reSee.it - Related Video Feed

In this episode, the speaker describes a forensic photo analysis of late 19th to early 20th century imagery, highlighting a tree line in a photo that appears altered, with the sky removed behind the trees. The analysis purportedly uses algorithms to determine if a photo is real, computer generated, or edited, and the host claims the results show something in the sky that has been removed to hide it from the timeline. The audience is invited to comment on what they think the object in the sky might be, and the host promises a comparison to another analyzed photo showing that a figure in the sky is not random. The host asserts that the sky event was removed to conceal it, and speculates that the object was an airship, suggesting its significance in transportation and power beyond mainstream understanding. The narration then shifts to a discussion of the Royal Courts of Justice in London, noting a design competition held between 1866 and 1867 and claiming 12 architects produced master plans. The host quips that 12 London-based designers could produce such plans in the 1800s, contrasting with a modern claim that none could replicate it today. The winner, George Street, is said to have procured materials from Bull and Sons, with a running joke about “sons” in company names typical of the era. The host questions how a project of this scale could be completed in eight years, and points out a recurring pattern of architects dying before project completion and teams continuing the work. The host lists numerous alleged inconsistencies: the interior containing over 1,000 rooms, three and a half miles of corridors, and a belief that a major strike disrupted the project; claims that German builders were brought in; and assertions about the project’s rapid completion despite supposed labor disputes. The episode then introduces a critique of the name George Street as a recurring element in AI-generated names, noting examples like Richard Blackhead, Richard Seward, Peter Desroaches, and Peter Checkapork, as well as multiple Johns and Marys connected to Downcomb and other families. The host suggests that AI-generated patterns are generating these names across the world. Further, the host discusses the supposed involvement of George Street in other projects and questions the ages claimed for Street’s first building, Saint Mary’s Church, implying that the dates and biographical details are inconsistent with the supposed era. The narrative attributes the confusion to AI-generated fabrication, insisting that George Street’s supposed age during construction would be implausible, and contends that a Cornish clergyman, Reverend Prine, and a sister named Mary conspired to assign the commission. The episode then moves to a broader assertion that global narratives around the 1800s, orphan crises, civil conflicts, and race to document grand buildings are part of a larger deception. The host references a California trip to present footage of buildings and teases future coverage, while calling out a Pennsylvania castle, Linenwold Castle, built in 1890 and later turned into an orphanage, as an example of a rushed construction narrative. The host critiques househistree.com for lacking construction details and for weaving stories around rooms and features, while suggesting the Windsor Castle as a proposed model for the Pennsylvania castle and arguing that the Windsor timeline ties to a purportedly ancient civilization. The underlying message is that histories and timelines are fabricated, and that ancient and modern civilizations may share advanced technologies and knowledge across eras. The host concludes by asserting that the timeline is flawed starting around 1800, with old-world castles existing alongside modern narratives, implying that planes, trains, cars, phones, and AI have appeared in cycles long before claimed timelines.

Washington DC is undergoing construction near the Lincoln Memorial, with workers and materials scattered about. The Washington Monument base appears old and shabby, surrounded by makeshift shanties. The Smithsonian castles look like a villain's lair, hinting at a manipulated history. Check out the images on the telegram page to question the narrative of lies.

