INFRINGEMENT

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INTRO

Stealing, and claiming ideas that a person or a nation did not actually produce is part of Revelations many central messages. 

What follows are a few of the works that were stolen and derived from my work, between 1977 (when I was 11 years old) and 2001. (Read the intro of Revelation 2: The Solutions, or read Origin Stories, to understand how Hollywood became interested in me so young.)

Some Early Stolen Works

Star Wars was the first extremely successful film based on my ideas –from a short story I wrote, around the time I turned 10 years old. Luke, Leah, Darth Vader, the space setting, the interplanetary fight, the small spaceships, and the city in the sky, all came from me, circa September 1974. Immediately, Gardner and his 666 changed copyright law to allow adults to steal children’s ideas, as long as the children only spoke their ideas and did not write them down. True –and beyond Satanic. (To be clear, my story was written down.) The 1976 Copyright Act went into effect in 1978. 

Over the next 10 years, the US film and music world stole many successful songs from me (and they even stole my high school band’s image), and they stole a couple of moderately successful film ideas. They also used my family and me as the basis for a few successful TV shows. 

My High School band (a true bad boy band) was the music and style impetus and inspiration for Guns N Roses (which was just a group of hired performers, paid to wear and play what they were told). During this period, about 15 popular songs were based on songs stolen from me. The music to Cyndi Lauper’s Time After Timewas stolen from one of my songs (called It’s Not Easy). The chorus music to Daryl Hall’s Dreamtime was also stolen from one of my songs (called So Long). 

Around May of 1982, still only 17 years old, I wrote a very gritty and patriotic Viet Nam war retrospective, called Clouds of Fire –my high school band’s first great song. Immediately, over the next 2 years, everyone from Bruce Springsteen (Born in the USA), to Prince (Free), to John Cougar Mellancamp (Pink Houses), to Sammy Hagar (Remember the Heroes), suddenly had a gritty patriotic song about the price of freedom. Patriotism had been out of fashion since the 1960s. Although this is not actionable, all of those patriotic songs were designed to emulate my work and views. 

But the biggest actionable stolen work during this period was the song Purple Rain (1984), by Prince –based on one of my songs, called Wedding Day. The chord progression was altered, but the mood, genre, pace, heart and total concept and feel were all stolen from me. Prior to this, Prince had never done gospel.  Prince did not just steal the song, he stole my guitar style and approach. Go check the albums… In Prince’s previous 5 albums, if my hasty research is correct, there were only two songs with guitar “solos”, both crappy solos, and both on the album 1999 (released in 1982); the songs are Little Red Corvette and Free. Prince did not play the crappy guitar solo in Little Red Corvette (a great song), Dez Dickerson played that solo (Dickerson also played the lead guitar fills in the song Controversy, on the previous album Controversy, 1981). Online, I found no one credited for the solo or fills at the end of Free; but I suspect Prince did the solo in Free –but that solo is not good, and it’s nothing like the guitar style of Purple Rain. In Purple Rain, suddenly Prince was playing super distorted lead guitar, blazing fast, with chromatic runs, moving in and out of Western traditional modality and major and minor blues. Prince had never done ANY of this before then. It was unlike Prince, and unlike anyone else in Hollywood –but just like the 18-19 year old me, the half-Black kid who grew up with a White mom who played Black gospel music most Sunday mornings. (Prince’s new guitar sound and style was also seen on or the two other songs from the Purple Rain album: Let’s Go Crazy and When Doves Cry.)

In sum, Prince went 5 albums and only played one crappy solo -and may not have played that solo- but suddenly on his sixth album he was a guitar virtuoso. All of you true lead guitarists out there understand this does not compute –a true guitar player lives to play –they don’t wait 5 albums to unleash. And guitar players have a sort of style signature; Princes new style and sound were never heard prior to 1984, and did not flow from his existing style signature. Prince was directed to play in the style and sound that Warner Music saw and heard me playing in Wedding Day. 

