1 00:00:15,130 --> 00:00:22,970 Speaker 1: Pushkin. According to a new report in The New York Times, 2 00:00:22,970 --> 00:00:26,170 Speaker 1: the US government may have physical evidence of and we're 3 00:00:26,250 --> 00:00:31,290 Speaker 1: quoting off world vehicles not made on this earth. Huh 4 00:00:33,490 --> 00:00:38,890 Speaker 1: huh is right? In a world gone haywire, sometimes art 5 00:00:39,010 --> 00:00:41,530 Speaker 1: is the only thing that can make sense of it all. 6 00:00:42,170 --> 00:00:45,730 Speaker 1: The government has also released footage of UFO settings, including 7 00:00:45,730 --> 00:00:48,810 Speaker 1: a two thousand and four encounter recorded from an advanced 8 00:00:48,850 --> 00:00:53,170 Speaker 1: maybe fighter General I'm Ashley Ford, and this is the 9 00:00:53,290 --> 00:00:56,650 Speaker 1: Chronicles of Now, where we ask writers to dream up 10 00:00:56,690 --> 00:01:01,530 Speaker 1: short stories inspired by aliens. Just when you thought twenty 11 00:01:01,570 --> 00:01:07,730 Speaker 1: twenty couldn't get any more bizarresh, Pentagon declassifying three videos 12 00:01:07,730 --> 00:01:19,690 Speaker 1: of what they're calling Unexplained aerial phenomena. The news cycle 13 00:01:19,730 --> 00:01:22,930 Speaker 1: has been intense lately, so maybe you didn't pay much 14 00:01:22,970 --> 00:01:27,330 Speaker 1: attention to this story about UFOs, about how the government 15 00:01:27,450 --> 00:01:32,370 Speaker 1: has begun releasing previously top secret information about its continuing 16 00:01:32,490 --> 00:01:41,050 Speaker 1: research into unidentified unexplainable aerial weirdness aka the Pentagon's Unidentified 17 00:01:41,090 --> 00:01:46,330 Speaker 1: Aerial Phenomenon Task Force. We're also consumed with news about 18 00:01:46,330 --> 00:01:50,650 Speaker 1: the virus, but maybe we're missing out on something even bigger. 19 00:01:51,010 --> 00:01:53,290 Speaker 1: If we could just stop for a moment and really 20 00:01:53,330 --> 00:01:56,250 Speaker 1: reckon with ourselves as a species on this planet. Being 21 00:01:56,330 --> 00:02:01,130 Speaker 1: visited by another species would be the biggest event and 22 00:02:01,330 --> 00:02:06,250 Speaker 1: maybe all of history. Hannah Asadi is the author of Sonora, 23 00:02:06,330 --> 00:02:09,930 Speaker 1: a novel set in her native Arizona. When she saw 24 00:02:09,970 --> 00:02:13,650 Speaker 1: those UFO videos from the Pentagon, she started to wonder 25 00:02:14,090 --> 00:02:17,690 Speaker 1: about the future. I'm currently thirty six weeks right in, 26 00:02:17,810 --> 00:02:21,490 Speaker 1: so I was kind of imagining, you know, the generation 27 00:02:21,650 --> 00:02:24,250 Speaker 1: to which and Shyla, as we say in Arabic, my 28 00:02:24,330 --> 00:02:28,330 Speaker 1: daughter will belong, kind of coming up in the aftermath 29 00:02:28,370 --> 00:02:32,410 Speaker 1: of this pandemic and everything else that is occurring in 30 00:02:32,490 --> 00:02:36,810 Speaker 1: our time right now. She wondered, what if things don't 31 00:02:36,850 --> 00:02:41,450 Speaker 1: get better, will children born today even notice if aliens 32 00:02:41,490 --> 00:02:45,370 Speaker 1: paid us a visit? And what would aliens think of us? 33 00:02:59,210 --> 00:03:05,210 Speaker 1: What if this is it? Gabrel asked, before kissing Brielle 34 00:03:05,210 --> 00:03:11,330 Speaker 1: on the roof. It was the first kiss not