The Codex Gigas, also known as the Devil's Bible due to the large illustration of the Devil on the inside of the giant book, it is also connected to the legend surrounding its creation. It is largely thought to have been created in the early 12th century in the Benedictine monastery of Bodlegesa in Bohemia. According to legend, the Codex was created by a character known as Herman the Recluse in the Benedictine monastery near Cherdim in the Czech Republic. The monastery was destroyed sometime in the 15th century during the Hussite Revolution. The Codex was thankfully rescued and taken to the Benedictine monastery in Brezhivnov. From 1477 to 1593, it was kept in the library of a monastery until it was taken to Prague in 1594 to form part of the collections of the Empire Rudolf II. In 1648, it was taken as war booty by the Swedish army. In 1697, it would escape destruction again when a fierce fire broke out at the royal castle in Stockholm, subsequently destroying the royal library. The Codex was rescued from the flames by being thrown from a window. According to the vicar, Johann Ericsons, the Codex landed on a bystander, injuring him quite badly. In September 2007, after 359 years of changing hands in numerous ways, the Codex Gigas was returned to the National Library in Stockholm. But what makes the Codex particularly special and worthy of further investigation are the characteristics within the writings of this enormous book, which, astonishingly, support the story of it being created in just one sitting. A National Geographic documentary included interviews with manuscript experts who argued that certain evidence, in particular, the handwriting analysis and the long-standing credit to Hermann Inclusus, aka Hermann the Reckless, indicate the manuscript was indeed somehow the work of just one scribe. According to the historical legend, which was already academically recorded by the Middle Age, the scribe was a monk who broke his monastic vows and was sentenced to be walled up alive. In order to avoid this harsh penalty, he promised to create, in one night, a book to glorify the monastery forever. This book would include all human knowledge. Near midnight, he became sure that he could not complete this task alone, so he made a special prayer, not addressed to God, but to the fallen angel Lucifer, asking him to help finish the book in exchange for the monk's soul. The devil would accept this deal, completing the rest of the manuscript. The monk would add the devil's picture out of gratitude for his help. Many specialists within the area of writing, forensic analysis, and also numerous replication attempts, have indicated that the level of uniformity within the writings lean towards the impossible. Not only does it strongly indicate that the book was created in just one sitting, but is perfectly scribe throughout, a feat considered to be beyond that of human capabilities. The analysis also shown that the writings alone, if written by one person, would take over five years to complete, with the additional illustrations adding another twenty. Yet it must be noted, it has been concluded on many occasions that no mere mortal is capable of such uniform writings within this time period. There would have inevitably been some form of evolution within the style. Of course it must be remembered, although there is a highly compelling story attached to the origins of this giant book, its creation still largely remains a mystery. How big would you have to be for it to comfortably rest in one's lab? What sort of person, if of course it was a person, could have written the Codex Gigas? And how did they write it? It is most certainly one of the world's most mysterious books. Edinburgh, Scotland, a very ancient land with a castle built upon an extinct volcano. Many mysterious things lay and possibly live within Scotland, the most famous of which undoubtedly the extremely elusive Loch Ness monster. However, recent surveys would suggest that among the most popular of attractions are in fact its vast collection of, to the well-trained eye, extremely ancient coves and cave systems.  And hidden behind a modest door on Drum Street in Gilmourton is quite possibly the most incredible network of them all.  