he did he has done that. His breathing rate after all, after his his punch and stuff goes down, everything starts relaxing, everything gets below normal at this point. He's he's almost he's not completely relaxed, but he sure is calming down a lot at this point. So I think that actually helped him a lot. Chase, what do you got? This video is different. It's very different from the other behavior that we've seen. So he's flowing. He increases in vocal pitch. They're happening it directly related to his expressions of disbelief, which we don't account for. If we don't consider deceptive or stressful, if they're happening at moments of pure disbelief and his movements are fluid now until the very last part. And this is all, in my opinion, honest behavior, just seeing this massive cluster of honesty signals here. I have no doubt personally that he's telling the truth. But at the end here, you see him just turn into a turtle toward the end of this when he's talking about these groups of people and how these groups don't like certain things. And he does this right after the punch, which probably might have sent him up kind of questioning himself because he seems like a person who is very concerned with how he's being perceived, which I think anybody in the entertainment business is. But after this, he might have had some stress. And then he's talking about these groups and how they don't like him. His entire body turns into kind of a turtle. You can even he he's probably wearing a lav mic on a lapel or something. You can hear his voice kind of go down into the mic. I thought that was really interesting. That's all I got, Greg. Yeah, I'm with all of you. When we look at body language, remember, if I said there are five pieces and three of those are about communicating your story and two are about comfort and protection. All of the three are working for him. He's using gestures. He's using his hands to illustrate what he's thinking. And he's using his hands to regulate what I can't believe it. You can see all of that punctuates what his mouth is saying. And it hits at exactly the same time as his tone goes down or up. You can watch him punctuate even when he throws out. There were two times you see as he uses two fingers. That's either really well rehearsed, which it doesn't appear to be. It looks very fluid and very normal. The cadence, pitch, tone, all are there. His intonation is down. He's telling you how things went. When we see his brow rise, something I've always called requests for approval. It's that do you believe this? Can you believe this guy did this? All of this stuff is powerful. This is all right where he's going. Raises his brow again. When he says I accepted their apology and then you see him go back into a brow beating, why would they do this to me? So all this messaging is congruent. It's saying the same thing with body, with word until chase exactly what you said. I say there's two things going on when he gets to this cabal or this group of people, things kind of fall apart. And Mark, I think part of it's because like you said, he's jacking around with a piece of jewelry, but there's more going on than just jacking around with a piece of jewelry kind of folds up. Chase, I agree with you. You can hear him talking down into the mic. He loses confidence. All of that big demonstrative stuff goes away. So if I were choosing, I would say, do you really know there's some kind of group of guys who's out to get him? Probably not. But does he believe did it happen based on what he's saying? Yeah, I think it did happen the way he's saying it. At least that's what he remembers and where it happened. So again, we can't tell what a person knows. We can only tell you symptoms of what we're seeing. And when people are that demonstrative and all of their languages together, they believe this happened. We had the same thing. We talked to your focus, if you remember. One of those tape replays. You said, yeah, I had Cedric on here and I asked him about the joke stealing. He said the timeline doesn't add up to your to that point. You say, right. So he thought that I was just a no name comedian and that he could take this joke and nobody would know. Right. The issue was that I had already done this particular joke on B.T.'s comic view twice. Right. It had done so well on B.T.'s comic view that they had made it part of the commercial. So part of the commercial of make sure you tune in to B.T. was you seeing me doing this joke. And this joke is one of those jokes in comedy where you set it up and it takes a little longer to set it up, takes about three minutes. But then you're just hitting them with jokes after that because you don't have to set it up. Right. Mark Curry had already helped me work on this joke because I thought it was good because I was getting a standing ovation on it. He had me go back in the lab to help me craft it to be an even more powerful joke. So this is not just a random joke. This is my very best joke and it's my last joke and it's my closing joke. OK. Nineteen ninety eight. I'm doing this joke. It's on comic view. Cedric comes to the comedy store. He watches me in the audience. He comes backstage. He tells me what a great job I did and how much he loves the joke. Two years later, he's doing that as his last joke on the kings of comedy. And he's doing it