only 35 00:03:11,370 --> 00:03:18,050 Speaker 1: between them but in all the world. They were just seventeen, 36 00:03:19,090 --> 00:03:27,090 Speaker 1: still children, but also heartbreakingly adult. They had already witnessed 37 00:03:27,290 --> 00:03:37,130 Speaker 1: so much death, but these times felt different. Everyone had 38 00:03:37,170 --> 00:03:41,370 Speaker 1: for so long been distracted by man made madness. They 39 00:03:41,370 --> 00:03:51,410 Speaker 1: had forgotten about the ocean, what it could do now 40 00:03:52,050 --> 00:04:02,890 Speaker 1: The floods had begun for years. Jabril had rehearsed that 41 00:04:03,050 --> 00:04:07,410 Speaker 1: kiss in his mind, a kiss fit for the apocalypse, 42 00:04:08,770 --> 00:04:13,090 Speaker 1: when it finally didn't matter anymore what she had, what 43 00:04:13,250 --> 00:04:16,970 Speaker 1: he might have, how they might murder one another by 44 00:04:17,010 --> 00:04:22,730 Speaker 1: exchanging a single virion. But the kiss came out sloppily. 45 00:04:24,170 --> 00:04:30,410 Speaker 1: He was too conscious of his tongue. Like all humans, 46 00:04:30,450 --> 00:04:36,450 Speaker 1: He slid his shame beneath speech. What if it's the end, 47 00:04:38,410 --> 00:04:43,570 Speaker 1: so real feigned coolness in the aftershock of the kiss. 48 00:04:45,170 --> 00:04:51,050 Speaker 1: It's about time, she added, Godfrey. Case is continuing to 49 00:04:51,090 --> 00:04:55,650 Speaker 1: spike in the south and West, including Phoenix Arizona hospitals. 50 00:04:55,650 --> 00:05:01,570 Speaker 1: The pandemic had given birth to their generation. It was 51 00:05:01,610 --> 00:05:05,690 Speaker 1: so mean that flew disappearing and reappearing as it did. 52 00:05:07,370 --> 00:05:13,810 Speaker 1: Every wave bearing a new face wore symptoms. But that 53 00:05:13,970 --> 00:05:20,450 Speaker 1: wasn't all that had happened. There was the revolution, the coup. 54 00:05:30,770 --> 00:05:34,690 Speaker 1: Bree drew away from Jabril, though she wanted him to 55 00:05:34,770 --> 00:05:39,970 Speaker 1: kiss her again. There was wind between them now where 56 00:05:40,010 --> 00:05:44,610 Speaker 1: there hadn't been. Her heart rampaged in the shell of 57 00:05:44,650 --> 00:05:48,890 Speaker 1: her traitorous body. She knew how swiftly her body could 58 00:05:48,930 --> 00:05:52,490 Speaker 1: betray her, how it would eventually feed her to death's 59 00:05:52,610 --> 00:05:57,530 Speaker 1: greedy grasp. A kiss could do it, a kiss could 60 00:05:57,610 --> 00:06:03,730 Speaker 1: conjure the plague. But she had dreamed of her lips 61 00:06:03,770 --> 00:06:07,330 Speaker 1: against the lips of another, of contact for so long. 62 00:06:09,610 --> 00:06:15,130 Speaker 1: In olden times, she would have been labeled a hopeless romantic. Indeed, 63 00:06:15,170 --> 00:06:21,050 Speaker 1: in the backdrop of her kissing reveries, there was always pasture, ocean, 64 00:06:22,250 --> 00:06:31,250 Speaker 1: a deluge of fireflies. In reality, below them lay what 65 00:06:31,410 --> 00:06:37,650 Speaker 1: remained of the city. It was burning. If this is 66 00:06:37,690 --> 00:06:46,370 Speaker 1: the end, then fireworks or shooting stars. Jabril whispered. His 67 00:06:46,490 --> 00:06:51,970 Speaker 1: breath tickled her ears down down, electrifying the insides of 68 00:06:51,970 --> 00:06:59,570 Speaker 1: her thighs. Hah Brae asked, what do you want to 69 00:06:59,610 --> 00:07:07,530 Speaker 1: see last? His voice went on, torturing her. Fireworks or 70 00:07:07,810 --> 00:07:19,170 Speaker 1: shooting stars. Fireworks were her first memory, that defiant drumbeat 71 00:07:19,210 --> 00:07:25,050 Speaker 1: of light erupting across the city, her mother screaming out 72 00:07:25,050 --> 00:07:32,210 Speaker 1: the window. That was only the beginning what they called 73 00:07:32,330 --> 00:07:39,650 Speaker 1: the revolution. Then came the worst backlash, the coup, during 74 00:07:39,690 --> 00:07:43,930 Speaker 1: which the wealthy fled, leaving their emissaries behind to make 75 00:07:43,970 --> 00:07:49,850 Speaker 1: the world safe again. They tried to murder us, all 76 00:07:49,890 --> 00:07:55,170 Speaker 1: of us, but we lived on anyways, like cockroaches. Her 77 00:07:55,210 --> 00:08:00,850 Speaker 1: mother always said, well, breathe. Life's a fucking bitch, and 78 00:08:00,890 --> 00:08:08,210 Speaker 1: then you die. It had been two years since Brie 79 00:08:08,330 --> 00:08:16,970 Speaker 1: found her mother breathless and blue. I've never seen a 80 00:08:17,010 --> 00:08:23,610 Speaker 1: shooting star, Bree said, Still, you have to pick one, 81 00:08:24,810 --> 00:08:30,370 Speaker 1: Gabral said. He drew waves through her hair. Where had 82 00:08:30,450 --> 00:08:34,410 Speaker 1: you learned all of this, all of these ways to 83 00:08:34,410 --> 00:08:43,770 Speaker 1: touch her? Fireworks or shooting stars? Or else? She asked? 84 00:08:45,650 --> 00:08:53,650 Speaker 1: Or else? Gabril grasped Bree's hand in his, And this 85 00:08:53,770 --> 00:08:59,370 Speaker 1: was new too, Gabral cringed. His hands were warm, full 86 00:08:59,410 --> 00:09:05,570 Speaker 1: of sweat, even though it was late November. Suddenly he 87 00:09:05,610 --> 00:09:09,330 Speaker 1: remembered a line of his father's before his father went 88 00:09:09,450 --> 00:09:12,570 Speaker 1: jogging naked into the last a train that would ever run, 89 00:09:15,570 --> 00:09:19,250 Speaker 1: that once upon a time, snow had fallen, and beneath 90 00:09:19,290 --> 00:09:22,770 Speaker 1: it the city looked swaddled in the skin of the stars. 91 00:09:25,650 --> 00:09:30,850 Speaker 1: You have to answer the question, or or else I 92 00:09:30,970 --> 00:09:37,130 Speaker 1: get to shoot you. Jibril had never seen snow, but 93 00:09:37,210 --> 00:09:41,170 Speaker 1: he had seen it in all the old movies, has 94 00:09:41,250 --> 00:09:47,530 Speaker 1: seen the way Manhattan once was covered entirely in diamonds now. 95 00:09:47,690 --> 00:09:53,050 Speaker 1: The only illumination came from the other cockroaches burning their trash. 96 00:09:54,450 --> 00:09:57,330 Speaker 1: There were no more garbage men who came past midnight, 97 00:09:57,850 --> 00:10:02,090 Speaker 1: the rumble of their trucks comforting. As Santa Claus blanketed 98 00:10:02,130 --> 00:10:11,290 Speaker 1: in the cacophonous City soundtrack, it was better to be 99 00:10:11,410 --> 00:10:15,970 Speaker 1: young than to be old. Jabrill decided it was better 100 00:10:16,090 --> 00:10:18,490 Speaker 1: not to have memories of the world as it once 101 00:10:18,530 --> 00:10:23,610 Speaker 1: had been. For instance, Jabrille's mother came from Syria by 102 00:10:23,650 --> 00:10:27,930 Speaker 1: way of Paris, and she still blathered on about that 103 00:10:28,050 --> 00:10:33,730 Speaker 1: city of light, those croissants, checkerboard