And thankfully, due to their popular attraction with tourists, often the explorers amongst us, many open-minded individuals, have often been left with a sense of discomposure regarding the officially upheld explanation for their origins. As such, and rather predictably, many alternative theories, often involving a far more ancient origin for the cove and its purpose now abound. The mass-regurgitated view regarding the construction would suggest that a blacksmith by the name of George Patterson, who actually resided within the cove within the 18th century, somehow created them alone by hand and within a mere five-year period, with even George himself claiming to have cut this extensive, elaborate, and unquestionably enigmatic underground structure using simple hand tools. Since the claims three century ago, however, numerous holes have been seemingly discovered within this popularly upheld sequence of events, fueling the already prevalent suspicions within skeptic parties, maybe in an attempt to hide its true antiquity, as we experience so often during our research. On Wednesday, the 15th of August, 1906, a front page column by a writer known as Fr. Coles for the Scotsman dug into George Patterson's version of events, commonly referred to as the tradition. Coles found it to have been nothing but a fictional fallacy, possibly created by George himself in an attempt to profit from deception. It seems Patterson not only accomplished the seemingly impossible, excavating hundreds of tons of stone, but also it seems he successfully went unnoticed by the entire surrounding population during this entire procedure. Just who could have built Gilmerton Cove? When was it built? Why did they build it? With modern radar scans of the surrounding area, indicating that even more systems lay close by, still undiscovered, possibly isolated by ancient cave-ins, you have to wonder, could the Gilmerton Cove be far older and originally far grander and extensively larger than anyone today could have ever possibly imagined? Will we ever solve the mystery of Gilmerton Cove? It seems only time will tell. There are countless ancient uparts, which can be found littering ancient antiquities, and indeed, the exhibits which are so often attributed to an ancient civilization, subsequently debunked by said studies, as having been capable of such ancient developments. As such, these artifacts are known as out-of-place artifacts or uparts, as they have become affectionately known. One such artifact is that of the Wedge of Ayud, a large, clearly machined piece of metal made of high purity aluminium, dated by many researchers as that of an ancient artifact. The problem is, aluminium in this density was not developed by modern man until the late 19th century, around 1825, to be precise. Weighing an impressive five pounds in weight, the Wedge was originally dug up, found deep within the sediments of a riverbank in modern-day Romania, disregarded by many as that of a modern-day JCB tooth. There are just as many, however, who argue, and we feel for good reason as we shall reveal, that this artifact is indeed ancient and has, through the years, continued to raise difficult questions to answer. Ancient alien enthusiasts insist that the Wedge is a segment of an ancient alien craft or, more specifically, a VTOL-type craft, better known as a vertical takeoff and landing craft, and the large visible signs of aging are supportive of not only a tremendous age, but of its currently unexplainable origins here on Earth. It was found during digging on a construction project, along with two mastodon bones in 35 feet of sand. Someone gave it to the Museum of History of Transylvania, where it lay ignored in a storeroom for 20 years, before editors from a Romanian UFO magazine found it in 1995. Furthermore, although some skeptics attempt to argue that the Wedge is of modern origins, it was found in the same layer as that of the mastodon bones, with the Wedge accepted by a large number of others as being at least 11,000 years old. This dating makes this a very peculiar item indeed, and something which we feel demands further examination. If the Wedge is indeed around 11,000 years old, as the evidence, witness testimony, and dating of the sediments it was found within would suggest, then the question of how such a lump of almost pure, clearly machined aluminium originated from, and indeed, what was the original purpose of the Wedge? Was it like the ancient alien enthusiasts insist once part of a vertical take-off and landing craft, or maybe from something else? Questions still circle the Wedge's true origins, and without solid evidence to prove the Wedge's modern origins, we must stick to the evidence already acquired, that of the Wedge's original resting place, the dating of said sediments, and the lack of any contradictory evidence in regards to works being done in this area at this depth, along the riverbank within Romania. We must entertain the idea that this five-pound, almost pure metallic object is indeed that of an ancient upart, and any other explanation lacking evidence is just an attempt to disregard such claims as they do not jive with modern paradigm, an occurrence we witness all too often. What is the Wedge of Ayud? How old is it? Could it indeed be 11,000 years old? And if so, how was it manufactured