verbatim. He's just changed my car into a spaceship. Him and Stephen already apologized for me. So I gave him a pass for a decade. Why would you sit here and be like, I talked to I saw Kat 30 times. And Kat didn't do as I stand before you, Shannon. I would have bused Cedric's stomach. There was nothing that would have kept me from one of these in that patch right there. Like, are you kidding me? Why would you downplay me like that? Why did I give you a pass if you were just going to lie? And so that's what I'm saying. Like they're all a group, Cedric, Steve, Ricky, they've been a group. Everybody knows that they've been aligned and there are these alliances in comedy. And if you stand against them, then they sometimes have a problem. But we don't let that change the content because that's all you know me for is that I'm quite likely to tell the whole truth and nothing but the truth. So help me, God. I was there to cancel me for talking about Harvey Weinstein before the thing came out. But he offered in front of all my people at my agency. What am I supposed to do? He did all of that. I'm thinking I'm the only black person on the script. I get there. It's three other black guys on there. Woo. You wonder what they did. I told him, no, which I'll do. And this is why when I walk in a room, hedge go down. Behind my back, I'm nothing. I'm just a regular old comedian that's bitter and jealous. But in my face, no, no, no. The king has walked in and they have to respect it only because I've not taken the shortcuts, I've not been funded. They pay you to not talk about things they don't want you to talk about. They tell you that themselves. All right, Greg, what do you got? Yeah, so here we're going to get again two different people in this interview. When he's talking about the Weinstein thing, great illustrators, great alignment. Everything is working perfectly. You know, we talk about illustrators. We talking about when a person is using their hands, we talk about barriers. When a person is blocking you out, we see all the positive things. And he's hitting just exactly the notes he should his hands are big. What I and Scott, you always bring up Vray and him saying that larger illustrators usually indicate truth that doesn't necessarily mean it's true with an entertainer. But I think he's being honest. I think what I see here is honesty because he's doing whole body helplessness. The thing, Mark, I'm sure you tell your guys when you're talking to politicians, his elbows are away from his body, his hands are up. He looks fully helpless when he's doing it. Then he shifts gears when he's saying, what did they do? That stand up when he says, what did they do? You know, the three other guys in the group, what did they do? I know I said no, that part's interesting. But when he starts to talk about his place in the hierarchy, where he's the king of comedy, he starts to adapt an awful lot. So we're starting to see a lack of confidence there, where he's had all this confidence, telling us a story that's pretty, a pretty hideous story. And then adapting when he goes to him being the king of comedy. We'll see more of that as we go. Chase, what do you got? Yeah, this this whole video clip is all about status and respect. And you can see what's probably a deep fear, maybe since childhood, of being seen as insignificant. That's what we're seeing. But let's zoom out a little bit here. He's being honest about all the other parts, I think. There's none of the telltale signs that we saw in the first couple of videos when he's talking about the sexual advance, the celebrities getting paid off to keep their mouth shut and the very probably real presence of the elitist information control fantasy that exists out there. Now, I think this is a great example of somebody being honest, whose behavior and exaggerated and posturing status displays, I'll call it, will probably lessen his credibility. And we've got no doubt this this guy's probably a great dude in real life. I know he's super funny. He's definitely a kick-ass comedian, but his desire to smash down everyone to bring himself up and to redirect every part of the interview to show how significant he is is probably going to drown out what I think he's really trying to get people to pay attention to. Scott, what do you got? Right. Yeah, I agree. He's in storytelling mode, entertainment mode again. And we've seen a lot of this up to this point. But this is the way he relates his stories and his information, the way he relays what he's going to what his points are. So that's what makes it so hard to decode this when it comes to figuring out is he being deceptive or is he being honest, because 99 percent of the stories, like I said before, that comedians tell on stage are fictional. They've made them, they've added a lot to them. So it's this huge exaggeration. So they haven't. So in this case, it's tough to tell because they have no problem making stuff up and delivering deceptive information, not because they're being mean, but because they're trying to make it funnier, you know, and it works. So he's practiced and delivering, delivering deception. But I'm really not seeing a whole lot of deception in this either. But if this were an interrogation, that'd be a whole be a completely different story when there was some there was something riding on the