![]() The discussion of global geoglyphs ranges from the mundane to the nonsensical, and most of the show’s usual talking heads, including Nick Pope and Hugh Newman, try to claim that what they call geoglyphs (some of which are actually earthworks) were intended to communicate with space aliens who were looking at Earth from other galaxies. If the aliens can see a small geoglyph from that distance, they could see cities and other signs of human habitation, so this argument seems weak. The show repeats the lie that a geoglyph of a fisherman in Peru is really a space alien, a claim debunked many years ago. ![]() The show seems to struggle with the idea that the Badlands Guardian looks like the head of a stereotypical First Nations person (the show says “Native American,” but the formation is in Canada) in profile in what looks to be a realist nineteenth century art style, which is vastly different from the style of any other geoglyph. They try to make this out to be a sign of specialness or superiority, but surely even they realize that the enormous difference suggests that they are simply seeing things. The third segment visits Canada (well, through photos and stock footage) to view First Nations petroglyphs about a hundred miles from the Guardian. The show claims that indigenous references to any being from the sky or from a plane above the Earth is necessarily a space alien, and they believe that rock art showing any stylized human that doesn’t seem photorealistic is consequently a space alien. William Henry tells us that the “headdress” of the Guardian figure, which resembles feathers, was a helmet that functioned as an “antenna” to communicate with space aliens. If feathers get you alien ham radio, what must life be like for birds? He claims that shamans’ feathered headdresses are similarly antennas for tuning in to alien signals via feathers.
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