and machined, and what could it have been possibly used for? It is an object which we find highly compelling. In our last video, we explored the astonishing discovery recently made upon the Giza Plateau, hidden in plain sight, another great sphinx. However, this doppelganger of the better-known, long-claimed soul guardian of the Great Pyramids seemingly possesses a greater level of undiluted erosion, indicative of both sculptures' tremendous age. The questions are, however, just how great is their age? How long have the sphinx, or indeed the Great Pyramids, been here on our planet? Furthermore, the tremendous levels of erosion seen on the Pyramids themselves not only do the Pyramids display a level of erosion, indicative of a prehistoric timeline, but they have seen many additional efforts by a number of now-lost civilizations, each far more capable in regards to stonework than the modern man, created a number of layers of far less eroded casing stones, each displaying a varying age. This evidence indicative of several attempts at conservation. These factors all but support the following posit, made by a number of researchers, all claiming that the sphinx, and indeed we feel the Pyramids themselves, are in actuality as much as 800,000 years old. The most recent studies were surprisingly presented at the International Conference of Geoarcheology and Archaeo-minerology held in Sofia, titled Geological Aspect of the Problem of Dating the Great Egyptian Sphinx Construction. The authors of this paper, mainstream scientist Manitchev Vachislav from the Institute of Environmental Geochemistry of the National Academy of Sciences of Ukraine and Alexander G. Parkamenko, Institute of Geography of the National Academy of Sciences of Ukraine, have blown the whistle regarding what we have supported for a number of years. The starting point of these two experts is the paradigm shift, which has been initiated within the, quote, debate, which has been intended to overcome the orthodoxy within Egyptology, referring to the possible remote origins of the Egyptian civilization, and, on the other, physical evidence of water erosion present at the monuments of the Giza Plateau, which, although suspiciously mainstream researchers, such as West and Scouge, have made over the years, specifically titles the water erosion controversy, which deliberately overlooked that the Sphinx, having once been recorded as having been surrounded by a body of water, namely Anibis Lake, meaning that the enclosure was once designed with the intent of holding water, itself in turn concealing the Sphinx's possible true identity. Instead, focuses on the erosion clearly made by rainfall and ancient water levels, features we indeed claim were later additions. According to Manichev and Parkomenko, quote, the problem of dating the Great Pyramid Sphinx construction is still valid, despite the long-term history of its research. Geological approaches and other scientific methods permits us to answer the question about the relative age of the Sphinx. The conducted visual investigation of the Sphinx allowed the conclusion regarding the important role of water from large bodies, which partially flooded the monument, with the formation of wave-cut hollows on its vertical walls. The morphology of these formations has an analogy with similar such hollows, formed by the sea in the coastal zones. Genetic resemblance of the compared erosion forms and the geological structure and petrographic composition of sedimentary rock complexes leads to the conclusion of the existence of long-lived freshwater lakes within various periods of the lower Pleistocene era. These lakes were distributed in the territories adjacent to the Nile. The absolute mark of the upper, large erosion hollow of the Sphinx corresponds to the level of water surface, which took place in this early Pleistocene age, end quote. A link to the research can be found in the script. It is a vindicating exposure of ours and others' work, one which we find highly compelling. Archaeologists have discovered yet another ancient anomaly, which has linked a now lost, but once clearly advanced global civilization, pertaining to a wall relief in Peru, belonging to the oldest civilization in the Americas. The wall, although dated to approximately 3,800 years ago, depicts what many now believe is an illustrated narrative of the difficulties they experienced prior to a cataclysm caused by an ancient climate change. One meter high and 2.8 meters long, the wall relief was discovered in the seaside archeological site of Vichama, 110 kilometers north of Peru's capital Lima. The Vichama side is part of the recently discovered, yet now lost, Karal civilization, also known as Narte Chico. Dated at over 5,000 years ago, this dating alone