line. If if his freedom was in play here, you know, if he answered a specific way and and ended up admitting something, then he'd had that stress from losing basically his life and living in a little room for the rest of his life. So if it was interrogation, it looked completely different because the consequences for what he's saying would be different. But here it's it's not it's no it's just a podcast. He's just given answering questions. But at the same time, there may be consequences to what he said. So I think part of that's bothering him too, because I think that runs through his mind as he's talking about these things. It may that may not. But he really doesn't look like he gives a hoot either way. But he's telling a story like he's telling it to a large room. So that's why it keeps me wondering what's really going on here. Mark, what do you got? Yeah, let's look at body language and eye contact as a good generalization. And also the idea of just because you're telling the reality from your perception, it doesn't mean that it's true at all. So he says when he walks in the room, people's eyes go down. Now, here's a good generality about eyes. They look to the light and they look for the value. They look for what is most valuable. If the king or the queen or the monarch walks into the room, you will have an innate behavior that goes look to the thing of value. Then society will have decided whether you then keep your eye contact on that in order to raise its status or you look away in order to raise its status. It depends on the culture as to whether you keep eye contact with the thing of status or not, there are certain icons that you might actually go and visit in temples and you can look at them and then you have to look away. Because if everybody's just looking at it all the time, it lowers its status. Now, what he says is when he walks in the room, the eye contact goes down. And what he said about that is that's because I'm the king. But that's not the only reason why people avert their eyes. Sometimes it's because of the culture of looking away from the monarch. But sometimes it's from shame and sometimes it's from dismissal. Now, I'm not saying he's not the king. I'm also not saying that it's definitely shame and it's definitely dismissal. But he has landed on one story, which is they look away from me because I'm the king, yet there are at least two other possible stories there. That people are ashamed of looking at him or they're dismissing him. Well, one is a very positive story and the other two are very negative story. And then there's a whole bunch of others that we could put about as well, which could be equally true or equally false. Now, I understand he believes that he's the king and that's why they avert their eyes, but that doesn't mean that that's fact and that's that's the truth. And I don't want to give you that just so you understand a little more about body language and how one signal can mean many different things. And it's it's social as well. And actually, we'll come to some more social ideas in our in our next video, which may well be very specific to him. One of those tape replays. I was they'd cancel me for talking about Harvey Weinstein before the thing came out. But he offered in front of all my people at my agency. What am I supposed to do? He did all of that. I'm thinking I'm the only black person on the script. I get there. It's three other black guys on there. Whoo. So you wonder what they did. I told him, no, what y'all do? And this is why when I walk in a room, heads go down. Behind my back, I'm nothing. I'm just a regular old comedian that's bitter and jealous. But in my face, no, no, no. The king has walked in and they have to respect it only because I've not taken the shortcuts, I've not been funded. They pay you to not talk about things they don't want you to talk about. They tell you that themselves. Now, I've had to turn down fifty million dollars four times. Four times just to protect my integrity. And that's all I was telling you about, right? Because he didn't be wanting the body and you got to tell him, no, you got to tell him, no, I did. I did say I got the receipts for everything I'm telling you. That's why I just say I'm so free. Can I need know you here? Get you know. Thank you, sir. Thank you. Because early on, you was accusing me of being cat, man, crazy. I mean, but you know, somebody people Martin tried to put me in my first dress when he had to go on his hiatus. Tell me, Kat, when I come back, I need you, you, my young partner, you, my brother in comedy. When I come back, just promise me that my next movie, it'll be me and you. We're going to do it together. We're going to do somebody cop. I said, Martin, you got my word. All right, Chase, what do you got? When he says four times, I've got one of these on my desk just happened to be here. We're seeing a lot of these going on. A lot of pacifiers going on right there. Right at the moment, he says four times that there's also facial blocking, word repetition, self soothing behavior, two stop gestures. That is a gigantic cluster of behavior there. I don't think the four times is totally truthful or he is uncertain about it. And what stood out to me here is the phrase first dress. It's wildly bizarre how he said the words first dress. He's comfortable and incredibly