(Oddly, when I checked Wikipedia’s “Purple Rain” page around December 2023, the page said Michael Colombier co-wrote the song with Prince, now the page gives full attribution to Prince. I’m not sure what the truth is.) 

This theft continued, regularly, but the next huge stolen music idea(s) did not occur until around September 1990, when I wrote and produced music that inspired the Lion King. To be clear, my music is certainly the impetus and heart of The Lion King –but I had nothing to do with the Lion King story; the script, as I understand, was an old script that and had been floating around Hollywood for about 20 years, doing nothing. 

My song was originally called Pick Up the Phone –I hurriedly threw some lyrics together for the song, and recorded the song in one or two sessions, September 1990.  I rushed through the song, because I wrote the song during the build up to the Gulf War, and I suddenly I had many pressing political thoughts, which I wanted to express in new songs and lyrics, and very angry heavy music. Over a year later, after I recorded many new political rock/rap songs, I rewrote the lyrics to Pick Up the Phone, and it became a spiritual song, Higher –I didn’t record the new version. There’s a song sample of Pick Up the Phone, from September 1990, on the Infringement page 9this , on this site. You will hear, unmistakably evocative African-like tribal lyrics and vocals, against English lyrics, all against a mid-tempo major progression, with serene Western violins creating an effect of gentle wind over rivers and grain, steel drums (or vibraphone), congas and/or bongos. All of this was unprecedented, but unmistakably present in The Lion King’s Circle of Life and Can you Feel the Love Tonight –and it was ALL that the world was talking about when The Lion King was released. But the infringing Lion King songs did not come out until 1994, because the movie had to be written, produced, etc. 

Prior to 1990 (or prior to The Lion King) neither Elton John or Hans Zimmer had done a song with African-esque vocals, steel drums, prominent bongos or congas… Until the theft of my work became a Western imperative, Western universities taught students about writers’ recurring styles, themes, motifs, etc. But since the infringers of my work were doing things that didn’t flow from their prior works, Western educators stopped teaching the basics.

Universal/Virgin Records (Big 6) also used my song, Pick Up the Phone, for Lenny Kravitz’s It Ain’t Over Till It’s Over(1991). For Kravitz’s copyright for the It Ain’t Over Till It’s Over music video, Universal Music got the US copyright office to give Kravitz a copyright number ending in 4444 (# PA0000524444). This was because my song was exactly 4 minutes and 44 seconds. The owner and engineer of the studio I recorded in, William Williams (Aliso Creek Productions, Van Nuys, CA), asked me why I programmed his drum machine to make the song exactly 4:44, so I confessed my attraction to the number 4 (which I rarely shared).

· I suspect Universal (a Big 6 member) obtained my song (and news of my interest in 4) from Williams, although they could have obtained the actual song from many other parties, or via their constant cable-TV-box access to my life. (This was the earliest sign of their interest in mimicking my interest in the number 4 –but the most interesting examples would come later.)

· At the time of the theft of Pick Up the Phone (stolen for both Lion King and It’s Ain’t Over…), my stepfather, Dennis Alfred Wilson, owned a business called Wilson Engineering, based in Forestville, California; originally opened around 1978. Because my stepfather, Dennis Alfred Wilson, opened a shell corporation called Wilson Engineering Limited, based in the UK, in March 1991, I’m confident Disney obtained my song from my stepdad, at the behest of a close family friend named Carl Shapiro, who was involved in many of crimes connected to me and my sister, going back to 1968, and who was a father-figure to my stepdad. [Certain 666 members obtained my works from my stepfather probably 10 or 15 times; but usually, the most powerful 666 members accessed my works from a team of elite hackers (more about these guys, later).] 