The transcript presents a provocative exploration of allegations that the Smithsonian Institution is concealing real history. It frames the Smithsonian as a “nation’s attic” that holds vast quantities of artifacts—about 150,000,000 items across 19 museums—that, according to various reports, are removed from public view or hidden from the historical record. A central claim repeats a Phoenix Gazette article from 1909 describing two Smithsonian explorers who allegedly discovered a Grand Canyon cave filled with ancient Egyptian artifacts, Hindu and Buddhist items, and mummies. The article says an archaeologist named Jordan, supervised by another explorer named Kincaid, began excavating, with reports of a front-page scoop and claims that 109 truckloads of artifacts were removed “with very great difficulty” from the cavern system and that the contents were sent to Washington but “mysteriously vanish[ed] from the historical record.” The Smithsonian would later deny knowledge of these discoveries, and the Grand Canyon area in question is described as now off-limits. Support for these claims is tied to the presence of Egyptian-named features in the canyon—Isis Temple, Tower of Set, Tower of Ra—and to anecdotes that mummies and artifacts were stored in a secret vault. The discussion extends to the idea of a hidden warehouse where crucial discoveries—like the Ark of the Covenant in Raiders of the Lost Ark—are allegedly kept “top men” working on them, unseen by the public. The film analogy is used to illustrate how such a facility might exist and remain undisclosed. Another major thread concerns reports of giant skeletons found across the United States that were allegedly removed by the Smithsonian and never seen again. The dialogue cites discoveries from mound sites in Wisconsin, Minnesota, Iowa, Illinois, Ohio, Kentucky, New York, and beyond, describing skulls of unusually large size and skeletons up to seven or ten feet tall. The New York Times (in 1912) and various newspapers from the late 19th and early 20th centuries are referenced as having carried stories of “a hitherto unknown race” with exceptionally large skulls. Numerous witnesses recall that once such skeletons were found, Smithsonian investigators would quickly recover the remains and remove them to Washington, after which they disappeared from public view. Personal accounts from researchers, miners, and local observers are cited to support the claim that many giant remains were shipped to the Smithsonian and never returned. The speakers discuss why such artifacts might be hidden, suggesting that revealing them would challenge established histories and current political narratives. They propose that authentic finds could call into question conventional histories of North America and humanity, potentially undermining the status quo. The dialogue also contends that the control of history is tied to power and money, noting the Smithsonian’s funding structure—funded by tax dollars but heavily supported by private donations from charitable organizations such as the Gates Foundation—and suggesting that those in power may prefer to keep unsettling discoveries buried. Throughout, the speakers present a spectrum of testimonials, newspaper excerpts, and anecdotal evidence to argue that the Smithsonian may be withholding pieces of humanity’s past, including artifacts and giant skeletal remains, to preserve a particular historical narrative.

Is this me? Is this a camera trick? If anyone knows, please let me know. I'm also taking pictures with my Sony. Let's find some interesting shots and give it a try. What is that?

The video shows multiple individuals with a strange mark on their upper right corner, below the neck. It is unclear what this mark is, with some speculating it could be skin or a suit. The authenticity of the video is questioned, but efforts are being made to trace its origin and uncover the truth.

The speaker mentions that there are pictures of the Russian liberating Auschwitz without any snow, suggesting that the photos may be fake. They explain that the photos were taken much later because the army didn't have cameras when they arrived. The speaker clarifies that the pictures do not depict Auschwitz and are not of their liberation, as there were not many people with clothes and children, and no snow. They find this information fascinating and believe it is important to highlight this historical fact.

A truck with a mural of an airplane crashing into New York City was spotted on King Street. Two men fled from the truck, but they were apprehended. The suspects were taken into custody and later executed.

These are real pictures from Jeffrey Epstein's art collection, including a never-before-seen painting from his New Mexico ranch. These images raise questions about the narratives we've been told. For more details, check the full video in my bio.

Almost all objects in this photo appear to be real, especially the Chinese one. It doesn't raise any particular questions, as it seems to have been taken on-site. There are many parameters to consider, including lighting conditions.

There appears to be some ballots arriving, as indicated by a police car escorting two vans. Let's take a look through the window to see the election workers in Philadelphia, as this is one of the few angles available to observe them.

Claim: an advanced past civilization built massive structures worldwide, while mainstream history is fabricated. The episode surveys multiple sites as proof. In Illinois, Streator Public Library murals allegedly dated '1905', with '1945' smoke damage and a claimed 'hidden restoration'; the murals’ painter is described as 'AI-generated'. The Logan County Courthouse clocks and interior domes are being repainted, while the 1800s timeline is mocked for rapid completion amid modern delays. The Illinois State Capitol is said to reveal an underground tunnel system; a nearby castle now the Illinois State Military Museum supposedly lacks archives. Union Station is tied to a sequence of fires deemed 'planned demolitions.' The Saint Louis Basilica and Monk’s Pyramid are presented as remnants of a prior civilization, with recurring names and symbols like 'griffins' and 'sphinxes.' Oshkosh, Milwaukee, and Chicago examples are used to argue timelines and photos are manipulated, urging closer inspection of hidden pasts.

The speaker questions mainstream history, presenting 1800s Boston photos as evidence of a lost civilization. They describe dirt roads and buildings with no idea where they came from, and 1890 images showing a population that “looks and sounds a little more strange” with no people on the streets. They cite a sky view from 1899 that is a drawing, and Old Boston’s Beacon Hill drawings (1811–1812) by J. H. Smith. A 1840 image of a palace-like Boston Insurance Office is discussed, with a later 1872 photo showing the bottom portion of the building missing. They mention the 1862 Boston Educational Commission, the National Theater, and a 1850/1900 State Street with no people and horse-drawn traffic. They note the post office building, renamed the John W. McCormick post office and courthouse (1931–1933) formerly the United Shoe Machinery Building, with 50 High Street erased.