natural as he says this. And he mentions it like it's understood. He speaks the term like it's a known term and there's no need to explain that. And he says first dress like there's a common theme or a pathway for the Illuminati, maybe, or whatever it is to take these people down the road to their stardom. And this is weird that it's so perfectly casual when the phrase comes out like it's a normal phrase. And especially when it's compared to all his other behavior, this is he wants to explain everything else, but the words first dress was a big deal. I'm curious to see if anybody else got that. And if you did, then why don't you take it? I'll talk about the dress if you like and saying yes to the dress. Look, it will sound odd to us because here's an example of how within comedy, we know one culture of males wearing dresses in comedy, but we don't necessarily understand the black American culture of males wearing dresses and just how emasculating that is and how it harks back to slavery and the masters putting males in dresses in order to emasculate them. So there's a there's an important culture happening there. Now, in the culture of, you know, Stan and Ollie, you know, any great ask Nick and old Blake, some like it hot. The moment you put on that dress, the public loves you. In Europe, we have a massive tradition of males putting on dresses, pantomime. Super important drag, super important. It's a massive part of comedy, culture, a huge part. And so you look, you know, if you think about film stars, Clooney, Hanks, Farrell, Swayze, De Niro, Stallone, Willis, Schwarzenegger, you could just go on and on. I just listed the ones I could initially think of on top of my head who put on dresses for comedy and get a great result from it. So we might go, well, man, stick on the dress and get a hit. Like put on a dress and you'll have a massive hit. But within I would, the way I understand it, within his culture, some have put on the dress and they have had huge hits with that. But there is a downside to that, which is you playing into that old slavery culture is the way that some but not all may see it. My guess is, is that he sees it that way. That's fine. That's all that's all good. But it would be difficult to understand that and the importance of that dress and the significance of it. It's like any symbol. Like, you know, one person's, you know, symbol is a positive symbol is another person's negative symbol. That's the nature of language. Where the different sounds mean different things in different languages. And the dress that comes down to language at this point and the language of the symbol and it to to a to a white American comedian. It doesn't mean the same necessarily to a black American comedian. There's my idea on the dress. Greg, what have you got on this one? Yeah, so I always we talked about five pieces of language, but the single most important thing in all body language is a baseline. Looking for what's normal for the person looking for deviation. If we take that alone, forget about all the rest. I'm talking about the past fires that Chase is talking about. What does this mean? Suddenly his hands when he's talking about Diddy and his body. Suddenly, Mark, go into your first circle. I mean, he's not moving enough. He's almost T-rexing, as I always say, putting his hands right against his body. So something is going on there, which means that something has changed from the Cedric stole my joke, big, sweeping, illustrating movements. If we do nothing else in body language, but look for that deviation, we'll ask ourselves here, why, why is that deviation? Now, let's add to that what Chase just showed you the past fire or what I call adapters, that release of nervous energy. I'm going to tell you I did it four times with a big illustrator and then suddenly go back across and start to rub or pacify myself to adapt to release nervous energy, also a red flag compared to the big Cedric, the entertainer movement. So we look at things for deviations and look at for changes. Now, there are other pieces when he's doing this last part, when he's doing his whole big standup, he comes back to being himself again, his hands swing out and he starts talking about the world as he sees it. But when he's doing the deadly piece, compare that body language and Cedric and entertainer body language to the deadly piece, you'll be surprised how much difference there is in those pieces of body language. Scott, what do you got? You guys pretty much covered everything. I go back over the same stuff, but it's not going to be a thing new to keep from being boring. Let's move ahead. One of those tape replays. Now, I've had to turn down fifty million dollars four times. Four times just to protect my integrity. And that I was telling you about, right? Because he didn't be wanting the body and you got to tell him, no. You got to tell him, no. I did. I did. See, I got the receipts for everything I'm telling you. That's why I can say I'm so free. I need to know you here. Get you know. Thank you, sir. Thank you. Because early on, you was accusing me again. Can't, man, it's crazy. I mean, but you know, some of these people. Martin tried to put me in my first dress. When he had to go on his hiatus, he tell me, Kat, when I come back, I need you, you my young partner, you my brother in comedy. When I come