BIGFOOT ANNOUNCEMENT: PATTERSON FILM IS A HOAX

"It's like losing a friend," one Reddit user wrote after the documentary "Capturing Bigfoot" argued that Roger Patterson and Robert Gimlin's footage of the creature is a hoax.

The Bigfoot community is reeling from a new documentary.

Capturing Bigfoot, a new doc from filmmaker Marq Evans, premiered at SXSW on March 12. The film pulls back the curtain on the infamous 1967 footage of Bigfoot walking through the woods captured by Roger Patterson and Robert Gimlin, which is widely considered one of the key pieces of evidence of the legendary creature's existence among his believers. (If you've ever seen a "real" image of Bigfoot, it probably comes from the Patterson-Gimlin film.)

Capturing Bigfoot, however, argues that the Patterson-Gimlin film was intentionally faked by its creators, as Evans stumbled upon a previously unseen 16mm film featuring a man in a Bigfoot costume and Gimlin riding on a horse. The new footage was seemingly shot a year prior to the Patterson-Gimlin film, leading Evans to believe that the newly discovered footage was a "rehearsal" for the now-iconic later film.

"It took me maybe nine months to realize what we really had," Evans told PEOPLE of the second film, which he received from a colleague whose father was connected to Gimlin and Patterson. "What we eventually found out is that [this new footage] represented a trial run, a rehearsal that was never discarded."

As he investigated the footage, Evans connected with Patterson's son Clint, who wanted to share his perspective on his father's film in an interview.

"He'd learned the film was a fake from his mother years earlier and had been wanting to come out and tell this story," Evans told PEOPLE. "The lie had been really hard on him, and he was ready and wanting to get out from under it."

The filmmaker also said that Patterson's son told him what happened to the Bigfoot suit that was worn in the footage.

"Clint told me that he actually saw his dad burn the suit out behind the family house one night in a big barrel," the director explained. "He basically spent about 30 minutes tossing it into the fire, piece by piece."

Capturing Bigfoot has shaken the faith of many former Bigfoot believers. Joshua Kitakaze, an active member of the online Bigfoot community, told Business Insider that discrediting the original Patterson-Gimlin film has done profound damage to many people's faith in the creature's existence, as that footage was "the No. 1 thing" that believers cited as evidence.

"I never thought this would happen in our lifetime, what Marq Evans has come up with in the documentary," he told the outlet. "For many of us who were believers, whether or not you are now, it just can't be understated that the film was the pillar, that was the cross of this religion."

WHEN DID JESUS REALLY DIE?

For centuries, people have asked the same haunting question: When did Jesus really die? It’s a question wrapped in faith, history, astronomy, and the fragile threads of ancient calendars. Yet the closer scholars look, the clearer the picture becomes. The story begins in Judea, under the rule of Pontius Pilate, whose governorship from AD 26 to 36 provides the first anchor point in the timeline of Jesus’ final days. It is within this decade-long window that every credible historical source places the crucifixion. 

From there, the gospels themselves offer their own rhythm and sequence, describing a crucifixion that took place on a Friday, the “day of preparation,” just before the Sabbath. This detail, woven through all four accounts, becomes more than a religious echo; it becomes a chronological clue. Friday’s significance grows even sharper when viewed through the lens of Passover, the festival whose timing is governed by the cycles of the moon and the arrival of spring. The gospel narratives tie Jesus’ last meal and arrest to the Passover season, and this connection points historians to dates that can be precisely measured. 

As astronomers and historians overlay ancient Jewish calendars with modern calculations, a pattern begins to emerge. Passover begins on the 15th day of Nisan, a date determined by the first full moon after the spring equinox. The task was then to identify which years within Pilate’s tenure had a Passover that fell on a Friday. When this work was done—first by scholars, and later confirmed with even greater precision using astronomical software—the results converged on a single day. Across multiple independent studies, the date that consistently aligns with the Passover, the weekday, and the historical setting is Friday, April 3, AD 33. 

This date gains further weight when the gospel descriptions of time are brought into the frame. The “ninth hour,” recorded in Matthew and echoed in Mark and Luke, corresponds to roughly 3:00 p.m.—the moment Jesus’ life ended on the cross. The detail is striking, not only because it fits the ancient method of counting hours from sunrise, but because it echoes across accounts that were written independently of each other. Scholars, working backwards through these textual hints, conclude that Jesus was nailed to the cross around mid-morning and died in mid-afternoon, just before the beginning of the Sabbath at sundown. All of this fits seamlessly into the calendar of Passover in AD 33. 