The reason I’m certain Carl Shapiro facilitated the deal with Disney is because when Carl’s wife, Helen, died, maybe around 2007, I attended her memorial, at the Shapiro’s home in Fair Fax. There were probably 120 people there, at the peak. But the true climax of the memorial occurred outside, near the pool, when seemingly unannounced, the actual male African singer, Lebo M (Lebohang Morake), who sang the amazing introduction of Circle of Life in The Lion King movie, suddenly began singing his beautiful introduction lyrics of Circle of Life, as I stood only about 4 feet away from him. A photographer immediately strained to get multiple photographs of Lebo –and me –very much in the center of the photograph with Lebo.  It was easy to see the photographer was only shooting Lebo and me because Lebo was standing on the center of the back patio, at the top of steps leading down to the pool, I was between Lebo and the pool, and probably 20 people were on the patio, behind the photographer (maybe 40 people were inside the house). When Lebo M finished singing, I spoke to him for a minute or two. He said he was the actual singer of the song in the Disney movie. At the time, Carl was  in his 90s, and very healthy. But Carl was not in the photos with me and Lebo. 

In 1990 and 1991, I also produced around 8 heavy rock songs that became the catalyst of “grunge” rock. My songs integrated rock, politics and rap. The most signature rip-off of my songs was the song “Know Your Enemy,” by Rage Against the Machine. My song, Brave New World, featured a very unusual chromatic ascent 1-3b, 3maj, 4, 6b, 6, 7b, 7 –(repeat); RAtM stole this progression, exactly –but played it slower. Political lyrics were not present in Zach de la Roche’s lyrics in his prior crappy punk band, Inside Out. And neither imaginative chromatic runs, or anything interesting or political, were part of Tom Morello’s absurdly shitty prior band, Lock Up. People don’t just become politically and socially minded, or suddenly become interesting or moderately talented. Our past flows into our present and future. The LA music industry just stole the heart of my music and ideas, repeatedly, and hired performers to create derivative –Rage Against the Machine was just the most obvious example. 

With the success of the Lion King, the Big 6 and the other members of Gardner’s 666 resolved to make spying on me and stealing my ideas their new business model. And in 2006, I produced a single Earth-shaking idea that generated trillions of dollars for them: aggregated data. Thus, the Big 6 and the 666 begun to steal my works to the exclusion of all other ideas.

But the theft didn’t stop with my creative works. Hollywood created numerous films and TV shows based on me, and sometimes me and my family –except, Hollywood consistently made the characters who were based on me (and my family) White.

The first TV show based on me and my family was Family Ties, 1982 (although that family was wealthy, and we were not).

The first movie based on me was Good Will Hunting. Most of GWH has nothing to do with me, except the gritty kid who tested through the roof (when I was 2, 9 and 13), who lived on his own when he was a high school senior, with a few gritty friends. The name Good Will Hunting is because from the mid 1980s to the mid late 1990s, I loved to shop at Bay Area Goodwills and other good second-hand thrift stores –especial San Rafael’s Goodwill and several thrifts store on Mission Blvd, between Fremont and Hayward, in the East Bay (Los Angeles and San Francisco thrift stores were NOT good –except for Buffalo Exchange –but Buffalo Exchange was WAAAY overpriced).

After I wrote a short story called Hot Orange and Honey, January-February 1999, a retrospective about my life in 7th and 8th grade, Hollywood created the TV show Malcolm in the Middle (smart kid who tests through the roof, from unconventional working-class family, etc). The untenable story behind Malcolm is especially egregious… Malcolm was allegedly created by Linwood Boomer, a washed up actor with zero writing history and almost no film work for 25 years. Suddenly Boomer is a creative genius, generating ideas about an unconventional under-income, working class family, with a bunch of smart kids running around the house. That didn’t happen. Boomer is the type of desperate person you look for if you’re a corrupt studio executive who needs someone to take credit for writing an unlawfully obtained concept. Freaks and Geeks was also based on and derived from Hot Orange and Honey.

