On Thursday, June 11, 2026, my wife and I attended an early showing of Disclosure Day at a theater a little over an hour away from our home in “Missippi” (IYKYK). This was the first movie we had seen in a theater in quite some time. We don’t typically watch movies, but given all the hoopla surrounding this film and the allegations that it would “shake a Christian’s faith,” we decided to check it out. So, we grabbed our overpriced popcorn and Dr. Pepper, sat in the back with a notebook, and settled in. Be warned: I am not a movie reviewer, and what you are about to read contains spoilers. Grab your fried okra and sweet tea, and let’s go!
At first glance, Disclosure Day appears to be another science-fiction thriller centered on government secrecy, extraterrestrial life, and a world-changing revelation. Beneath the surface, however, the film functions as something far more significant. It serves as a fascinating case study in how modern entertainment continues to familiarize audiences with concepts that were once considered fringe, occult, or even spiritually dangerous.
Through themes of alien disclosure, psychic abilities, remote viewing, astral projection, channeling, and possession, Disclosure Day presents a worldview that feels increasingly common in contemporary media. A worldview that conditions viewers to reinterpret the supernatural through an extraterrestrial lens as opposed to a biblical lens.
Perhaps nowhere is this agenda more apparent than in the emotional scenes involving Daniel’s girlfriend, Jane Blankenship. After viewing evidence that the aliens are allegedly being tortured, Jane becomes deeply emotional. Her response reflects the film’s broader effort to shift audience sympathies toward the extraterrestrials. Rather than presenting them as potential deceivers, the narrative casts them as victims deserving compassion and understanding.
It is Jane who voices one of the film’s most important concerns, warning that people may begin viewing these beings as deities and stop believing in God. Ironically, while the film acknowledges this possibility, much of its narrative structure appears to move viewers toward exactly that conclusion.
While the government conspiracy drives the plot, the film’s most revealing elements emerge through the character of Margaret Fairchild. Following an encounter with a cardinal—one of several animal forms allegedly used by the extraterrestrials—Margaret begins displaying extraordinary abilities. She can read people’s thoughts, speak languages she has never learned, perceive information that should be impossible for her to know, and even appear to people as their loved ones.
This theme becomes even more apparent through the mysterious metallic devices featured throughout the movie. These artifacts grant users abilities including remote viewing, astral projection, cloaking, memory recovery, and even possession. The film presents these powers as advanced technology rather than occult practices. By presenting such experiences as scientifically explainable or technologically enabled, the film makes these abilities desirable, especially to a young person (in my opinion).
One of the most striking examples occurs during one of the remote viewing sequences. Users are able to project their consciousness beyond their physical location to observe another person and even question them about their whereabouts. However, the film establishes an unusual rule: remote viewers cannot “dive” on an “experiencer”—an individual who has been abducted and had direct contact with the alien entity. This distinction elevates the experiencers into a unique category of humanity, almost suggesting that contact with the alien transforms a person into something different. The implication is that these encounters create a spiritual or metaphysical barrier that ordinary consciousness cannot penetrate.
The movie ventures even deeper into spiritual territory during a disturbing sequence involving Noah Scanlon and Jane. During a remote viewing session, Noah appears to take control of Jane’s body and consciousness. Although the film never explicitly labels this event as demonic possession, the scene bears remarkable similarities. Jane ceases to operate under her own agency as Noah appears to inhabit and direct her. In one of the car chase scenes, Jane (possessed by Noah) attempts to kill Daniel with a knife. Jane was able to overcome the possession by pushing the knife into the open wound in her palm, which broke the connection as it caused immense pain to Noah.
Religious themes are woven throughout the story, particularly through Jane’s Catholic background. A former nun-in-training, she frequently wears a cross and seeks guidance from a trusted nun. During the remote viewing session involving Noah, Jane removes her cross and punctures her palm while reciting Luke 22:42. Drops of blood fall to the ground, evoking Luke 22:44. The symbolism is unmistakable. The film appears to place Jane in the place of Jesus as she asks her “Father” to “remove this cup” from her.
The nun’s perspective further reinforces this theme. Near the film’s conclusion, Jane asks whether humanity is alone. The nun replies that humans are God’s supreme creation on Earth, but that the universe is too vast for God not to have placed other beings within it. While many viewers may find this statement reasonable, it serves an important narrative purpose. It provides theological permission for belief in extraterrestrial intelligence while preserving a religious framework. The result is a spiritual bridge between traditional faith and alien disclosure.
Another revealing moment occurs when Margaret enters a warehouse and begins demonstrating her extraordinary abilities. As onlookers respond with awe, one woman kneels and forms a cross with her hands. Margaret immediately replies, “I will not be anyone’s religion.” The statement is intended to reassure viewers that she rejects worship. Yet it also acknowledges an underlying reality: people naturally seek something transcendent. Throughout history, humanity has worshiped gods, spirits, angels, and supernatural beings. The film recognizes that disclosure could trigger similar responses and attempts to redirect those impulses toward a more secular form of spiritual enlightenment.
The climax arrives when evidence of extraterrestrial life is broadcast on live television by Margaret. Additionally, Daniel and Margaret communicate directly with the alien entity known as In Vivo 17. The name itself is noteworthy. In vivo means “within the living,” a scientific term referring to processes occurring inside a living organism. Considering the film’s repeated emphasis on consciousness, possession, psychic abilities, and human transformation, the title seems intentionally suggestive. Rather than presenting the alien as an external visitor, the name hints at something operating within humanity itself.
After all the anticipation, all the conspiracies, and all the revelations, the alien’s final message consists of a single word: “Listen.”
This film normalizes practices such as remote viewing, astral projection, psychic communication, and spiritual possession while presenting extraterrestrials as benevolent beings worthy of trust and sympathy. Whether intentional or not, the movie functions as a form of cultural conditioning, encouraging viewers to reinterpret supernatural experiences through the lens of alien contact.
For believers, this raises an important question. If or when a future disclosure event were to occur, would you possess the discernment to distinguish between advanced beings from another world and spiritual entities presenting themselves under a different name?
I’d like to reiterate the last line of the movie. Listen… to the Holy Spirit. He is your guide.