The location, too, remains consistent across historical sources: Golgotha, just outside the walls of Jerusalem. Roman execution practices of the time were meant to be public, brutal, and unmistakably final, and the accounts of the crucifixion mirror this reality. It was here that Jesus’ final cry—“It is finished”—was recorded, followed by the silence that signaled the end of his earthly life. These details are echoed in both religious texts and early historical writings, leaving little room for alternative interpretations regarding the manner or certainty of his death.

Some scholars still raise the possibility of AD 30 as an alternate year, usually pointing to Friday, April 7 of that year. But the cumulative weight of Passover timing, astronomical verification, textual consistency, and historical context make AD 33 the most widely supported date. Even broader analyses of every possible Passover-Friday pairing within Pilate’s governorship consistently return to April 3, AD 33 as the best fit. 

So when we ask, When did Jesus really die? we may not be able to point to a date in a modern calendar with absolute certainty, but the picture painted by history and science is remarkably clear. It is a Friday afternoon in early spring, the air still heavy with dust from the narrow streets of Jerusalem. The festival crowds are preparing for Passover. And on a hill just outside the city, at roughly three in the afternoon on April 3, AD 33, Jesus of Nazareth takes his final breath—a moment that would ripple through history, faith, and culture for millennia to come...

THE MYSTERY OF THE SHROUD OF TURIN

Few relics on Earth inspire the same mix of reverence, skepticism, and intellectual curiosity as the Shroud of Turin. This linen cloth, stretching roughly fourteen and a half feet long and bearing the faint image of a crucified man, has stirred fascination for centuries. When it first appeared in the historical record in the 14th century, many believers hailed it as the very burial cloth of Jesus. Yet from the beginning, others doubted its authenticity, and science has continued to probe the mystery.

In 1988, radiocarbon testing appeared to deliver a decisive verdict by dating the cloth to the medieval period, specifically between 1260 and 1390 CE. Some researchers, however, argued that the sample tested might have come from a repaired corner rather than the original linen, leaving room for debate. As the years have passed, the Shroud has refused to settle into a firm category of history, instead inviting renewed analysis with every technological advance. 

In August 2025, a fresh wave of attention erupted when Brazilian 3D specialist Cicero Moraes introduced an unexpected angle through digital modeling. Using software including Blender, MakeHuman, and CloudCompare, he examined how a cloth behaves when draped over a full three-dimensional human body compared to a shallow low-relief sculpture. His simulations revealed that draping fabric over a human form produced noticeable distortions that did not align with the Shroud’s image, while draping over a shallow sculpted relief produced results that closely matched its proportions and contours. Moraes concluded that the Shroud’s image could have been created in the Middle Ages using a bas‑relief technique, possibly involving heat or pigment applied to a sculpted surface and transferred onto linen.

The study intensified the long-standing discussion, but it also prompted swift and forceful rebuttals. In February 2026, Shroud researchers Tristan Casabianca, Emanuela Marinelli, and Alessandro Piana published a detailed critique directly within the same academic journal, Archaeometry. They argued that Moraes had made significant methodological mistakes, such as limiting his reconstruction to the frontal view alone, reversing left and right orientations in the anatomy, selecting a height that did not fall within the generally accepted range, and even simulating cloth interactions using cotton rather than linen. They also pointed out that Moraes’s model ignored some of the Shroud’s most distinctive physical characteristics, including the extraordinary superficiality of the image—only one‑fifth of a thousandth of a millimeter deep—and scientific findings confirming the presence of blood in multiple areas. These, they insisted, were incompatible with medieval artistic techniques. Their critique reinforced earlier concerns raised by scholars and the Archbishop of Turin, all of whom worried that Moraes’s conclusions were based on oversimplified assumptions about both anatomy and history. 

While the debate over sculpted reliefs continued, another unexpected development emerged in December 2025 when a team analyzing ultra‑high‑resolution scans of the Shroud fed the data into an anomaly‑detecting neural network. The AI was expected to highlight distortions or pigment residues, yet it instead flagged repeating geometric and mathematical structures embedded across the linen. The findings included mirrored spatial symmetries, consistent proportional ratios, fractal-like scaling, and geometric alignments that did not correspond to the weave, fabric damage, or stains. These patterns suggested a form of encoded mathematical order, prompting experts to note that no known medieval technique would be capable of producing such structures, raising questions even more bewildering than before. 