tables, their fussy ballet 104 00:10:33,770 --> 00:10:37,570 Speaker 1: of a language. He would never have to miss it. 105 00:10:38,530 --> 00:10:49,370 Speaker 1: Commercial plane stopped flying the year he was born. I 106 00:10:49,490 --> 00:10:55,130 Speaker 1: hate this game, breem owned, it's so dumb. You don't 107 00:10:55,170 --> 00:11:01,570 Speaker 1: even have a gun. To Jabrille's surprise, Bree's hand was 108 00:11:01,610 --> 00:11:06,690 Speaker 1: still cradled in his. He gazed out over Brooklyn, his 109 00:11:06,850 --> 00:11:14,690 Speaker 1: broken land, flame, floods, rat remains, even the pigeons were gone. 110 00:11:15,770 --> 00:11:21,210 Speaker 1: It all had been ending for so long. Jabril was 111 00:11:21,290 --> 00:11:24,970 Speaker 1: so consumed by feelings of failure that even in these 112 00:11:25,090 --> 00:11:29,570 Speaker 1: last of days he would not consummate romance. He completely 113 00:11:29,650 --> 00:11:33,450 Speaker 1: missed the ecstatic view on the horizon, where there suddenly 114 00:11:33,650 --> 00:11:41,570 Speaker 1: was smeared three streaks of cerulean light. Brielle, on the 115 00:11:41,570 --> 00:11:45,010 Speaker 1: other hand, in fact did notice the miracle in the 116 00:11:45,090 --> 00:11:49,010 Speaker 1: corner of her eye, but berated the old little romantic 117 00:11:49,130 --> 00:11:54,330 Speaker 1: fool in her for playing tricks on her mind. There's 118 00:11:54,410 --> 00:12:03,330 Speaker 1: no shooting stars in Brooklyn, she decided aloud. Though both 119 00:12:03,410 --> 00:12:06,730 Speaker 1: brie and Jabril were in the thrall of that wild 120 00:12:06,890 --> 00:12:11,690 Speaker 1: somersault of first love, they feared its novelty, so rather 121 00:12:11,730 --> 00:12:14,090 Speaker 1: than look at one another or up at the sky, 122 00:12:14,890 --> 00:12:19,890 Speaker 1: they each gazed down at the revoltingly dirty, burning and 123 00:12:20,130 --> 00:12:33,050 Speaker 1: likewise flooded city, missing the rest of the enigmatic light show. Meanwhile, 124 00:12:33,570 --> 00:12:37,770 Speaker 1: the three spaceships hazarding across the New York midnight had 125 00:12:37,810 --> 00:12:42,890 Speaker 1: traveled for hundreds of years from the constellation Vela, once 126 00:12:42,930 --> 00:12:50,890 Speaker 1: known for its glowing sea green infinity shaped nebula. Had 127 00:12:50,930 --> 00:12:55,690 Speaker 1: Brielle ever seen a shooting star, she might have mistaken contact, 128 00:12:56,130 --> 00:13:00,130 Speaker 1: which was happening at last, not with a love sick hallucination, 129 00:13:00,690 --> 00:13:07,170 Speaker 1: but with that mundane phenomenon of burning space trash. But 130 00:13:07,290 --> 00:13:11,690 Speaker 1: these were no meteors. They were valens, though not in 131 00:13:11,690 --> 00:13:17,810 Speaker 1: their own language, which was purely mathematical and unreproducible. Here. Rather, 132 00:13:18,010 --> 00:13:28,130 Speaker 1: they referred to themselves as the people of Time, having 133 00:13:28,170 --> 00:13:32,650 Speaker 1: intercepted the voyager on their way elsewhere. The Valens played 134 00:13:32,730 --> 00:13:37,770 Speaker 1: its golden record and designated humans as simply the people 135 00:13:37,890 --> 00:13:50,010 Speaker 1: of music. It was blind Willie Johnson's forlorn, rapturous voice 136 00:13:50,170 --> 00:13:55,450 Speaker 1: in Dark was the Night, Cold was the ground that 137 00:13:55,610 --> 00:14:00,770 Speaker 1: convinced the Valens to detour their expedition from visiting another 138 00:14:00,810 --> 00:14:05,130 Speaker 1: planet where the secret of immortality had long been revealed 139 00:14:05,850 --> 00:14:12,810 Speaker 1: and intraspecies, hatred, inequity, and environmental destruction had long been eradicated. 