In late 2000, or early 2001, I wrote the outline and supporting parts of 13 Gates of Rayne, the second most stolen of my works. This story was stolen to make hundreds of illegal derivatives. I can’t address the various stolen derivatives here, but you can read some of details in the Infringement examples PDFs, on this page. 

Late May or early June 2003, I began writing the story that would become the most stolen literary work ever: Uberopolis: City of Light (AKA: Butterfly Driver). The story wasn’t just notable because it was fantastic , but also because of its many unprecedented original ideas, how it defied and reversed convention –AND because it contained actionable original scientific ideas, which soon redirected international science and space exploration.

Prior to my new story ideas, in the 1990s and early 2000s a large percentage of American movies were just re-makes of old films, because Hollywood, like America, had no good ideas. Once Hollywood devoted itself to stealing anything I wrote and making as many derivatives as possible, circa 2003, Hollywood had no end of new story ideas.

In my mid to late 20s (the late 80s early 1990s), Hollywood began to use some of my and my L.A. roommates’ antics for the TV show Seinfeld. This theft dramatically increased in 1996, when I became an expectant father, and started carrying a hackable cell-phone. Although many parties stole my written ideas, Larry David was the single biggest infringer of my personal character. David went so far in his effort to replicate my character that he “evolved” from the wound up and semi-neurotic, overdressed Seinfeld character “George Costanza” (nothing like me), to the Larry David character of Curb Your Enthusiasm: the laid back, ever underdressed guy who says whatever he thinks, never intending to offend, but usually offending –entirely modeled after me. [For the record, Larry David is a corrupt PoS. The TV show Seinfeld would not exist, if Hollywood had not used a cable-TV-box to spy on me and my 1989 and 1990 roommates: Marco Assante (Armand Assante’s young cousin, who was then trying to become a stand-up comic) and Radmilo Vucevic. (My brother was also used for material.)]

Creative, Literary and Scientific Ideas,

Stolen From Uberopolis/Butterfly Driver

Each of the following ideas was present in my original script Uberopolis: City of Light (2003-2005), later re-named Butterfly Driver (circa 2006). Many of the individual ideas are independently copyrightable. Many of the ideas are uniquely original ideas that changed international storytelling. Because the Western 666 sole my work and proliferated it widely, including to Japan, South Korea, Israel (and likely India, etc), there are thousands of unimaginative thieves who have stolen many of my ideas –typically, the thieves put dozens of my ideas in a single derivative. What follows are 38 of the most often infringed ideas found in Uberopolis/Butterfly Driver.

1. Central hero goes to impossible or great lengths to save his daughter (or son, or non-wife family member).

· This new central plot and story catalyst of a person going to extreme lengths to save a family member (non-romantic family member) is simply the most important plot structure ever –proven by how many times this story-structure has been illegally used and reused, since it was conceived in 2003 –and by how it drove billions of people to theaters. 

· Prior to this, heroes were usually driven by selfish romantic love, or revenge, or duty (the director of the spy agency gives the ace private investigator a new assignment, or a sergeant gives a soldier a mission), or some poorly justified reason for endless heroics (a teenager witnesses a murder and resolves to be a caped crime-fighter). But, as a father of a young boy, my hero was driven by what drove me, and what drove dutiful parents –a desire to keep their children alive. Prior to 2003, all writers ignored their motivation and regurgitated what was being marketed around them. 

· Prior to me, the West had no stories about parents going to great lengths for their children, and centuries of stories showing children in families that abandoned them or mistreated them. This continued through the 20thcentury, with characters like Robin, who was left to Bruce Wayne, and whom Bruce Wayne constantly exposed to danger. Peter Parker, inexplicably, lived with his Aunt and Uncle. In Taxi Driver, 12-year-old Jody Foster is a child prostitute. In Parent Trap, two parents divorce and separate their twin daughters; both parents do not tell the daughters about the existence of the other twin. In the Home Alone series, the family repeatedly travels and forgets the youngest child at home. Hilarious! These examples go on forever: Peter Pan, Oliver Twist, Pippy Longstocking, Cinderella, Huck Finn, Hey Arnold, Huey, Louis and Dewey…

But after me and Uberopolis/Butterfly Driver, suddenly the West produced big budget adventures, in which they professed to care profoundly about their children. 