The scientific spotlight did not fall exclusively on digital modeling or AI. In 2024, Italian researchers used wide-angle X‑ray scattering (WAXS) to re‑examine the Shroud’s linen fibers. Their analysis suggested the cloth could date back roughly 2,000 years, which would place it within the timeframe of the historical Jesus and challenge the 1988 carbon‑dating results. Meanwhile, a 2025 study by Otangelo Grasso argued that multiple features of the Shroud remain difficult to reconcile with forgery. These include over 120 matching bloodstain patterns that correspond to those on the Sudarium of Oviedo, anatomical accuracy surpassing medieval medical knowledge, and blood chemistry consistent with real trauma, clotting patterns, and environmental conditions associated with burial. 

Yet even as scientific research seemed to strengthen arguments for authenticity, historical evidence continued to complicate the picture. A newly uncovered medieval document published in 2025 revealed that as early as the 14th century, theologian Nicole Oresme denounced the Shroud as a “clear” and “patent” deception, accusing clergy of fabricating relics to elicit offerings. This document reinforced the idea that skepticism about the Shroud is as old as its appearance in Europe. 

Taken together, the most recent findings offer a complex portrait rather than a final answer. Digital modeling suggests the image could have arisen from medieval artistry, while scientific rebuttals insist that key anatomical and chemical features defy that explanation. AI analysis introduces the possibility of a hidden mathematical order woven into the fibers, and WAXS research renews the case for a first‑century origin. Historical documents critique its authenticity, while forensic studies suggest genuine blood interaction with cloth.

The mystery endures not because evidence is lacking, but because the evidence pulls in multiple, often contradictory directions. Some aspects of the Shroud seem too advanced for medieval forgers; others seem inconsistent with an ancient origin. Every time researchers believe they are approaching closure, new analyses reopen the question entirely.

The Shroud of Turin remains powerful not only as a religious artifact, but as a reminder that some relics challenge the boundaries of science, faith, and history. Perhaps its greatest intrigue lies not in what it proves, but in the questions it refuses to answer. Whether a medieval masterpiece, a sacred relic, or something yet unimagined, the Shroud continues to draw us toward its faint image—inviting wonder, doubt, and endless fascination...

UFOS IN THE OCEAN

For as long as people have stared up at the sky searching for signs of the unknown, few ever imagined that some of the most chilling mysteries might actually be waiting beneath the waves. Yet in recent years, the ocean—vast, dark, and largely unexplored—has become the stage for a surge of reports about Unidentified Submersible Objects, or USOs, that seem to move with a freedom and intelligence unlike anything known to science or military technology. These underwater anomalies have appeared not in ones or twos, but in the thousands, clustering along the coastlines of the United States in ways that defy easy explanation. According to reports gathered by Enigma, a major UFO-tracking system that maintains one of the world’s largest databases of sightings, more than 9,000 mysterious underwater objects were logged within ten miles of U.S. shores between 2022 and 2025, with California and Florida emerging as hotspots for these extraordinary incidents. 

What makes these sightings so unsettling is not just their volume but their behavior. Witnesses describe glowing objects plunging into the sea without a splash, or luminous shapes rising from the depths as though the ocean itself were releasing something otherworldly. In some cases, phone videos show eerie green lights sweeping beneath the surface like the eyes of something alive and impossibly fast. Reports published in Marine Technology News speak of USOs that accelerate underwater at speeds far beyond known submersibles, making sharp, precise turns that seem to ignore the laws of physics. Experts note their so‑called “transmedium” capability—the ability to shift seamlessly from water to air—a feature no human-made craft has ever demonstrated. 

The U.S. military has not dismissed the phenomenon. In fact, some Navy personnel have reportedly tracked fast-moving underwater objects traveling hundreds of miles per hour, speeds so far beyond the limits of known technology that some officials admit the capabilities are simply unexplainable. Tennessee congressman Tim Burchett has gone as far as suggesting that extraterrestrial beings may have submerged bases off American coastlines, pointing to accounts from Navy sonar operators who claim to have chased unidentified underwater craft with no hope of catching them. The discrepancy between what crews have seen and what current technology allows has only fueled speculation that the U.S. government knows far more about these aquatic mysteries than it has publicly acknowledged. 

Outside the military, scientists and researchers are beginning to take the reports more seriously, especially as platforms like Enigma continue to map dense clusters of sightings all along the Atlantic and Pacific coasts. Newsweek, examining the same datasets, noted that more than 150 of these reports involved objects hovering just above the surface or vanishing into the water with an almost surgical smoothness, as though diving into another realm rather than another medium. The footage accompanying some of these sightings adds to the intrigue—lights that arc beneath the waves without distortion or scattering, leaving viewers questioning whether they are witnessing unknown sea creatures, secretive government projects, or something far more extraordinary. 

