Sound, Light & Frequency

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 moment, wondering who else might be listening—this is the exact mood they’re living in again, right now. And then the story turns: because whatever these artifacts are, there are two of them, they arrive days apart, and they don’t just unsettle Bryce and Brent—they seem to change the terms of the relationship, as if someone is watching from the edge of the frame and wants them to know it. Who sent them? Why? And what does it mean that the message waited thirty years to come back into their hands? Tune in to find out what Bryce and Brent uncovered—and why it still gets under their skin. For more information: SoundLightFrequency.comSee omnystudio.com/listener for privacy information.

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 door: his mentor Bill Asher—TV comedy legend who unexpectedly directed the 1957 Cold War saucer morality play The 27th Day, built around abductees from rival nations handed world-ending capsules and forced into an “if they push first, do we?” dilemma. Asher’s Rat Pack proximity becomes more than name-dropping when Bryce recounts Bill’s firsthand JFK/Marilyn Monroe story: a July 1960 party at Peter Lawford’splace, JFK and Marilyn disappearing to the pool house for hours, returning with Marilyn wearing JFK’s shirt, and later JFK—drunk—stopping traffic on PCH shouting he’s going to be President, with Bill dispatched to haul him back inside before it hit the papers. Layered on top is the UFO whisper: Bill’s account of Sammy Davis Jr. describing “small silver discs” that hovered, darted, and then—Bill’s word—“poof!” vanished. Finally, the episode lands on one of the strangest broadcast moments in UFO history: Major Donald Keyhoe on CBS’s Armstrong Circle Theatre in 1958, starting to “disclose” something never disclosed—only to have his mic cut while the camera stayed on him, leaving America watching his lips move in silence. Bryce reads what Keyhoe later said he’d been about to reveal—claims of working with a congressional committee on official secrecy and that open hearings would prove UFOs are “real… under intelligent control”—and then shares CBS’s chilling justification: the program had been “carefully cleared for security reasons,” and the network had to enforce “predetermined security standards.” It’s a perfect capstone for an episode about Disney, narrative power, and the eternal question: when it comes to UFOs, who gets to tell the story—and who gets to turn the sound off? For more information: SoundLightFrequency.comSee omnystudio.com/listener for privacy information.

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 series. Bryce shares a “Wonder Years”-style story from his childhood, where basement magazine skirmishes led him to his first encounter with the famous McMinnville UFO photos—taken just miles from where he grew up—and sparked a lifelong fascination. Brent, in turn, reveals a far more recent and unsettling connection: his own daughter quietly experienced a UFO sighting years ago, only choosing to share it with him much later. These stories feed directly into a broader conversation about ontological shock—what happens when people confront something that doesn’t fit their understanding of reality—and how both Hollywood and real life struggle to process it. The episode also leans into the fun and friction of Bryce and Brent’s dynamic, including a spirited disagreement over the merits of the 2008 remake of The Day the Earth Stood Still. But beneath that debate is a deeper question that runs throughout the hour: were these films simply products of their time, or part of a longer continuum of storytelling that has been preparing us—intentionally or not—for the idea of contact? By the end, Days the Earth Stood Still becomes less about a single movie and more about a series of moments—on screen and off—where reality and imagination begin to blur, and where the biggest question of all keeps resurfacing: what if the story we’ve been watching for decades isn’t just a story? For more information: SoundLightFrequency.comSee omnystudio.com/listener for privacy information.

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 fiction” idea boomeranged back into real life through the infamous John Loengard letter and the Dark Skies mythology that followed. The rabbit hole deepens with Whitley Strieber’s Communion—including director Philippe Mora’s startling account of being questioned mid-flight by a man flashing a Defense Intelligence Agency badge. And just when the implications start to feel genuinely unsettling, Bryce lands the episode with a graceful reminder that even the hardest truths can be made survivable. For more information: SoundLightFrequency.comSee omnystudio.com/listener for privacy information.

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 to the enduring Atlantis myth when he and his wife were the original writers on Disney’s Atlantis: The Lost Empire. Smart, eerie, and highly entertaining, “Staring into the Abyss” uses movies and television as a portal into one of the most unsettling possibilities in the entire UAP conversation: that whatever is out there may not only be above us—but deep below us as well.  For more information: SoundLightFrequency.comSee omnystudio.com/listener for privacy information.