· My ideas became so important to the US and West that they began a decades-long campaign to try to illegally backdate my ideas into pre-existing works. Thus, in Steven Spielberg’s version of H.G. Wells’ War of the Worlds, suddenly the hero has children he is fighting to save, when in the true and original story, the hero had a wife but no children. The US/West also tried to corruptly alter and rewrite dozens of prior works (such as Margaret Atwood’s “Handmaid’s Tale”, and Richard Matheson’s “I Am Legend” –AKA “Omega man”) to unlawfully add my ideas and methods to these works. Talentless, unethical writers, like Atwood and Matheson, were happy to have my profound ideas added to their crap. The West’s fake intelligentsia and fake journalists obediently said nothing about how so many of the same amazing new ideas were being improperly added to the crappy works of Wells, Atwood, Matheson and others. Soon, Hollywood even reinvented Peter Pan, adding a lengthy storyline about how Peter Pan’s mother went to impossible lengths to save Peter, before dying. All of this is part of an endless criminal effort to steal my work and ideas, to falsify a culture’s entire history –to steal a Black’s person’s ideas –to glorify themselves.

2. The hero admits he has fear.

· Prior, to my work, heroes did not admit they had fear (in my Briggs v Cameron complaint, I go through the few recurring situational exceptions). I showed that part of what makes a true hero is the strength to admit his vulnerabilities –and we learn heroes overcome their fears. I am the source of that, no matter how aggressively the 666 film industry instructs it generative AI to backdate my work into old films.

· Stealing my hero that admits his fears but overcomes them became urgently import to Gardner’s 666. But a hero who admits his fear was against all prevailing Western trends; thus, at the time that I added the scene(s) when Arlo admits his fears, one of America’s biggest clothing brand was No Fear, which earned $100-$150-million per year, from the mid 1990s to the mid 2000s. Immediately after I introduced the hero who admits his fears, No Fear suddenly went into a self-imposed nose dive, disappeared, went into bankruptcy in February 2011, and was out of America later that year. The 666 killed off No Fear because I created the new standard for a hero – the gritty fighter who admits his fears, and knew they kept him “on his toes” and alive. 

3. High cost of healthcare storyline: The hero must break into Uberopolis, the orbiting satellite city for the rich, to get medicine to save his daughter.

· Prior to me and Uberopolis/Butterfly Driver, there were no action-adventure or sci-fi film plots about a common person driven by the need to obtain unaffordable healthcare (for his child or himself). After me, this was done repeatedly, usually using my exact formula.

4. Symbolism (butterflies, flowers, dolphin, “God’s eye”, colors…)

· At the time symbolism was sometimes done in books, but rarely in Western film. That changed overnight. Most of the infringer even infringed my specific symbols (flowers and butterflies, and my colors –see Hunger Games and Harry Potter –the first several Harry Potter book had no symbolism).

· I took symbolism to a new extreme and had my hero represent hope. 

· I added the first layers of symbolism (hope and change in late 2005). The impact on Hollywood was dramatic. Suddenly Harry Potter and all the new films (including Japanese films and shows connected to Sony) were infringing my exact use of symbolism, after doing nothing with symbols for decades. Desperate to justify this and backdate my ideas into their prior works, Hollywood created a “making of The Sixth Sense” video, which fraudulently and falsely explains how M Night Shyamalan used symbolic color in the film. This is not how symbolism works. With symbolism, the symbols are introduced clearly, and the writer’s intent is made clear, but usually understated. This is explained in some of the PDFs on the Infringement page. Without some rules about symbolism, we could randomly assign our own symbolic values to any object or event in any story, making the writer’s intent meaningless.