The Pentagon's All-domain Anomaly Resolution Office has confirmed that it is actively analyzing these underwater incidents as part of its broader mission to evaluate anomalous activity across land, sea, and air. Although officials acknowledge that some sightings may have mundane explanations—natural phenomena, experimental vehicles, or misinterpretations—a significant number remain unexplained and exhibit characteristics that cannot be easily dismissed. Their interest alone has raised eyebrows, suggesting that whatever is moving beneath the surface is worth far more attention than previously imagined. As the cases mount, so does the public’s sense that something big is unfolding just out of view, hidden in the places human eyes rarely go. 

What makes the ocean such a perfect hiding place is its vastness. More than eighty percent of it remains unmapped, unobserved, and unknown. If something—or someone—wanted to move undetected, slipping through trenches deeper than Mount Everest is tall, there would be no better refuge. Some theorists believe the oceans could house advanced beings or technologies that predate human civilization, operating silently beneath the waves while humanity remains oblivious. Others argue that the objects might be the creations of rival nations, leveraging physics we have yet to understand. Skeptics maintain that interpreting sonar blips and distant lights as extraterrestrial is a leap too far, but even they admit the consistency of the reports demands further examination.

Still, the most haunting part of this story isn’t the possibility of alien craft slicing through the deep or secret bases nestled off the continental shelf. It’s the sense of a growing gap between what people are seeing and what authorities are willing to explain. Some experts, like Kent Heckenlively, warn that either humans are witnessing technology beyond their comprehension or that existing detection systems are capturing something that defies traditional understanding entirely. As he put it, either the ocean is hiding mysteries we have not yet imagined, or “our technology is picking up ghosts underwater.” 

Whatever the truth may be, the ocean—once a symbol of natural wonder—has taken on a new aura, one tinged with secrecy and possibility. People are no longer looking only to the skies for answers. They are watching the water, waiting for the next ripple that doesn’t belong, the next patch of glowing green, the next silent splash that shouldn’t be possible. The mysteries beneath the surface aren’t just expanding our curiosity; they’re rewriting the boundaries of the unknown. And until the ocean gives up its secrets, every wave carries the whisper of something hidden, something watching, something waiting just beyond the reach of light...

MEDIA REVIEW: THE PERFECT NEIGHBOR

I just watched on Netflix a disturbing documentary that I don't think I'll forget for awhile. The Perfect Neighbor is a 2025 American documentary film directed by Geeta Gandbhir about a shooting incident on June 2, 2023 where a white female, Susan Louise Lorincz, fatally shot Ajike Owens, her black female neighbor, in Ocala, Florida.

The film is told in chronological order with limited narration, mostly using pre-existing police footage such as bodycams, and follows both the lead-up to the killing, the incident itself and its aftermath, from the neighborhood disputes eventually escalating into the killing to Lorincz's conviction for manslaughter, among other charges. As the killing itself did, the film notably questions the systemic bias in how Florida's stand-your-ground laws are applied.

The film had its world premiere at the 2025 Sundance Film Festival on January 24, where it won the Directing Award. It had a limited theatrical release in the U.S. on October 10, prior to streaming globally on Netflix on October 17. It received widespread acclaim for its production, direction and editing, and its effective questioning of the circumstances surrounding Owens' death and similar incidents. At the 98th Academy Awards, it was nominated for Best Documentary.

On June 2, 2023, in Ocala, Florida, Ajike "AJ" Shantrell Owens was shot and killed by Susan Lorincz. The film explores disputes leading up to the shooting by using bodycam footage. It includes footage from a selection of the multiple times that deputies from the Marion County Sheriff's Office responded to: calls from Lorincz in 2022 and 2023; a call from an auto repair operator in March 2023, after Lorincz repeatedly rammed her pickup truck into the gate at his workplace; a visit by Lorincz to report her complaints in person at the Sheriff's Office in May 2023; the multiple 911 calls, including from Lorincz, when she shot Owens on June 2 2023; and Lorincz being questioned by Sheriff's detectives at the station. Sheriff's Office footage from the next few days, such as Lorincz retrieving items from her house, and from her further interviews at the Sheriff's Office, is included.

MY RATING: 10 OUT OF 10

STORY BEHIND THE PHOTO: LAWSON FAMILY MURDERS

While it appears to be a normal family portrait, this snapshot was taken just days before Charlie Lawson (the man standing second from the right) murdered everyone pictured here on Christmas Day 1929. Only 16-year-old Arthur (top left) managed to escape being murdered.