A person is seen removing pictures, but it is unclear why. They are not affiliated with a management office and their identity is unknown. The situation is described as sad.

A sailboat is crashing into the Brooklyn Bridge. The sails are hitting the bridge.

The speaker is convinced that Barack Obama's birth certificate released by the White House is altered. They demonstrate this by showing the layers in the document and how some parts disappear when certain layers are turned off. They mention that the background, which is the safety paper, remains intact while other information appears to be altered. The speaker questions why there would be a need to cover up the document and concludes that it is indeed altered. They leave it up to the viewers to decide.

Strange footage has emerged from four different security cameras in New York City. In the first few seconds, multiple people vanish simultaneously in each view. The footage appears unedited, as others continue to move naturally. The only change is that some people seem to notice the disappearances. Viewers are left to decide if this is a well-crafted hoax or if there is something otherworldly happening.

I've seen this picture circulating widely, and there's a claim that it's photoshopped. So, I decided to investigate. I found a family website, Reagan Family dot CA, featuring a memorial page for Suzanne Brenier, who passed away in 2007. When you scroll down to the memories section and click on the growing years, you can see the same picture being used. It’s the exact same image, just altered with Kamala's face. The left is sharing this as if it's a big revelation, but it’s misleading.

Check this out: I’m showing you something that highlights why I’m a morning person. This is Nancy Pelosi's desk, now part of a new monument on Capitol grounds. Look closely—there’s a statue with a turd. The inscription honors those who stormed the Capitol on January 6, 2021, describing them as patriots and warriors. It’s hard to believe this is real. The monument is located near the Washington Monument, and it’s just unbelievable to see. I wonder if Pelosi was calling the National Guard during the events of January 6, as former President Trump suggested. This monument stands out in a shocking way.

This 100-year-old footage shows early government experiments with chem trials and geoengineering. It highlights the advancements made in these fields over the last century.

I've found some very strange photos from 1800s Boston that make me question mainstream history. The pictures show incredible buildings with dirt roads and few people. Why would a small population need so many buildings? It's like a lost civilization. Drawings from 1811-1812 depict huge structures being dug out from under the dirt. In an 1840 photo, people look out of place next to a massive building, the Boston insurance office. But comparing it to an 1872 photo, the bottom portion of the building is completely covered up. Photos of State Street show horses and wagons still in use. In 1898, people were digging up dirt roads with shovels. Were they uncovering an older civilization's roads? The U.S. Post Office building was torn down to build the John W. McCormick post office and courthouse, which they claim was built between 1931 and 1933. But it was actually called the United Shoe Machinery Building. I found photos of the completed building from 1930, which proves these buildings are older than we're told.

The speaker discusses the issue of rewritten history and the manipulation of events. They mention the governor passing bills to change zoning before a certain event, which leads to people potentially losing their land to FEMA. The speaker questions the intentions of organizations like FEMA and the Red Cross, pointing out that the Red Cross is funded by Lockheed Martin, a company that creates weapons. They express concern about the loss of history, heritage, and culture due to these manipulations. The speaker emphasizes the feeling of something being wrong and the evidence seen through pictures.