5. Hero who represents hope (particularly to a large group of oppressed people). 

· This was also unprecedented (and probably independently copyrightable). Soon every hero in Hollywood represented hope to an oppressed group. 

· This was then stolen by Harry Potter, Hunger Games, The Dark Knight, and dozens, hundreds or thousands of copy-cats. 

· This was so compelling that the 666 resurrected the Star Wars franchise to create a new poor hero who represented hope.

6. Hope and Change. Hope was stressed in earlier script versions, but around June 2006, I made hope and change major themes and symbolic components of my story, with the hero representing hope (for change) to oppressed people everywhere.

· A few months after I added hope and change to my script, suddenly Barack Obama released his book Audacity of Hope. Maybe you noticed that hope is not a theme or subject of the book, it was just added to the book in Barack’s introduction, because there was no time to rewrite. A year later, Obama ran for president on a “hope” and “change” platform. This was the 666 promulgating my ideas as their own. 

7. Immigration Theme. (My hero’s and his family were forced to become immigrants to survive.)

· Hollywood would not finance a film about immigration, until I wrote Uberopolis. One of the West’s most respected writers, Tom Wolfe, explained on April 29th, 2006, during a lecture titled “What’s Southern Today,” that before 2006, when he told people (publishers) he was writing about immigration, there was no interest; but suddenly in 2006, there was substantial interest in the subject.

8. The hero is poor.

· Before me, almost never did you see a Western fiction hero who was specifically poor, struggling to meet his family’s needs (unless they were buffoons, like Li’l Abner and the Beverly Hillbillies, non-White –or “swarthy” and unintelligent stereotypes, like Rocky). That changed overnight, and suddenly Western heroes were routinely poor.

9. The hero is a family man, with children.

· Prior to me (2003) and this idea, sci-fi and action heroes were always childless. There were no superheroes with children, no spy heroes with children… Children were un-cool. 

· NOTE: In October 2004, The Incredibles was released, a film featuring a family-man superhero –with children. This was 16-17 months after I conceived and began writing Uberopolis (and posting loglines about the script online). Because most of The Incredibles’ scenes with the wife and children occur away from Mr. Incredible’s central plot and fighting action, it’s possible the children were added to infringe my family-man hero. But it’s also possible that Brad Bird (credited writer of The Incredibles) coincidentally created a family-man hero. However, Wikipedia tells an elaborate story of how Bird’s script dates back to 1993. Propagating these unverifiable stories is usually how the West and the 666 execute theft. [See my Briggs v Cameron (2020) complaint, concerning the Avatar “scriptment” scheme.]

10. Hero inspires oppressed people to fight back. 

11. Villain does horrible things for perhaps a good reason.

· I created a copyrightable villain (Drexler –AKA Vitale) who committed mass murder –for a seemingly good reason. This villain was suddenly copied dozens, perhaps hundreds or thousands of times. My hero was designed to make you both hate and love him, as he did terrible things for reason that SOME people might find legitimate. He was designed to make readers uncomfortable with the fact that they had various biases, and felt that some people might deserve to die without due process.

12. Hero and villain fight on or near the top of a towering skyscraper. 

· This element was also stolen dozens or hundreds of times. Suddenly, fight on the top of skyscrapers was a script essential.

13.  Amplifying modern politics.

· Before me, politics were to be avoided in sci-fi and action adventure, at all costs. That changed around 2005, after Uberopolis.

14.  The story features central placement and discussions about God.

Before my script, this was virtually never done in mainstream sci-fi or action adventure film (as well as most other genres). Prior to Uberopolis/Butterfly Driver, the only times I recall God being very briefly suggested in action-adventure or sci-fi films was in Raiders of the Lost Ark(although I can’t recall if the word ‘God’ was actually said), and the word God was uttered once in Blade Runner. But after Uberopolis/Butterfly Driver, it began routine to include God, and show a hero with deep faith.