Months before the event, Lawson had sustained a head injury. Some family and friends theorized that it had altered his mental state and was related to the tragedy.

However, an autopsy and analysis of his brain at Johns Hopkins Hospital found no abnormalities..

THE MYSTERIES OF ST. PATRICK'S DAY

St. Patrick’s Day, observed every March 17, is one of the world’s most widely celebrated cultural holidays, yet it remains wrapped in a blend of fact and folklore. The day commemorates St. Patrick, the patron saint of Ireland, but much of what people commonly associate with him—snakes, shamrocks, and the color green—developed long after he lived. The result is a holiday built as much on mystery and myth as on history.

The first mystery lies in St. Patrick himself. He lived in the 5th century, but historical records are sparse. What we know with confidence comes from only two documents he wrote, describing his life, his faith, and his mission. Patrick was born not in Ireland but in Roman Britain. As a teenager, he was captured by Irish raiders and enslaved for several years before escaping. Surprisingly, he later returned to Ireland as a missionary, eventually becoming one of its most influential Christian figures. However, his exact birth and death dates remain uncertain, and scholars still debate which parts of Ireland he actually visited. Over time, stories from other early missionaries may have been blended into his legend, further complicating the historical record.

One of the most famous tales claims that St. Patrick drove all snakes out of Ireland. The dramatic image of Patrick banishing the creatures into the sea is powerful, yet there is no evidence that snakes ever lived in post-Ice Age Ireland. Natural historians point out that Ireland’s chilly climate and island geography made it inhospitable to reptiles long before Patrick’s time. Many scholars believe the “snakes” in his legend may symbolize older pagan religions or spiritual dangers rather than literal animals, illustrating how metaphor and myth became part of his story.

Even the date of March 17 carries a degree of uncertainty. The day is traditionally said to mark the anniversary of Patrick’s death, but early records conflict. Medieval annals list several possible years, with 461 and 493 being the most commonly cited. These inconsistencies reflect the challenges historians face when piecing together events from the early medieval period, where written sources were limited and often produced long after the events occurred.

The symbols associated with St. Patrick’s Day add further layers of mystery. Many people are surprised to learn that the color originally linked to St. Patrick was blue, not green. Early artwork and Irish orders of chivalry used shades of blue to represent him. Green became dominant much later, influenced by Irish nationalism, the landscape of Ireland, and the growing popularity of the shamrock. The shamrock itself is another symbol with uncertain origins. While tradition claims that Patrick used the three‑leaf plant to explain the Christian Trinity, there is no evidence of this story from his own writings or from early Christian texts. The earliest references appear more than a thousand years after his death. Before its Christian association, the shamrock already held significance in pre‑Christian Celtic culture as a symbol of rebirth, making it likely that its connection to Patrick was a later blending of older traditions with Christian teaching.

Modern St. Patrick’s Day imagery also includes the leprechaun, a figure with almost no connection to St. Patrick. Leprechauns originated in medieval Irish folklore as small, solitary, and often bad-tempered cobblers who guarded hidden gold. Their modern appearance—cheerful, bearded, and dressed in bright green—emerged centuries later through Irish literature, American popular culture, and advertising. Their association with the holiday reflects how St. Patrick’s Day evolved into a celebration of Irish identity as much as a religious observance.

Perhaps the most surprising mystery is that St. Patrick’s Day parades began not in Ireland but in the United States. The first recorded parade took place in New York City in 1762, organized by Irish soldiers in the British Army. Throughout the 19th century, parades became major expressions of pride for Irish immigrants who faced discrimination and sought to maintain cultural ties. Ireland itself did not begin hosting large-scale parades until the 20th century, and for much of its history, the day was primarily a religious feast. In fact, pubs in Ireland were required to close on March 17 until the 1970s.

Over time, the holiday transformed from a quiet day of worship into a global celebration marked by music, food, wearing green, and even dyeing rivers. This change reflects a broader shift driven by the Irish diaspora, particularly in North America, where cultural identity merged with festive public celebration. The exact moment when the holiday became more about cultural pride and less about religious observance is difficult to pinpoint, but it is clear that the transformation unfolded gradually over centuries.

St. Patrick’s Day remains an intriguing blend of history and legend. Its stories reflect the complexity of early medieval life, the power of folklore, and the deep pride of the Irish people and their descendants. Although many aspects of the holiday are rooted in uncertain or symbolic origins, these mysteries have helped shape a celebration that continues to resonate around the world. The combination of faith, myth, identity, and cultural evolution makes St. Patrick’s Day not just a festive tradition but a fascinating subject of historical storytelling...