140 00:14:14,130 --> 00:14:20,530 Speaker 1: To our Earth. They were so moved by our music 141 00:14:20,930 --> 00:14:24,210 Speaker 1: that they expected to hear the planet upon entering the 142 00:14:24,250 --> 00:14:43,130 Speaker 1: atmosphere vibrating with song. But as it happened, truer to 143 00:14:43,250 --> 00:14:48,370 Speaker 1: breeze Mamma's philosophy, what they saw on Earth was life 144 00:14:48,410 --> 00:14:56,050 Speaker 1: here is a fucking bitch, and then you die. We 145 00:14:56,130 --> 00:15:00,330 Speaker 1: had long since forsaken contact, consumed as we had become 146 00:15:00,450 --> 00:15:04,610 Speaker 1: by our own ends, and so nobody received the Valens 147 00:15:05,130 --> 00:15:09,250 Speaker 1: except one blind old man who ran, raving through the 148 00:15:09,330 --> 00:15:20,970 Speaker 1: Arizona Desert deliver me I'm always. Unfortunately, the people of 149 00:15:21,050 --> 00:15:27,810 Speaker 1: Time understood time differently. They knew profoundly the way time 150 00:15:27,890 --> 00:15:32,770 Speaker 1: could manipulate the heart that the more seconds they spent 151 00:15:32,850 --> 00:15:36,650 Speaker 1: on Earth, even to save just one of us, the 152 00:15:36,650 --> 00:15:40,330 Speaker 1: more they might come to embrace the horror below and 153 00:15:40,410 --> 00:15:45,610 Speaker 1: the human notion that time heals all trespasses, all wounds, 154 00:15:46,450 --> 00:15:53,410 Speaker 1: even war, even death, And after all, there was so 155 00:15:53,490 --> 00:15:58,690 Speaker 1: much else to love in the universe. So the Valens 156 00:15:58,810 --> 00:16:08,730 Speaker 1: quickly moved on. The shooting stars of their spaceships disappeared 157 00:16:08,770 --> 00:16:13,370 Speaker 1: from New York horizon before Jabril finally summoned the courage 158 00:16:13,410 --> 00:16:18,570 Speaker 1: to kiss brie again, and it was almost perfect the 159 00:16:18,730 --> 00:16:29,970 Speaker 1: kiss this time Adam and Eve. Jabril said, having turned contemplative, 160 00:16:31,130 --> 00:16:33,810 Speaker 1: what do you think they were thinking about that first 161 00:16:33,890 --> 00:16:42,090 Speaker 1: day of existence? How they never wanted to die? Brielle 162 00:16:42,170 --> 00:16:59,130 Speaker 1: replied that was the people of music by Hannah Asadi. 163 00:16:59,770 --> 00:17:05,810 Speaker 1: The narrator was Sanila Nuncani Hi Hannah Hi Assy. So 164 00:17:06,210 --> 00:17:10,890 Speaker 1: I have to ask, do you believe in uf I 165 00:17:10,970 --> 00:17:15,010 Speaker 1: think so. I grew up in Arizona, and during that 166 00:17:15,050 --> 00:17:19,050 Speaker 1: time a very famous UFO episode happened. They're called the 167 00:17:19,090 --> 00:17:24,170 Speaker 1: Phoenix Lights. A series of unexplained flying objects flew over 168 00:17:24,210 --> 00:17:26,330 Speaker 1: the desert and it was sort of the talk of 169 00:17:26,370 --> 00:17:29,370 Speaker 1: the town for years and still is. But I do 170 00:17:29,610 --> 00:17:32,810 Speaker 1: have to believe that we are not alone in this 171 00:17:32,930 --> 