back, just promise me that my next movie, it'll be me and you. We're going to do it together. We're going to do somebody cop. I said, Martin, you got my word. Just one more thing. All right, Mark, how's it look to you so far? Yeah, I mean, for me, full of symbols of significance. Some that I think I understand. Some of them that I probably haven't seen and don't understand. That's what's great about looking at these videos where you potentially got a culture here that's way outside of of your own. Even so, I think there is a collision of different ideas going on here. That for me suggests somebody who isn't necessarily quite comfortable with where they are or who they are. There's such a collection there and I understand some of those signals. I won't fully understand. But even so, I think there's a level of discomfort where he's going with with this, that for an incredible performer, he's moving outside of his own comfort zone, outside of the comfort of that show as well and breaking a lot of boundaries. That's the business of comedians, isn't it, to break boundaries? So, so, so look, it's all entertainment. Chase, what do you see so far? So what we've seen here just goes beyond just a comedian on stage. I think it's a real life example of how our need to feel important can really control our lives and Kat's actions from his focus on status to his competitive edge. I think highlight something that we all face and all of us face maybe a little bit of fear of not being enough. That's literally the number one goal of advertising is to make you feel like things are not enough yet. But I think the key point here is this isn't just about Kat. It's about everybody here that we're all trying to prove ourselves to show our worth to something. And a lot of times we think we need to outshine other people to do that. So I just want to point out one tremendous point here for this entire video. If you paid attention here, if you think that brands wearing corporate logos on your body increase your status, you have officially become brainwashed by those people and you're the very person who gets paid off by a company to act a certain way and display certain symbols, which is the exact type of person he's trying to demonize. This whole video, maybe it was deep to me. You guys didn't react to it. Fine. Very good. I'm just trying to sleep. Just for a minute, suspend all disbelief and imagine this is comedy and that this guy's just done something intentionally to every one of these people and involved all that comedy community. Imagine how funny that would turn out to be in some way as twisted and funny as that could be any coffin like weird as that might be. But all I all I see here is I see a guy who is talking about some things that he clearly is demonstrating he believes in his body language is concurrent. Cedric, the entertainer, somebody stole a joke from a handful. Some of these are very clear that he believes or that this is true. Then there are others that he's hedged and not as guarded. The Weinstein thing, he looks confident in telling the truth. The Cedric entertainer looks confident in telling the truth. They're handful of others. And then there are other places he falls off barely quickly. So what you would do is look for truth and look for deviation. Again, Scott said this is an entertainer. A guy who delivers, delivers, delivers his his information and packages it. And I say these guys have better memories than all of us, you know, because you have to to do the work right here. So who knows what's in the middle? But there are certainly body language indicators. And if you don't, if you think that body language is all snake oil, I got one thing to say to you. And that's Scott, what do you got? All right, I think we're seeing a successful, disgruntled, frustrated artist trying his best to entertain as he's being an interesting guest in a nutshell. I think that's what it is. But he showed us some great body language cues that we don't see very often, especially in this context. So I think it's a great study in watching your professional communicator and a storyteller relay his information and his story in real time. Well, at the same time, not giving a shit about what's what the reactions will be for me, these other comedians, because I think he understands that these guys he's talking about, we're talking about high in prose here as well. I mean, just the top, they're not going to care what anybody, they don't care what anybody says. And I don't think this is going to bother him in the least. They'll probably never talk about it. It comes up like a blow it off because that's the way that world is. Yeah, I don't know if you've heard those stories where Bill Burr and and Patrice O'Neill and all those guys would sit around this table at in New York at a comedy club in New York and they would just wail on each other all the time. And that's what made him stronger. That's what made him better comedian so they could they could take the the heat from somebody attacking him. So I don't I don't think any of these guys that he's talking about would have any problem at all, even though some of it's hardcore. I don't think they're going to get to hoots about it because this will disappear fairly soon, I would think as well. Barat Vells thinks it's another good and we'll see you next time.