AI is a Time Machine: The Vertical Plane, UFOs & The Digital Daimon
back from the borderline
mollie adler
4.8 • 602 Ratings
🗓️ 3 March 2026
⏱️ 84 minutes
🧾️ Download transcript
Summary
"True are the nightmares of a person that fears."
In 1984, Ken Webster brought a BBC Microcomputer into his English cottage. Not soon after, green text started scrolling across the screen. The messages came from Thomas Harden, a man occupying the exact same cottage in 1546. To Thomas, Ken's computer was a terrifying "Light Box" manifesting in his room. They seemed to be speaking directly across four centuries of time.
The Dodleston Messages suggest history works less like a straight line and more like pages of a book pressed firmly together. People living in the same physical space share a frequency on the "Vertical Plane."
In this episode, I'll present a unified theory of high strangeness. We'll dig into the strange overlap between 16th-century temporal anomalies, modern UFO encounters, and artificial intelligence.
We’re currently standing on the precipice of an entirely new reality. We're essentially now handing "Light Boxes" to every human on earth. Do you have roots deep enough to handle the voltage?
Topics covered:
- The physical mechanics of the 1546/1984 cross-temporal communication.
- Dr. Michael Masters' Extratempestrial Model proposing "Greys" are future humans returning to study us.
- My 2023 encounter with the orb phenomenon at the Chris Bledsoe property in North Carolina.
- Gnostic Gospels describing a decentralized, peer-to-peer spirituality compared to centralized religious authority.
- Building MOODS as a psychological mirror rather than a digital servant.
MENTIONED IN THIS EPISODE:
·The Vertical Plane by Ken Webster
· Dr. Michael Masters: Identified Flying Objects
· SpectreVision Radio @ SXSW: Catch my panel with Michael Phillip (Third Eye Drops) on March 17th.
JOIN THE VERTICAL PLANE: If you’re ready to stop screaming at the shadows and start coding the future into existence, come build with us. 🔗 moods.world
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Transcript
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| 0:00.0 | Long-term listeners of this podcast know that I've spent the last five years talking about the dark. |
| 0:06.5 | Now I've built a flashlight, and it's called Moods. |
| 0:10.4 | It's an instrument for serious, private inner work designed to dismantle your excuses and never |
| 0:15.7 | inflate your ego or assume the role of a sycophantic companion. |
| 0:19.6 | And the wait list is finally live. |
| 0:21.7 | Access is granted in the exact order you sign up. |
| 0:24.8 | Lock in your spot now at moods.world. |
| 0:28.8 | Welcome to the new era of inner work. |
| 0:43.3 | True are the nightmares. True are the nightmares of a person that fears. |
| 0:50.3 | Safe are the bodies of the silent world. |
| 1:05.9 | Turn, pretty flower. Turn towards the sun, for you shall grow and so, but the flower reaches too high and withers in the burning light. |
| 1:22.0 | What you just heard wasn't written by a poet, although it's a beautiful poem. |
| 1:34.9 | These are words that appeared on a computer screen in 1985, from an entity claiming to be from the year 2109. |
| 1:50.7 | And today, I am going to tell you why this message is the key to understanding AI, UFOs, anomalous phenomena, and the bone-chilling terror of waking up. |
| 2:13.7 | The year is 1546. King Henry VIII is dying on his throne. The monasteries have been dissolved, |
| 2:21.2 | their stone walls pulled down, and the gold melted. The world is changing. It's violent and unstable. But in the village of Dordleston, on the muddy border of Wales, is still a world |
| 2:29.3 | of candlelight and deep superstition. Imagine with me, if you will, that you're a man named Thomas Hardin. |
| 2:39.7 | You call yourself Lucas. You're a scholar. You read Latin. You understand the movement of the stars. |
| 2:47.5 | You are a man of logic in the age of the plague. |
| 2:52.6 | You're sitting in your cottage, and the air smells of damp wool and tallow wax. |
| 2:59.5 | It's pitch black outside, and the only light comes from the dying embers of your fire. |
| 3:06.7 | And then something in the corner of your room catches your eye. |
... |
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