00:17:36,290 Speaker 1: sort of massive universe. But whether or not they're interested 172 00:17:36,290 --> 00:17:40,170 Speaker 1: in visiting us, I think is another question, and maybe 173 00:17:40,170 --> 00:17:43,210 Speaker 1: the question of this story as well. M I think 174 00:17:43,250 --> 00:17:46,530 Speaker 1: it might be the question of this story. Yeah, the 175 00:17:46,610 --> 00:17:49,890 Speaker 1: big surprise in this story is the near contact with 176 00:17:49,970 --> 00:17:56,450 Speaker 1: the extraterrestrial beings. Why don't Jibril and Brielle notice the UFOs? 177 00:17:56,810 --> 00:18:01,730 Speaker 1: Is it that the speedships are actually moving too fast 178 00:18:02,450 --> 00:18:05,370 Speaker 1: or is it that they can't stand to imagine what 179 00:18:05,490 --> 00:18:09,330 Speaker 1: they might be? Of course, Brielle sort of notices is, 180 00:18:09,370 --> 00:18:14,530 Speaker 1: but doesn't want to admit to herself that she's noticed 181 00:18:14,570 --> 00:18:21,130 Speaker 1: these strange lights, and Jabril completely, you know, doesn't notice 182 00:18:21,130 --> 00:18:23,290 Speaker 1: them for whatever reason. And I think there's two points. 183 00:18:23,330 --> 00:18:26,050 Speaker 1: Maybe one is that they're so consumed with scene that's 184 00:18:26,090 --> 00:18:29,450 Speaker 1: of this devastated Brooklyn that they don't even have the 185 00:18:29,570 --> 00:18:34,610 Speaker 1: space to see this kind of unimaginable visitation that's happening. 186 00:18:35,330 --> 00:18:37,370 Speaker 1: And then the other hand, maybe that what's going on 187 00:18:37,450 --> 00:18:40,810 Speaker 1: between them is enough, the two of them's first love. 188 00:18:41,450 --> 00:18:45,210 Speaker 1: It's overwhelming in and of itself, the human experience is enough. 189 00:18:45,730 --> 00:18:49,410 Speaker 1: So I think that's kind of the two like authorial intentionalities, 190 00:18:49,410 --> 00:18:55,850 Speaker 1: behind that. So the Valens are attracted to us because 191 00:18:55,850 --> 00:18:58,330 Speaker 1: of our music, and they love Dark was the Night 192 00:18:58,410 --> 00:19:01,210 Speaker 1: by the Great Blind Willie Johnson. It was one of 193 00:19:01,250 --> 00:19:04,210 Speaker 1: twenty seven pieces of music sent with the Voyager spacecrafts 194 00:19:04,210 --> 00:19:07,050 Speaker 1: in the late nineteen seventies. I love the idea of 195 00:19:07,050 --> 00:19:08,970 Speaker 1: that golden record. By the way, when I found out 196 00:19:09,090 --> 00:19:12,170 Speaker 1: about it as a kid, I could not stop looking 197 00:19:12,210 --> 00:19:15,050 Speaker 1: up things about it. But the music turns out to 198 00:19:15,090 --> 00:19:17,770 Speaker 1: be a mirage and they get out of here as 199 00:19:17,810 --> 00:19:20,250 Speaker 1: soon as they get a good look at us? So 200 00:19:20,810 --> 00:19:24,090 Speaker 1: what does that say about us? And more so what 201 00:19:24,170 --> 00:19:28,610 Speaker 1: does that say about the Valens? I mean, I think 202 00:19:28,970 --> 00:19:32,130 Speaker 1: even Blind really Johnson the story right, the reason they 203 00:19:32,290 --> 00:19:37,610 Speaker 1: detour their expedition elsewheres for this particular musician song and 204 00:19:37,930 --> 00:19:42,970 Speaker 1: his voice which resonates with all of the struggle that 205 00:19:43,090 --> 00:19:46,610 Speaker 1: he experienced. But how would they know that, right? And 