The transcript argues that multiple widely circulated “construction” and “completion” photos from the Louisiana Purchase Exposition (1904 World’s Fair era) actually show much older buildings, repeatedly dated “18o3” rather than “19o3,” and that the buildings were later “cleaned” and repainted rather than constructed at the stated times. The speaker claims the Palace of Machinery entrance photo shows construction-date inconsistencies (fair in St. Louis in 1904, photo dated 1903) and uses “foundation” absence as an “incredible flaw,” presenting it as proof the building was constructed about one hundred years earlier than the “1903” date. They also claim the interior was damaged by a “mud flood” that came after construction, pointing to visible bottom damage and describing it as a cleanup project. The transcript further claims the World’s Fair buildings were knocked down after the fair because they held dates and architecture styles that “don’t fit” mainstream history. A recurring theme is that scaffolding photos are miscaptioned: the speaker says “construction photos” show completed buildings with only painters working, including instances where photo text is said to label “painters and decorators” rather than builders. They claim the buildings were painted white to appear new while the structures were old. The transcript asserts that “construction” is separate from painting, and that ladders/scaffolding do not prove construction activity. It also claims the lumber used is only for scaffolding, while main pillars are described as marble (with the Field Museum cited as an example). Additional “completion” imagery is used to argue the buildings feature advanced details and technology, including references to airships used as “charging docks” on rooftops, and repeated emphasis on dated inconsistencies. The speaker transitions to courthouses in Texas, alleging a pattern of implausible timelines and repeated “fire narratives.” They describe the Grimes County Courthouse (Anderson, Texas) as supposedly designed by Glover and Company and completed in 1894, incorporating foundations of an earlier courthouse destroyed by fire, which they claim is a fabrication. They assert brick buildings cannot burn from house fires, framing fires as demolition and as convenient insurance events. They also discuss multiple courthouses on the same sites, claiming recurring names indicate automation or copying, including architects Charles Henry Page and Lewis Charles Page described as “twin” brothers, with “AI” as an implied source for repeated naming patterns. They claim one courthouse built 1913–1914 conflicts with narratives of destruction and rapid rebuilds. They further allege Ben County Courthouse histories involve recurring dates, repeated fire stories, and consistency errors across sources such as texascourthouses.com, including “blown away” clock tower narratives and repeated cost figures. Next, the transcript proposes a broader alternate conclusion: that there were earlier massive civilizations that built the palaces and monumental architecture, and that later groups “infiltrated” narratives and repurposed or destroyed structures. The speaker claims panoramic city photos of St. Petersburg, Russia, show “perfect dirt roads” and no people (from 1861) with grand palaces already present, arguing the cities appear “prepared,” cleaned, and ready for later arrival. They repeat a global pattern: palaces and churches replaced or reset multiple times on the same sites (e.g., “four consecutive churches” at the same location). The discussion returns to St. Isaac’s Cathedral (St. Petersburg), claiming repeating stories of replacement churches, large bronze doors, preserved and repainted interior works, and specific timing claims. The speaker highlights that interior artworks were allegedly painted over under World War II to “avoid attention,” and frames this as further evidence of narrative inconsistency. They claim a painting artist (Karl) died before “construction” completed, and question how painting timing fits. They also claim the cathedral has a basement containing hidden museum exhibits/valuables and reference claims about “ten thousand tree trunks” under marshy ground. The transcript then broadens to “reset” and repopulation through institutional systems. It argues that orphan and asylum operations functioned as population and technology resets, including Josephinum (Columbus, Ohio), described as a priest-led orphan and training system with church and house acquisition, moving closer to the railroad to distribute orphans. The speaker claims these institutions were staffed and operated over years without clear origin stories for funding or building manpower, and that the system taught trades to “reset” what people learned. They also cite Saint Vincent’s Infant Asylum (Baltimore) with tunnels, a decline in orphans, later conversions to apartments, a fire attempt, and an illegal demolition. Saint Mary’s Orphan Asylum (Galveston, Texas) is cited as “haunted,” described as a tactic to deter investigation, with additional claims about an 1875 fire. In Germany, the transcript asserts kindergarten/kindergarten education (Kinderbewährungsstall) functioned as an additional control mechanism: children are separated from families, tested, graded, and socially pressured to conform. The speaker connects this to broader global “education” control. Overall, the transcript claims a worldwide pattern ties together misdated construction/completion photos, repetitive replacement/destroyed-by-fire narratives, recurring name patterns, repurposed monumental buildings, and institutional “orphan” systems in the mid- to late-1800s, culminating in a claim that these events reset society within roughly the last 150 years.

Forensic photo analysis reveals historical cover-ups, specifically altered photos from the late 1800s to early 1900s. One photo shows something removed from the sky, possibly an airship, to hide advanced transportation technology. The Royal Courts of Justice in London, England, supposedly resulted from a design competition in the 1860s, with George Street winning. The claim is that 12 architects in London could create such master plans, a feat unmatched today. The presenter questions how the USA could beat England in war but not have architects of this caliber. The presenter finds it suspicious that George Street died before the project's completion. The Church of Saint Mary, the Virgin Ivanhoe, supposedly found around 800 years ago and rebuilt in 1934 after a fire, also has suspicious details. The presenter points out recurring AI-generated names like Richard and Peter, and the repetitive use of the name Mary. George Edmunds Street is added to the Saint Mary's Church narrative. George Street supposedly built Saint Mary's Church at age 22 or 24. The presenter questions the mainstream narrative, citing the Windsor Castle built in 01/1970, as evidence of historical manipulation.

A vessel is crashing into the Brooklyn Bridge. The sails are hitting something.

The speaker presents images showing altered skies and historical depictions of atmospheric events and flying creatures. They suggest that airships and flight have been around longer than believed, with technology allowing for easy air travel and landing on water or boats. The speaker encourages questioning history and remaining skeptical.