15. Mega-billionaire businessman villain -who owns mass media and technology companies and is a master of media manipulation.. 

· Soon, almost every villain out of Hollywood was superrich -and often controlled a media empire.

• This "billionaire media-master" was actualized and became the new Western influence standard. Thus, the West selected many malleable and unethical Aspergery fakes (Elon Musk, Jeff Bezos, Mak Zuckerberg...) to pretend to be semi-intelligent business leaders, then paraded these embarrassments in the press.

16. Poor people living in bombed out buildings.

· This was nowhere in sci-fi or action adventure before me –this setting was saved for war and combat movies. But after my screenplay, this setting was in almost every sci-fi movie.

17. Multiple heroes (primary and secondary heroes).

· I used multiple male heroes only because I wanted a dark-skinned primary hero, but I figured Hollywood wouldn’t do that UNLESS there was an almost equally heroic White characters. This was a terrible compromise on my part –which I stretched until it made the story better. The mindless infringers copied this aspect only because I did it; so they reasoned “it must be brilliant.” It was not brilliant, it was a well-executed strategic compromise.

I created two heroic females, to show heroic women in tough situations were routine. I added the heroic women to support women, and because I viewed my mother, back in her 20s, when I was young and times were hard, as heroic. 

18. The Oppressive government inserts a tracking devise in the hero’s body. Later the hero must cut the device out. 

· Also stolen dozens if not hundreds of times, to show the government’s corruption and invasiveness –and the hero’s toughness.

19. Secondary hero saves primary hero.

· The infringers copied this mercilessly, but I only added this to make the White hero look important –so movie execs might finance my film -but it added to the story.

20. Hero is the reluctant leader of a resistance.

21. Hero regrets that so many people died for a war that he caused.

· This didn’t exist in film before me.

22. Food scarcity is a central issue.

· Before me, the only Western action-adventure or sci-fi film I’m aware of, with a food scarcity component, was Soylent Green (1973). But, after me, every other action-adventure or sci-fi film had a food scarcity component

23. No Sex. The handsome hero is too focused on saving his daughter to be delayed by so much as kissing the attractive heroic women he encounters.

24. Rich vs Poor, class conflict.

· Before me, this aspect did not exist in mainstream action adventure or sci-fi. Period. After Uberopolis/Butterfly Driver, this was suddenly in every sci-fi and action film. And suddenly the West began remaking old movies, to add rich/poor class divide to the films –an unlawful effort to backdate my ideas into pre-existing film.

25. Environmentalism, rampant pollution and a new clean energy source.

26. The evil villain controls a powerful disinformation machine.

27. The story includes scenes in a room with many TVs and/or video monitors, to show the extent of the villain’s media control or the extent of his surveillance.

28. The climatic action unfolds on TVs around the nation/world.

29.  The story features a recurring necklace or piece of jewelry with a symbol, deeply tied to the central story.

30.  One of the central settings is under a giant dome.

Unique language and themes

31.  The “Greater Good”

· The greater good is a phrase I coined in 2003, when I wrote the confrontation scene between the villain and hero (one of the first scenes written). I used this term to shorten Jeremy Bentham’s (1748-1842) expression, “The greatest good for the greatest number.” My new expression left my signature on some of the thieves work. 

· The Harry Potter series, which started out using a century old story formula (see PDFs on the Infringement page), dumped it’s formula in the fourth book, and copied 13 Gates of Rayne for the 5th book (and parts of the 4th). The 6thbook used parts of 13 gates and Uberopolis. The final book infringed most major elements of Uberopolis/Butterfly Driver –it even stole the signature term “greater good.”

· The Incredibles. But the first known occasion that the phrase greater good was stolen and used was in 2004, in The Incredibles. The term appears in a tacked on scene when the Black character Frozone hurries out of the house to fight crime, and tells his wife he must go for “the greater good.” This scene was just inserted into the film to steal and promulgate my ideas and language. 