206 00:19:46,690 --> 00:19:50,450 Speaker 1: but that his story that he died, they wouldn't help 207 00:19:50,490 --> 00:19:52,890 Speaker 1: him in a hospital, probably because he was black, and 208 00:19:52,930 --> 00:19:55,770 Speaker 1: that you know, he didn't died in unmarked grave. We 209 00:19:55,770 --> 00:19:57,810 Speaker 1: don't even know where it is. I mean, that's just 210 00:19:57,890 --> 00:20:01,330 Speaker 1: sort of proves the Valens point in a way that 211 00:20:01,770 --> 00:20:04,930 Speaker 1: they hear the beauty that we're capable of, right, that 212 00:20:05,010 --> 00:20:08,210 Speaker 1: they hear the best of us in this record. And 213 00:20:08,530 --> 00:20:11,090 Speaker 1: I think our art is the best of us, you know, 214 00:20:11,170 --> 00:20:14,490 Speaker 1: I think our music, our writing, our literature, our movies 215 00:20:14,770 --> 00:20:17,370 Speaker 1: for the most part are the best of us. But 216 00:20:17,530 --> 00:20:19,610 Speaker 1: when they come here and they see it, you know, 217 00:20:19,650 --> 00:20:23,290 Speaker 1: they see us for all of it, they realize that 218 00:20:23,410 --> 00:20:26,850 Speaker 1: there's another side to the story and they move on. 219 00:20:27,050 --> 00:20:30,010 Speaker 1: There usually is, yeah, there usually is, right. So what 220 00:20:30,050 --> 00:20:32,290 Speaker 1: does that say about us? Is that we're like monsters 221 00:20:32,290 --> 00:20:35,130 Speaker 1: and angels? And then what does it say about them? 222 00:20:35,970 --> 00:20:41,530 Speaker 1: They are aware of other civilizations where image immortality has 223 00:20:41,530 --> 00:20:44,490 Speaker 1: been achieved, where you know, like that are so much 224 00:20:44,570 --> 00:20:48,450 Speaker 1: more advanced than us that why would they, I mean, 225 00:20:48,450 --> 00:20:51,490 Speaker 1: why would they waste their time? Literally? And I think 226 00:20:51,650 --> 00:20:55,090 Speaker 1: that's just something for all of us to think about 227 00:20:56,210 --> 00:21:01,330 Speaker 1: as we march toward hopefully some form of progress. Hannah, 228 00:21:01,370 --> 00:21:03,690 Speaker 1: thank you so much for your story and for taking 229 00:21:03,690 --> 00:21:06,770 Speaker 1: the time to talk today. Thank you for coming on 230 00:21:06,810 --> 00:21:09,650 Speaker 1: the Chronicles of Now, thank you for such a good 231 00:21:09,650 --> 00:21:13,370 Speaker 1: reader of it. You can read my full interview with 232 00:21:13,450 --> 00:21:17,370 Speaker 1: Hannah Asadi on our website Chronicles dot fm, where you 233 00:21:17,370 --> 00:21:20,930 Speaker 1: can also read the story you just heard and other 234 00:21:20,970 --> 00:21:25,370 Speaker 1: short fiction torn from today's headlines. Our sound designer and 235 00:21:25,450 --> 00:21:29,610 Speaker 1: composer is Bart Warshaw, our producer is Curtis Fox, and 236 00:21:29,690 --> 00:21:33,890 Speaker 1: our associate producer is Emily Rostick. Tyler Cabott is the 237 00:21:33,930 --> 00:21:38,250 Speaker 1: executive producer and founder of Chronicles of Now for Pushkin Industries. 238 00:21:38,330 --> 00:21:43,130 Speaker 1: Our executive producer is Letal Malad. Special thanks to Jacob Weisberg, 239 00:21:43,370 --> 00:21:47,970 Speaker 1: Carl mcliori, Heather Faine, and Eric Sandler for the Chronicles 240 00:21:47,970 --> 00:21:51,610 Speaker 1: of Now podcast. I'm Ashley Ford. Thanks for listening.