makes it the oldest civilization known to have dwelled within the Americas, now claimed as purely coincidental. This civilization flourished around the same time as that of the thriving civilization of Mesopotamia, ancient Egypt, and also Chinese civilizations. The Karal civilization was located in the Supe Valley, along the north-central coast of Peru. Made of adobe, a clay-like material, the wall seemingly documents climate change, one which could not have been contributed to by human activities. Archaeologist Ruth Chandy, who oversaw the excavations at the site, hypothesized that the serpents within represented a water deity that irrigated the earth and made seeds grow. She believes the relief was likely done towards the end of a drought and famine, that the Karal civilization, among others we have covered in the past, once experienced with other reliefs displaying emaciated humans. Many self-funded archeologists now believe, like we have postulated, that the discovery reinforces the notion that these early humans were depicting the difficulties they faced due to climate change and a depletion in available water for irrigation, which had a large impact on their agricultural production. The excavation has to date unearthed the ruins of 22 buildings in a 25 square hectare space. It would appear that just like that of the site of Tikal, and the now lost plaque, which once depicted the dramatic scene of a cataclysm, a great flood, along with erupting volcanoes with a boat seemingly attempting to escape this event surrounded by many of the population drowning, a cooperating artifact fortunately photographed before its mysterious disappearance. Was there indeed a great flood, one which seemingly followed a great famine? It would seem the evidence for such an event is mounting, thanks to not only the evidential sediments which once drenched many of the still unexplained ancient sites of the world, but also by its depiction by those who lived through it. It is indeed a highly compelling mystery.


How to make a secret spy banana. Shhh. I'm a spy. I'm a spy too. And here's a secret message. What a banana. It has a message. We're going to show you how to set a secret spy message on a banana so you can play too.  So first we're going to start writing the message. So I'm going to write cold red. I'm going to make a pattern and then on the other side I'm going to write a secret message to my sister. I'm using the toothpick to scratch the skin of the banana so then it makes lines in the banana skin. I can't really see that first but after a little while it turns brown. That's why it's secret because it starts out visible. You can write words or you can draw a picture. We made some earlier and you can see they turn brown. I'm almost done. I'm almost done too. And that's how you make a secret spy banana. Spy 42. Spy 31 is here. Okay I'm here. What's going on? I found her. She's planning to go into space. Spy. Here for more cool video with us. Hit touch here to subscribe. Come on you can do it.


if I were a king of the forest.  I'm Rick. And you can follow us on Instagram and Twitter while juicy going there. It's so juicy. Thank you for watching. Patreon, follow our official Twitter account. I'm drinking out of a mermaid cup. And today, quite delightful. Thank you. We're reacting to a trailer. Let's see. It is called set the coffee. Yeah, that's pretty easy though. He can't be mad. Set the coffee, right? Wouldn't it have been easy for you 10 months ago? Wouldn't be easy for your mom 10 months ago. Here we go. Yeah, set the coffee. Okay, and it has VJ, set the coffee, uh-huh. And Coven, Santa, how many Zumbos? I don't know who he is. Hey! You don't know who that is? No, no. Sorry for you. I don't think you do either. Oh, I know. Hey, man, are you there to shoot all of a sudden? What are you doing? Why are you not even doing it? You're not even in the film or what? So, did you come to dinner? No, no. Sounds very clear. Yes. His dance is, I've seen a lot. What's the matter with his rig? I've been doing this for a long time. I knew how to do it. But I forgot. I can't act as a man. I act as a man. Even then, I am a man. I am a man. I am a man. I am not going to take you. I will put a schedule after the Deepavali. He has to act. He didn't come alone.   Are you going to act or to act? He tells me it is not the age. He has hearing. That's a pretty good make up. I did too. I like that a lot. That music. Yeah. The score was fan. Gorgeous. Friend. Friday's not that easy. What are you doing? Stop it. Talking to me. Maybe yeah. The score was... Gorgeous. You know you have a plug under your couch. Better than the one you have in your butt. Is that where you put your sun at night? What? Don't talk about myself. It's a little plug.  