· UC Berkeley was the institution that first discovered me (and my sister), when I was 2 years old. UC Child Care Center was a branch of the Institute of Human Development (IHD), which was entirely funded and directed by the Rockefellers. After I coined the term greater good, the Institute of Human Development changed its name to Greater Good Science Center (GGSC) –after all, they felt they owned the rights to me and anything I produced. The IHD and GGSC were primarily Jewish run (in Origin Stories, I name the Whites and Jews behind the IHD). 

32. “Resistance.” 

· Although I did not coin the term “resistance”, I resurrected it. The term “resistance” was everywhere in World War II, but faded from use. In the 1960s certain
leftist” groups, like the Black Panthers, used the term. In 1967, when I was 2 years old, my mother began dating Richard Aoki, a Japanese man, and one of the three founding members of the Black Panther Party. Thus, I heard the word “resistance” a lot as a young child. Before I wrote Uberopolis/Butterfly Driver, I had only heard “resistance” used in old World War II movies, so the term was perfect –known, but was not commonly used.

· After I placed my hero, Arlo, in a revolutionary “resistance”, soon every other hero in US sci-fi and adventure movies was in a resistance. Harry Potter started a resistance. The Star Wars “rebel’s and “rebellion” disappeared, and suddenly all of the new Star Wars heroes were in a resistance.

33.  The story includes central conversation about sacrifice.

· After me, every other US film featured a conversation about sacrifice.

34.  The story includes central conversations about faith. 

·  After my lead, soon every other US film featured a conversation about faith.

Original Science Ideas From Uberopolis/Butterfly Driver

That Changed International Scientific Pursuits

Among the science and tech ideas that I conceived and introduced were:

35. AGGREGATED DATA –and the Replicator/Accelerator.

· I (alone) conceived and introduced the concept and term “aggregated data,” and all of the subordinate ideas that make this idea possible –and evil.  

I’m also the guy who conceived of the replicator/accelerator, an exact digital replication of the Earth, it’s cities and structures, and all known living beings (including scanned, digital copies of each human soul). The accelerator could be accelerated, many thousands of times faster than the real world, and used to predict events and crimes before they happen.

36. Lunar mining.

· I introduced the concept of lunar resource mining (to make constructing giant space stations feasible). This has become a reality.

37. Capturing comets (or asteroids) for water and other resources.

38. Electrolysis: splitting water molecules into oxygen (to breathe, etc) and hydrogen (for fuel).

· No, I did NOT conceive this technology; but I was the first to realize that by harnessing a large enough supply of water, in space, the water could be used for hydration, and for oxygen and hydrogen fuel. Soon, the electrolysis industry boomed. If mankind ever goes into deep space, electrolysis will get us there.

· NOTE: In 2003 and 2004, as I wrote Uberopolis, for fun and motivation, I posted loglines about the script on the larger screenplay logline sites (such as Done Deal Pro, Scriptapalooza, Writer’s Store, Scriptologists, Absolute Write…), where I was allowed to post 25 to 50 word loglines about the script. But in 2005, most of these sites were suddenly gone or required paid membership and access passwords –and ALL of the loglines I posted on them from 2003 to 2005, were erased. Corruptly, the Internet Archive had no valid crawls of these sites for that period. More corruptly, all of my Microsoft Hotmail emails, from 2002 to May 2005 were suddenly all erased. This was the Big 6 and the 666 trying to erase evidence of my script.

DISCLAIMER: Everything written, said or presented on this website, or the documents attached to this website, is/are just allegations, not  necessarily facts. Although I, Steven Kenyatta Briggs (AKA: Steve K Wilson Briggs)  the owner of this website, wholeheartedly believe every allegation to be true, and although all of the articles posted on the website present seemingly overwhelming evidence  in support of every allegation, everything presented on this  website, no matter how persuasive, is/are just allegations and opinions.

The preceding disclaimer is made for legal reasons.