The music was really, really cool. The story looked really interesting. It does. It was really deeply personal. I feel it to India. And anything that's got something to deal with actors and acting, I'm in. Yeah. We're just like the Oscars. We love watching films about ourselves. You want to talk about acting and actors. And be there all day long. That's true. But yeah. So it looked like almost the story of like an SRK type or just any number of huge stars in India like Big B.  But then I think just me either one gets tired of it or just wants to spend time with his family now. Yeah. And it gave me a little vibe just because it's the only other film that we've seen that comes anywhere near the subject matter of Not Some Rot. Yeah. There's another actor who's no longer doing the thing that he was known as a legend for doing. But I found it. So it was very, very quirky little trailer. It was. Right? Yeah. The makeup looked really, really good. I want to know specific. But it was because they showed in the theaters and then people waiting outside their house. And so it was a very deeply Indian story, I feel. Because you know, that stuff doesn't happen. No. Yeah. With the level of celebrity. Yeah. Outside of back in the day with, you know, Elvis and the Beatles. It really doesn't happen anymore. Or you'll get it at a red carpet event or at the awards. You'll get fans showing up, but you'll only get a couple hundred. Yeah. Well, unless you're Billy Eilish, I guess you'll. Yeah. She'll turn it off. But. Sita Kathi is a story that chronicles the journey of Aya, a legendary stage performer. She showcases how an artiste and his art are immortal. All right. Well, it's got a runtime of 937 days. How long is that? It's almost three hours. It's not that bad. Yeah. A hundred and eighty minutes would be three hours. Jeez. And what is it? Do we have the language here? No. But it has the VJ. VJ. Because there's VJ and there's VJ. Right. So there's two different ones. Is he playing the old guy, though? I think so.  Yeah. That was some of the best age makeup we've seen. Because at first, I didn't think it was age makeup. Yeah. It wasn't until a little bit later I saw some of it and I could tell that it was, but it's still really, really good age makeup. Yeah. And I guess it makes sense because he's one of those huge stars that would draw those types of crowds. Since this is going to be his career, he's going to probably, we're going to see him young. Oh, okay. Do you think he's going to span his whole life? I bet it spans. I bet it goes flashback or whatever. I bet we see him at different ages. Huh. Yeah. It was very interesting because it's not a story that usually, you hear a lot. Just a story of an actor who's now tired and doesn't want to come.  It's true. You do. But you also don't have the veneration for actors here that you have in India. Like we were mentioning is that the level, not anymore. No. No. It may happen back in the day. Not to the extent, I believe that India does not still. Yeah. Because there's never that reaction in the theater. No. To just the trailer. We've seen reactions of people freaking out over a trailer. Yeah. Just a new trailer. Yeah. And you can't even hear it in the theater. Right. Like I've seen like certain, like especially ones that have like, who's that huge star in South India? I know it was a bunch, but the, he was in Bahawali. What is his name? Oh, that's awful that we're not remembering his name. Prabhas. Yes. Thank you. Sorry. I apologize.  But I've seen like when his new trailer this past year came out for that one, the big action one. What was it called? Dang it. What was it called? It was called the big action one. With Prabhas. Soho, thank you. I saw like little snippets on Twitter of it can't, like the trailer for that came on in the theater. Yeah. And people just started screaming and throwing stuff. Yeah. You can't even hear the trailer. Right. I guess they don't care. They're going to see it. Yeah. They're going to see it. And that's just the way it is. That's not like it is here in the States at all. No.  No. You don't talk during it. No. You want to hear. You want to hear. It's quiet. And so you might get like applause at the end. But you'll get some. You'll get some. Yeah. And applause at the end. But people want to hear the trailer. Yeah. But yeah. Let us know how this film was because it looks really, really interesting to me. I would be very interested to watch this film. Yes. Because that performance for in the makeup looks really, really good. This story looks really interesting. What language is it? I don't know. I couldn't tell from the script either. I'd be guessing. It's not Bengali. It's not Hindi. Tamil. It's Tamil. There you go. We figured it out. And you pronounced it right. Tamilis.